GONZALO: “By ’r lakin, I can go no further, sir. My old bones aches. Here’s a maze trod indeed Through forthrights and meanders. By your patience, I needs must rest me.”
- Explanation: Gonzalo is saying that he can’t go any further. He’s very tired and his old body aches. He describes their journey as a maze with both straightforward and winding paths, which shows the difficulty and confusion of their search.
- Language Devices:
- Colloquial language: “By ‘r lakin” is an old-fashioned way of saying “By my faith.”
- Metaphor: “Here’s a maze trod” – comparing the journey to a maze emphasizes confusion and exhaustion.
- Alliteration: “forthrights and meanders” – repetition of the ‘f’ and ‘m’ sounds gives the line a rhythmic quality.
- Themes: Fatigue and Despair – Gonzalo’s weariness shows the physical and emotional toll of the journey, hinting at the hopelessness of their search.
ALONSO: “Old lord, I cannot blame thee. Who am myself attached with weariness To th’ dulling of my spirits. Sit down and rest. Even here I will put off my hope and keep it No longer for my flatterer. He is drowned Whom thus we stray to find, and the sea mocks Our frustrate search on land. Well, let him go.”
- Explanation: Alonso empathizes with Gonzalo’s tiredness and admits he feels equally worn out. He says he’s lost hope in finding his son (Ferdinand), referring to the “flatterer” as someone who had promised hope but is now gone, drowned in the sea. He believes they’ve been mocked by the sea.
- Language Devices:
- Metaphor: “The sea mocks” – Alonso expresses how the sea seems to taunt them by keeping Ferdinand lost.
- Personification: “The sea mocks” – giving the sea human qualities, emphasizing how nature itself seems to turn against them.
- Alliteration: “frustrate search on land” – the repetition of the ‘s’ sound conveys a sense of struggle.
- Themes: Loss of Hope and Despair – Alonso has given up hope of finding his son, reinforcing the theme of hopelessness and loss.
ANTONIO, aside to Sebastian: “I am right glad that he’s so out of hope. Do not, for one repulse, forgo the purpose That you resolved t’ effect.”
- Explanation: Antonio is secretly pleased that Alonso has given up hope. He tells Sebastian not to be discouraged by one failure and to keep going with their plan.
- Language Devices:
- Irony: Antonio’s gladness at Alonso’s despair shows his cunning nature and foreshadows his selfish ambitions.
- Themes: Ambition and Betrayal – Antonio is focused on his personal goals and is willing to betray Alonso further.
SEBASTIAN, aside to Antonio: “The next advantage Will we take throughly.”
- Explanation: Sebastian agrees, saying that they will take advantage of the next opportunity they get, and will do so thoroughly.
- Language Devices:
- Foreshadowing: This hints that Sebastian and Antonio are planning something more underhanded and will act on it soon.
- Themes: Power and Manipulation – Sebastian and Antonio are plotting to take control, showing their manipulative nature.
ANTONIO, aside to Sebastian: “Let it be tonight; For now they are oppressed with travel, they Will not nor cannot use such vigilance As when they are fresh.”
- Explanation: Antonio proposes that they take action that night while everyone is tired, as they won’t be as alert or vigilant as they would be if they were well-rested.
- Language Devices:
- Contrast: “Fresh” vs. “oppressed with travel” – This contrast shows the advantage that Antonio thinks they’ll have because of the others’ fatigue.
- Metaphor: “Oppressed with travel” – This metaphor emphasizes how the physical strain of the journey affects their mental state.
- Themes: Exploitation and Opportunism – Antonio is seizing the opportunity created by their weariness to further his own interests.
SEBASTIAN, aside to Antonio: “I say tonight. No more.”
- Explanation: Sebastian is firm in his decision to act that night, emphasizing their readiness to strike.
- Language Devices:
- Repetition: The repetition of “tonight” underlines Sebastian’s determination.
- Themes: Decisiveness and Treachery – This line reflects the urgency and focus in their plan, showing their malicious intent.
Solemn and strange music, and enter Prospero on the top invisible.
- Explanation: The music sets a mysterious and magical tone, and Prospero appears, but he remains unseen by the others. His invisibility adds to the sense of wonder and otherworldliness.
- Themes: Magic and the Supernatural – The mysterious music and Prospero’s hidden presence highlight the magical atmosphere of the scene.
ALONSO: “What harmony is this? My good friends, hark.”
- Explanation: Alonso is curious and asks his friends to listen to the strange and beautiful music. He is intrigued but unsure of its source.
- Language Devices:
- Rhetorical Question: “What harmony is this?” – Alonso is not just asking about the music but marveling at its beauty.
- Themes: Mystery and Wonder – The music symbolizes the supernatural forces at work, sparking curiosity and wonder in Alonso.
GONZALO: “Marvelous sweet music!”
- Explanation: Gonzalo echoes Alonso’s amazement, expressing his appreciation for the music’s beauty.
- Themes: Aesthetic Beauty – Gonzalo’s response shows how the music evokes a sense of admiration, even though its source is unknown.
Enter several strange shapes, bringing in a banquet, and dance about it with gentle actions of salutations.
- Explanation: Strange figures enter, bringing food and dancing in a graceful manner. This fantastical imagery creates a surreal atmosphere.
- Themes: Illusion and Deception – The banquet and the mysterious figures challenge what’s real, blending the lines between illusion and reality.
ALONSO: “Give us kind keepers, heavens! What were these?”
- Explanation: Alonso, amazed and slightly alarmed, wonders what these strange figures are, asking for divine protection (he believes they might be supernatural).
- Language Devices:
- Exclamation: “Give us kind keepers, heavens!” – Alonso’s words express awe and concern.
- Religious Appeal: His plea for “keepers” from heaven shows how out of control he feels in this situation.
- Themes: Fear and the Unknown – Alonso’s question reveals his unease about the mystical figures.
SEBASTIAN: “A living drollery! Now I will believe That there are unicorns, that in Arabia There is one tree, the phoenix’ throne, one phoenix At this hour reigning there.”
- Explanation: Sebastian sarcastically suggests that this display is so fantastical that he’s now willing to believe in other mythical creatures like unicorns and the phoenix, creatures often seen as impossible or mythical.
- Language Devices:
- Sarcasm: Sebastian’s tone implies that he finds the scene absurd but is willing to accept it as part of the unreal spectacle.
- Allusion: The mention of “unicorns” and the “phoenix” are references to legendary creatures, reinforcing the magical nature of the moment.
- Themes: Skepticism and Irony – Sebastian’s remarks highlight his cynicism and disbelief, contrasting with the magical reality of the island.
ANTONIO: “I’ll believe both; And what does else want credit, come to me And I’ll be sworn ’tis true. Travelers ne’er did lie, Though fools at home condemn ’em.”
- Explanation: Antonio agrees with Sebastian sarcastically, claiming that he will believe in anything now, even the most unbelievable stories, implying that travelers’ tales (including their own) are always true, despite skeptics back home.
- Language Devices:
- Hyperbole: “Travelers ne’er did lie” – Antonio exaggerates to emphasize his sarcastic acceptance of the fantastical.
- Irony: His statement is ironic because, in this case, what they are witnessing is true, even if it seems impossible.
- Themes: Cynicism and Reality – Antonio uses irony to dismiss the supernatural event, yet in doing so, he is forced to accept it as true.
GONZALO: “If in Naples I should report this now, would they believe me? If I should say I saw such islanders— For, certes, these are people of the island— Who, though they are of monstrous shape, yet note Their manners are more gentle, kind, than of Our human generation you shall find Many, nay, almost any.”
- Explanation: Gonzalo reflects on how unbelievable the scene would sound if he were to tell people in Naples. He suggests that these strange figures, despite their monstrous appearance, are more civilized and kind than most humans.
- Language Devices:
- Contrast: The contrast between the “monstrous shape” and the “gentle, kind” manners of the islanders challenges stereotypes of appearance and behavior.
- Irony: The “monstrous” figures are shown to be more noble than humans, flipping expectations.
- Themes: Judgment and Appearance – This passage explores how appearances can be deceiving, as the island’s inhabitants, despite their monstrous forms, act with more kindness than many humans.
PROSPERO, aside: “Honest lord, Thou hast said well, for some of you there present Are worse than devils.”
- Explanation: Prospero, speaking aside, praises Gonzalo for his comment, agreeing that some of the people present (particularly Antonio and Sebastian) are worse than devils due to their evil deeds.
- Themes: Morality and Corruption – Prospero acknowledges the moral corruption of the men he’s observing, which aligns with the play’s exploration of guilt, punishment, and redemption.
ALONSO: “I cannot too much muse Such shapes, such gesture, and such sound, expressing— Although they want the use of tongue—a kind Of excellent dumb discourse.”
- Explanation: Alonso is still amazed and overwhelmed by the figures’ appearance, movement, and the strange sound they make. He notes that even without speaking, they communicate something profound and impressive.
- Language Devices:
- Juxtaposition: “dumb discourse” juxtaposes the idea of speech with silence, emphasizing the power of non-verbal communication.
- Oxymoron: “excellent dumb discourse” contrasts two contradictory ideas, showing the power of silent communication.
- Themes: Communication and Expression – The figures express meaning without words, suggesting that communication can transcend speech.
PROSPERO, aside: “Praise in departing.”
- Explanation: Prospero quietly comments that the figures should be praised as they leave, indicating that the spectacle has served its purpose and should be acknowledged.
- Themes: Control and Manipulation – Prospero’s control over the situation is evident as he orchestrates the entire scene, from the banquet to the departure of the figures.
FRANCISCO: “They vanished strangely.”
- Explanation: Francisco comments on how the figures disappeared in an unusual manner, adding to the mystery of the scene.
- Themes: Mysterious Forces – The strange disappearance of the figures deepens the sense of magic and the supernatural in the play.
SEBASTIAN: “No matter, since They have left their viands behind, for we have stomachs. Will ’t please you taste of what is here?”
- Explanation: Sebastian is unconcerned about how the figures vanished; he’s more interested in eating the food they left behind. He offers Alonso the food, showing his lack of reverence for the strange event.
- Themes: Desire and Temptation – Sebastian’s focus on food reflects human desires, even in the face of strange, otherworldly events.
ALONSO: “Not I.”
- Explanation: Alonso refuses the food, still shaken by the spectacle and perhaps sensing that something is wrong.
- Themes: Fear and Caution – Alonso’s refusal shows his cautious response to the strange happenings.
GONZALO: “Faith, sir, you need not fear. When we were boys, Who would believe that there were mountaineers Dewlapped like bulls, whose throats had hanging at ’em Wallets of flesh? Or that there were such men Whose heads stood in their breasts? Which now we find Each putter-out of five for one will bring us Good warrant of.”
- Explanation: Gonzalo tries to reassure Alonso by recalling strange things he’s heard of in the past, suggesting that the world is full of strange and unexpected things. He adds that now it’s easier to find proof of such things.
- Language Devices:
- Hyperbole: The description of “mountaineers dewapped like bulls” and men with heads in their breasts exaggerates the impossibility of these creatures to highlight the strangeness of the scene.
- Themes: Wonder and Belief – Gonzalo suggests that, while the strange things they’ve seen may seem unbelievable, the world is full of mysteries that can be proven true.
ALONSO: “I will stand to and feed. Although my last, no matter, since I feel The best is past.”
- Explanation: Alonso decides to eat despite his misgivings, acknowledging that he may be eating his last meal, as he feels that his best moments are behind him.
- Themes: Despair and Acceptance – Alonso’s acceptance of his fate suggests a sense of resignation.
Thunder and lightning. Enter Ariel, like a Harpy, claps his wings upon the table, and with a quaint device the banquet vanishes.
- Explanation: Suddenly, thunder and lightning occur, and Ariel, disguised as a Harpy, appears with dramatic effect. The banquet disappears with Ariel’s intervention, creating a powerful moment of supernatural control.
- Themes: Revelation and Consequences – The disappearance of the banquet signifies a shift in the scene, where the characters are about to face the consequences of their actions.
“You are three men of sin, whom Destiny, / That hath to instrument this lower world / And what is in ’t, the never-surfeited sea / Hath caused to belch up you, and on this island, / Where man doth not inhabit, you ’mongst men / Being most unfit to live.”
Ariel addresses the three men—Alonso, Sebastian, and Antonio—accusing them of being sinful. He claims that their fate, guided by Destiny, has brought them to this remote island, a place uninhabited by humans. Their arrival here symbolizes their unworthiness of life among men. The sea, a recurring natural force in the play, metaphorically “vomited” them onto the island as punishment. Ariel also emphasizes that they are “most unfit to live,” implying that they do not deserve the peaceful life they once had.
Language Devices:
- Metaphor: “Men of sin” likens the characters to sinners, emphasizing their guilt.
- Personification: Destiny is portrayed as an active force that controls the world and shapes events.
- Alliteration: “Never-surfeited sea” creates a rhythmic, flowing sound to emphasize the sea’s endless power.
Theme: This part emphasizes the theme of Fate and Justice, showing that the characters’ past wrongs have led them to a preordained punishment, which is part of a larger cosmic plan. It also touches on Guilt and Redemption.
“I have made you mad; / And even with such-like valor, men hang and drown / Their proper selves.”
Ariel claims to have driven the men to madness. The weight of their sins is so heavy that it could lead them to suicide. The idea of “hanging and drowning” serves as a stark metaphor for the intense psychological anguish the men might experience because of their guilt. This line highlights the emotional and psychological consequences of their actions, which is compounded by the pressure they feel from their punishment.
Language Devices:
- Hyperbole: The exaggerated notion that they would commit suicide underscores the depth of their guilt and anguish.
- Metaphor: “Made you mad” suggests that Ariel has mentally and emotionally disoriented them, further emphasizing their inability to act rationally.
Theme: The focus here is on Guilt and Redemption, where the characters’ internal torment and madness are consequences of their misdeeds. It also hints at Psychological Consequences of moral wrongdoing.
“You fools, I and my fellows / Are ministers of Fate. The elements / Of whom your swords are tempered may as well / Wound the loud winds or with bemocked-at stabs / Kill the still-closing waters as diminish / One dowl that’s in my plume.”
Ariel mocks the men, calling them “fools” for thinking they could fight him and his fellow spirits. He reminds them that they are dealing with forces beyond human understanding or control. Their swords, made from the natural elements, are powerless against Ariel, who is as invulnerable as the forces of nature itself. Ariel uses the metaphor of trying to harm the winds or the water, both of which are beyond human control, to show the futility of their resistance.
Language Devices:
- Metaphor: “Ministers of Fate” portrays Ariel and his fellow spirits as agents of destiny, with the power to shape events.
- Alliteration: “Wound the loud winds” creates a sense of relentless action, emphasizing the futility of trying to fight forces greater than them.
- Hyperbole: “Bemocked-at stabs” exaggerates how ineffective their swords are in the face of the supernatural.
- Imagery: The vivid image of trying to stab winds or still-closing waters highlights how impossible their resistance is.
Theme: The key theme here is Fate and the Supernatural, where Ariel and the elements symbolize the power of fate, which cannot be altered by human effort. It also reinforces the theme of Fate’s Irresistibility.
“My fellow ministers / Are like invulnerable. If you could hurt, / Your swords are now too massy for your strengths / And will not be uplifted.”
Ariel continues to mock the men’s attempts to fight, declaring that both he and his fellow spirits are invulnerable. Their swords are too heavy for them to even lift, symbolizing their complete helplessness. Ariel is emphasizing that no matter how strong they try to be, they are powerless against the forces they have angered.
Language Devices:
- Metaphor: “Invulnerable” refers to their inability to be harmed, likening the spirits to forces of nature or fate.
- Irony: The men believe they can fight back with their swords, but they are unable to even raise them, highlighting their impotence.
Theme: This part again reinforces the theme of Fate and the Supernatural, showing that human efforts are useless when fate is at work. It also brings out the theme of Helplessness in the face of greater powers.
“But remember—for that’s my business to you—that you three / From Milan did supplant good Prospero, / Exposed unto the sea, which hath requit it, / Him and his innocent child, for which foul deed, / The powers—delaying, not forgetting—have / Incensed the seas and shores, yea, all the creatures / Against your peace.”
Ariel shifts the focus to the past misdeeds of the men, reminding them of their betrayal of Prospero. They stole his position in Milan and cast him and his daughter, Miranda, out to sea. Ariel tells them that the powers of the sea, nature, and the elements have not forgotten this wrong, and they are now working against the men’s peace, as a form of divine retribution.
Language Devices:
- Repetition: The repetition of “for which” reinforces the guilt of the men’s past actions.
- Metaphor: “The powers—delaying, not forgetting” personifies fate as an active force that has been waiting for the right moment to exact justice.
- Foreshadowing: The mention of the elements working against the men hints at further consequences to come.
Theme: This part emphasizes Justice and Revenge, showing that the men will be held accountable for their past wrongdoings. It also touches on Guilt, as the men must confront the consequences of their actions.
“Thee of thy son, Alonso, / They have bereft; and do pronounce by me / Ling’ring perdition, worse than any death / Can be at once, shall step by step attend / You and your ways, whose wraths to guard you / from— / Which here, in this most desolate isle, else falls / Upon your heads—is nothing but heart’s sorrow / And a clear life ensuing.”
Ariel specifically addresses Alonso, telling him that the powers have already taken away his son, Ferdinand. He pronounces a slow, lingering torment for Alonso and the others, worse than any sudden death, which will follow them step by step. However, Ariel offers a glimmer of hope: if the men repent, they will have a life of clarity and peace.
Language Devices:
- Irony: The idea of a “lingering perdition” that is worse than death highlights the cruel nature of the punishment.
- Antithesis: The contrast between the “heart’s sorrow” and “a clear life ensuing” offers a path to redemption, emphasizing the possibility of change.
- Alliteration: “Ling’ring perdition” and “step by step” add rhythm to the passage, making the torment sound inevitable.
Theme: This section focuses on Guilt, Redemption, and Justice, offering both a punishment and a possibility for change. It suggests that though the characters are being punished, they can still seek redemption if they repent.
“He vanishes in thunder.”
This stage direction highlights the dramatic exit of Ariel, using thunder to signal the supernatural nature of his presence and to underscore the severity of his words. His departure reinforces the looming threat of fate and destiny.
Theme: Fate’s Power – Ariel’s exit with thunder emphasizes the unstoppable force of fate and the supernatural.
“Their several kinds have done. My high charms / work, / And these mine enemies are all knit up / In their distractions. They now are in my power; / And in these fits I leave them while I visit / Young Ferdinand, whom they suppose is drowned, / And his and mine loved darling.”
Prospero speaks here, revealing that his magic (charms) has worked. The enemies are now caught up in confusion, a state of distraction. Prospero has them under control and will leave them in their distressed states while he goes to visit his son Ferdinand, whom the men believe is dead. This moment shows the culmination of Prospero’s carefully executed plan.
Language Devices:
- Metaphor: “Knit up in their distractions” compares the enemies’ confusion to being tied or entangled, emphasizing their helplessness.
- Personification: The idea that the “charms work” gives power to Prospero’s magic, suggesting it has life and agency.
- Foreshadowing: The mention of Ferdinand being “supposed” dead hints at the twist in the plot, where Ferdinand is revealed to be alive.
Themes: Fate, Control, and Revenge. Prospero has orchestrated everything, and this line shows him as a puppet master, manipulating the enemies into this state of confusion as part of his plan for justice.
“GONZALO, to Alonso / I’ th’ name of something holy, sir, why stand you / In this strange stare?”
Gonzalo speaks to Alonso, who is lost in confusion and grief, urging him to snap out of his trance. This emphasizes the psychological toll that the magical events are having on Alonso, who seems overwhelmed by the surreal and terrifying nature of what’s happening around him.
Language Devices:
- Rhetorical Question: Gonzalo asks why Alonso is in such a dazed state, which indicates concern and confusion.
Themes: Confusion and Grief. Alonso’s mental state is one of despair and shock, especially as he processes the supernatural occurrences and the loss of his son.
“ALONSO: O, it is monstrous, monstrous! / Methought the billows spoke and told me of it; / The winds did sing it to me, and the thunder, / That deep and dreadful organ pipe, pronounced / The name of Prosper. It did bass my trespass.”
Alonso, in a state of shock, describes the unnatural sounds he heard, interpreting the winds and thunder as signs of his guilt. He believes the elements themselves are speaking to him and accusing him, especially in the voice of the deep thunder, which he likens to an organ pipe. Alonso believes these natural occurrences are a divine response to his wrongdoings against Prospero.
Language Devices:
- Imagery: “The billows spoke,” “winds did sing,” and “thunder… organ pipe” all evoke vivid sensory experiences, giving a supernatural feeling to the events. The “organ pipe” metaphor elevates the thunder to a sacred, terrifying level.
- Alliteration: “Monstrous, monstrous” emphasizes Alonso’s horror.
- Personification: The elements are described as having human-like qualities, giving them the power to accuse and speak.
Themes: Guilt, Divine Retribution, and Supernatural Influence. Alonso believes the natural world is condemning him for his sins, showing how guilt can manifest in overwhelming, uncontrollable ways.
“Therefor my son i’ th’ ooze is bedded, and / I’ll seek him deeper than e’er plummet sounded, / And with him there lie mudded.”
Alonso, overwhelmed with grief, believes that his son is dead, drowned in the sea. He resolves to search for him, even if it means diving to the depths where no plummet has gone before. His despair leads him to a point of emotional excess, where he considers joining his son in death.
Language Devices:
- Metaphor: “Bedded in the ooze” conveys the image of Ferdinand’s body lying at the bottom of the sea, buried in mud.
- Hyperbole: “Deeper than e’er plummet sounded” exaggerates Alonso’s determination to find his son, emphasizing his hopelessness.
Themes: Grief and Despair. Alonso’s overwhelming sorrow is driving him to the brink of madness, showing how guilt and loss can cloud one’s judgment and lead to irrational thoughts.
“SEBASTIAN: But one fiend at a time, / I’ll fight their legions o’er.”
Sebastian, ever the cynic, comments sarcastically that he will fight just one fiend at a time, suggesting that he’s not afraid of the supernatural threats. He speaks in defiance, showing that, unlike Alonso, he does not feel guilty or remorseful for the wrongs they have committed.
Language Devices:
- Irony: Sebastian’s bravado is ironic because he is in the midst of a magical and supernatural encounter, and his defiance contrasts with the fear shown by Alonso.
Themes: Defiance and Ruthlessness. Sebastian’s comment highlights his lack of remorse and his readiness to fight even against seemingly insurmountable odds, contrasting with the vulnerability of the other characters.
“ANTONIO: I’ll be thy second. / They exit.”
Antonio, ever loyal to Sebastian, agrees to join him in defiance. He shows no signs of remorse either and seems ready to confront whatever supernatural forces are at play.
Language Devices:
- Colloquial Expression: “I’ll be thy second” is a straightforward phrase, meaning he will back up Sebastian, showing camaraderie and a lack of fear.
Themes: Ruthlessness and Loyalty. Antonio’s unwavering loyalty to Sebastian is evident, reinforcing their shared lack of concern for the consequences of their actions.
“GONZALO: All three of them are desperate. Their great guilt, / Like poison given to work a great time after, / Now ’gins to bite the spirits. I do beseech you / That are of suppler joints, follow them swiftly / And hinder them from what this ecstasy / May now provoke them to.”
Gonzalo comments on the mental state of Alonso, Sebastian, and Antonio, observing that their guilt is finally taking its toll on their spirits. He compares their guilt to poison, which takes time to take effect but eventually causes damage. Gonzalo fears that their emotional instability could lead them to act recklessly, so he asks his companions to follow them and stop them from doing something rash.
Language Devices:
- Simile: “Like poison” emphasizes the destructive nature of their guilt, suggesting that it is slowly eroding their mental stability.
- Imagery: “Bite the spirits” evokes a sense of internal pain or torment, as if their very souls are being gnawed at by their guilt.
- Metaphor: “Great guilt” is personified as something that can “bite” the spirits, highlighting how deeply their wrongs have affected them.
Themes: Guilt, Psychological Consequences, and Moral Retribution. Gonzalo highlights how guilt can manifest in a way that impacts a person’s mental state and behavior.
“ADRIAN: Follow, I pray you. / They all exit.”
Adrian, another character, urges the others to follow Gonzalo’s advice and ensure the men do not act out in their distressed states.
Themes: Responsibility and Compassion. Adrian’s role here is to show concern for the men’s well-being, trying to prevent further harm from coming to them.
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