PRITAM’S TUTORIAL (FOR ENGLISH)

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THE TEMPEST ACT 5

1. Importace of Epilogue of Prospero at the end of The Tempest .
An epilogue is a piece of writing at the end of a work of literature, usually used to bring closure to the work. It is
presented from the perspective of within the story, when the author steps in and speaks directly to the reader and is
usually set in the future.

Similarly, in The Tempest, Shakespeare uses an epilogue in which, Prospero, the protagonist of the play, addresses
the audience. He requests that the audience free him. He states that he has thrown away his magic and pardoned
those who have injured him. Now he requires that the audience release him from the island, which has been his
prison so that he might return to Naples.

Now my charms are all o'erthrown,

And what strength I have's mine own,

Which is most faint: now, 'tis true,

I must be here confined by you,

Or sent to Naples.

The audience's applause will be the signal that he is freed. Prospero indicates that his forgiveness of his former
enemies is what all men crave and he has provided that.

Since I have my dukedom got

And pardon'd the deceiver....

So, Prospero requests the audience to release him with good applause, such that they have given him in the past and
thus free him with forgiveness and mercy.

Now I want

Spirits to enforce, art to enchant,

And my ending is despair,

Unless I be relieved by prayer,

Which pierces so that it assaults

Mercy itself and frees all faults.

Certainly, there are parallels between Prospero and Shakespeare to consider. Both are manipulators; Prospero
manipulates everyone on the island, and Shakespeare manipulates the characters he creates and the plots he
devises. Both create entertainment, Prospero the masque and Shakespeare his plays, and both are intent on retiring.
It is easy to look at Prospero's words and imagine Shakespeare mouthing them as he retires from the stage. But such
parallels do not necessarily reveal how the author was, could be, or wants to be. The words on the page, or now
spoken before an audience, do not tell the author's intentions or tone. To attribute Prospero's words to
Shakespeare's own life may be a fallacy.

Again, the epilogue can be read as a celebration of creativity and art. Then, the closing benediction may have a much
broader application referring to the breadth of humanity that inspired Shakespeare's characters. Prospero makes a
final request for applause in the monologue. It functions as a request for forgiveness for the errors he has committed
in this play; and, also, for the beneficient tyranny of creativity itself, wherein an author, like a Prospero, moves
people at his will, control their minds, creates situations and arranges outcomes with the idea of justice, goodness or
beauty.

In this way, the ambiguity surrounding Prospero’s power in The Tempest may be inherent to art itself. Like Prospero,
authors work according to their own conceptions of a desirable or justifiable outcome. But as in The Tempest, a
happy ending can restore harmony, and a well-developed play can create an authentic justice, even if it originates
entirely in the mind of the author.

2. FORGIVENESS AND FREEDOM

Introduction

Nicolo Machiavelli says in his book The Prince -

People should either be caressed or crushed. If you do them minor damage they will get their revenge; but
if you cripple them there is nothing they can do. If you need to injure someone, do it in such a way that
you do not have to fear their vengeance.

While the Bible says -

Be kind and compassionate to one another, forgiving each other, just as in Christ God forgave you.

The Renaissance man is sure to have been swayed by these two contradicting theories of revenge and forgiveness.
One teaches to be ruthless like a hawk, the other to be compassionate enough to become a 'man'.

William Shakespeare's play, The Tempest deals with the questions of revenge and forgiveness through its main
character, Prospero. Twelve years before the play begins, Prospero's brother Antonio usurped Prospero's throne,
and with the help of Alonso and Sebastian, the king of Naples and his brother, put Prospero and his young daughter,
Miranda on a boat to die. After all these years, Prospero's betrayers are near the island, giving Prospero the perfect
opportunity to mete out revenge. However, Prospero's initial desire to wreak revenge upon his enemies through
insanity brought on by guilt is eventually overridden by his realization that he really desires reconciliation, which he
will only achieve through forgiveness.

Reason for Revenge and Forgiveness

The play begins with Prospero's desire for revenge. But, the question is to what extent, he would stretch his revenge.
Prospero decides to shipwreck his enemies with the help of his potent spirits, controlled by his magical books.
However, he gives strict orders to Ariel such that -

Not a hair perished

On their sustaining garments not a blemish

This shows Prospero's revenge necessitates the survival of these men.

Prospero's plan for revenge is to make his three enemies, Alonso, Sebastian and Antonio go insane with guilt for
their betrayal of him and the suffering they caused. This plan becomes exceptionally evident once Ariel, in the guise
of a Harpy, begins to weave a spell around the three. She tells them that that they are being punished because,

"..you three

From Milan did supplant good Prospero

Exposed unto the sea? (3.3.87-89).

For this betrayal they will suffer,

"Ling'ring perdition, worse than any death . . .

Upon your head- is nothing but heart's sorrow"

Gonzolo, the rare moral man, watching the whole ordeal comments,
 "All three of them are desperate. Their great guilt,

Like poison given to work a great time after,

Now begins to bite the spirits"

It is thus the regret and guilt these men feel for the acts they committed against Prospero that cause them to go
insane. Watching this exchange, Prospero is pleased, and remarks,

And these mine enemies are all knit up

In their distractions. They are now in my power

And in these fits.

Here again, Prospero's scheme for revenge is evident. From the beginning of the play, Prospero has had a master
plan for his vengeance- to make his enemies go mad with remorse and shame.

However, right when Prospero's plans come to full bloom, he finds himself of a different mind from when he began
his revenge. Hearing how Gonzalo is moved by their sadness, Prospero states:"

Though with their high wrongs I am struck to the quick

Yet with my nobler reason against my fury

Do I take part. The rarer action is

In virtue than in vengeance. . .

My charms I'll break, their senses I'll restore.

Ariel informs Prospero how all of the men are "confined together" and "cannot budge till your release". He says how
the king, his brother and Antonio are all distracted and rest mourning over them full of sorrow and dismay. He
particularly mentioned Gonzalo, whose sadness has touched Ariel, the most.

His tears run down his beard, like winter's drops

From eaves of reeds.

Although it may seem that Prospero is moved by Ariel's words, but it must be remembered he is "one of their kind".
Moreover, his idea, as stated before, was never to inflict physical harm to them but to force them into a
psychological turmoil that would be more painful.

Prospero’s Forgiveness to Different Characters

Prospero calls Gonzalo his "true preserver" whom he is to reward in "word and deed". He calls Sebastian as a
contriver and blames his own brother, Antonio for being ambitious beyond "remorse and nature". He gives back to
them their own reason as he removes his spell over them. He particularly forgives Alonso and cements this with the
relationship between Miranda and Ferdinand, the meeting and marriage of whom Prospero had gradually planned.
Alonso, in return, gives back the lost dukedom to its rightful owner, Prospero. But, Antonio refuses to say anything at
all to Prospero. It brings questions whether such a hate-filled man that cannot bear the thought of apologizing found
Prospero's revenge to be most unforgivable.

Prospero's uncontrolled rage against Caliban stems from his paternal instincts. It is true that Caliban is guilty of
planning the murder of Prospero, but he was drunk and is desperate to throw off Prospero's shackles. Prospero has
no mercy or forgiveness for Caliban. He brands him 'a born devil, on whose name /Nurture can never stick.'
However, he pardons Caliban at the end: 'Take with you your companions; as you look/To have my pardon.'

Conclusion

All said and done, we can say it is enough that Prospero does not seek the life of those who wronged him. True, he
does not rise to the tenets of Christian forgiveness but that makes him more human and credible, rather than a
saintly person.
3. Referring closely to the interaction between Prospero and Alonso in Act V, describe the changes that you
notice is both these characters.

Given the great wrongs were done to Prospero, it is not unnatural that he would desire revenge but
Prospero never wanted to cause harm to his enemies.

He does not hesitate to put the men through agony and make them suffer for their crimes and only when he
is convinced that they have suffered enough, he relents.

When Ariel tells Prospero about the plight of the King and his companions, Prospero softens. Ariel's plea 'if
you now beheld them/Your affections would become tender' convinces Prospero to end their misery.
Prospero agrees, saying:

'the rarer action is

In virtue than in
The sole drift of my purpose doth extend
Not a frown further."

When Alonso is brought to him, Prospero tells him: 'Most cruelly / Didst thou, Alonso, use me and my
daughter'

Prospero appears before them as the erstwhile Duke of Milan and embraces Alonso and bids him and his
company in all earnest, 'a hearty welcome. When Alonso laments the loss of his son, Prospero tells him he
had suffered a 'like loss- he had lost his daughter. Alonso wishes both were alive and were king and queen of
Naples.
Alonso still not able to grasp the proceedings, is in a state of disbelief. Prospero promises to tell him the
whole story at leisure as it was not 'befitting this first meeting. Since Alonso had given him back his
dukedom, Prospero decides to 'requite' him and 'bring forth a wonder' and leads Alonso to Ferdinand.

Alonso begs forgiveness of Miranda though it seemed strange to ask his 'child' to forgive him. Prospero with
all generosity tells Alonso not to burden their memories with 'a heaviness that's gone."

Alonso blesses Ferdinand and Miranda and says:

"Let grief and sorrow still embrace his heart
That doth not wish you joy!"

We see Alonso in Act V as a loving father just like Prospero. He is truly repentant and Prospero forgives him
with all sincerity with no trace of bitterness.

4. What examples does Prospero give in Act 5 to show that his art was powerful? What does Prospero decide
to do about his art after this?

Prospero in Act 5 recounts the various feats he has achieved with his magic. He calls upon the elves of hills,
streams, lakes, and forests, who leave no footprints on the sand and says how he has chased the ocean
waves as they draw down the beach and running from those same waves when they have come back.
With these puppet-sized creatures that by the light of the moon make fairy-rings in the grass, which a sheep
will refuse to eat; and who like to make mushrooms at midnight, and who celebrate when one hears the
bells signaling the arrival of night—with their help Prospero has darkened the noon sun, summoned the
rebellious winds, and made the green sea and blue sky war against each other. He has shot off the
dreadful rumbling thunderbolt, and burned up Jupiter's strong oak with his own lightning. He has made
the sturdy cliffs shake, and pulled up pine and cedar trees by the roots. With his strong magic, he has
woken the dead and opened their graves to let them out.
Prospero then decides to abjure his art. He decides to break his magic staff and bury it miles within the
earth, and drown his magic books so deep in the sea where they would never be found. He is cautious lest
some less judicious person gets possession of them.