PROSPERO, to Ferdinand
“If I have too austerely punished you, Your compensation makes amends, for I Have given you here a third of mine own life, Or that for which I live; who once again I tender to thy hand.”
- Prospero reflects on how he tested Ferdinand’s love for Miranda by giving him challenges. He acknowledges the hardships Ferdinand has faced but assures him that the reward (Miranda) is worth it. The phrase “a third of mine own life” emphasizes the importance of Miranda to Prospero, indicating that giving her away feels like a major sacrifice.
Language Devices:
- Metaphor: “A third of mine own life” is a metaphor for the value Prospero places on Miranda.
- Hyperbole: The idea of giving away a part of his life suggests the depth of Prospero’s attachment to her.
PROSPERO
“All thy vexations Were but my trials of thy love, and thou Hast strangely stood the test. Here afore heaven I ratify this my rich gift.”
- Prospero reveals that the hardships Ferdinand endured were intentional tests of his love, and Ferdinand has passed them. The phrase “before heaven” suggests a divine approval, emphasizing the sanctity and solemnity of the gift.
Language Devices:
- Metaphor: “Trials of thy love” compares Ferdinand’s challenges to tests or trials.
- Formal tone: The use of “before heaven” elevates the language, implying that the union is not just between two people but has heavenly approval.
PROSPERO
“O Ferdinand, Do not smile at me that I boast of her, For thou shalt find she will outstrip all praise And make it halt behind her.”
- Prospero urges Ferdinand not to mock him for his pride in Miranda. He emphasizes that Miranda’s virtues will surpass any praise that can be given to her, showing that she is even more remarkable than words can convey.
Language Devices:
- Hyperbole: “Outstrip all praise” suggests that Miranda’s virtues are beyond description or comparison.
- Personification: “Make it halt behind her” personifies praise, suggesting it will be unable to keep up with her virtues.
FERDINAND
“I do believe it Against an oracle.”
- Ferdinand expresses his belief in Prospero’s words, but the phrase “against an oracle” shows a sense of doubt or awe, as if believing something so extraordinary is like defying a prophecy or divine prediction.
Language Devices:
- Allusion: The reference to “oracle” invokes the idea of prophecy or fate, suggesting that Ferdinand’s belief is so strong it overcomes even supernatural foretelling.
PROSPERO
“Then, as my gift and thine own acquisition Worthily purchased, take my daughter. But If thou dost break her virgin-knot before All sanctimonious ceremonies may With full and holy rite be ministered, No sweet aspersion shall the heavens let fall To make this contract grow; but barren hate, Sour-eyed disdain, and discord shall bestrew The union of your bed with weeds so loathly That you shall hate it both. Therefore take heed, As Hymen’s lamps shall light you.”
- Prospero gives Miranda to Ferdinand but warns him that if they break her virginity before marriage, their union will be cursed. The use of “virgin-knot” symbolizes the purity of the marriage bond. The “sanctimonious ceremonies” refer to the sacred wedding rites. “Hymen’s lamps” refers to the god of marriage, and the image of lamps lighting the path to marriage suggests the solemnity and sacredness of the occasion.
Language Devices:
- Symbolism: “Virgin-knot” symbolizes purity and chastity.
- Imagery: “Barren hate” and “weeds so loathly” create vivid, negative images of the consequences of breaking the promise.
- Allusion: “Hymen’s lamps” refers to the Greek god of marriage, invoking the idea of divine oversight in the marriage ceremony.
FERDINAND
“As I hope For quiet days, fair issue, and long life, With such love as ’tis now, the murkiest den, The most opportune place, the strong’st suggestion Our worser genius can shall never melt Mine honor into lust to take away The edge of that day’s celebration When I shall think or Phoebus’ steeds are foundered Or night kept chained below.”
- Ferdinand reassures Prospero that he will honor Miranda. The language here is elevated, with “Phoebus’ steeds” referring to the sun and the idea of night being chained below suggesting that nothing will interfere with their union or diminish its purity.
Language Devices:
- Allusion: “Phoebus’ steeds” refers to the Greek sun god, symbolizing the passage of time and the celestial order.
- Metaphor: “The murkiest den” contrasts with their pure love, suggesting that no matter how dark or difficult circumstances may be, their love will remain pure.
PROSPERO
“Fairly spoke. Sit then and talk with her. She is thine own.”
- Prospero acknowledges Ferdinand’s words and grants him permission to be with Miranda.
What, Ariel, my industrious servant, Ariel!
- Prospero calls out for Ariel, his magical servant, using “industrious” to praise Ariel’s hard work.
ARIEL
“What would my potent master? Here I am.”
- Ariel responds, acknowledging Prospero’s power, emphasizing the master-servant relationship.
PROSPERO
“Thou and thy meaner fellows your last service Did worthily perform, and I must use you In such another trick. Go bring the rabble, O’er whom I give thee power, here to this place.”
- Prospero praises Ariel for his previous work and instructs him to gather spirits (referred to as “rabble”) to perform a magical trick. The term “rabble” can imply both a crowd and a lower status, reflecting how Prospero views the spirits.
Language Devices:
- Irony: The spirits are seen as “rabble” despite their supernatural power, highlighting Prospero’s control over them.
- Metaphor: “Thy meaner fellows” refers to Ariel’s fellow spirits, emphasizing their subservience.
ARIEL
“Presently?”
- Ariel asks if he should do it right away, highlighting his eagerness to carry out Prospero’s commands.
PROSPERO
“Ay, with a twink.”
- Prospero gives a quick, affirming response, suggesting that the task should be done swiftly and effortlessly.
ARIEL
“Before you can say ‘Come’ and ‘Go,’ And breathe twice, and cry ‘So, so,’ Each one, tripping on his toe, Will be here with mop and mow.”
- Ariel promises that he can gather the spirits quickly and that they will appear as if by magic. The playful rhyme emphasizes Ariel’s speed and agility in performing the task.
Language Devices:
- Rhyme: “Come” and “Go,” “So, so” create a rhythmic, playful tone, showing Ariel’s magical, almost mischievous nature.
- Alliteration: The repetition of “toe” and “mop” adds a light, rhythmic quality to the speech.
PROSPERO
“Dearly, my delicate Ariel. Do not approach Till thou dost hear me call.”
- Prospero speaks to Ariel, calling him “delicate” as a term of endearment, highlighting Ariel’s importance and the care with which he must be summoned. The command to not approach until called demonstrates Prospero’s control over Ariel and his careful orchestration of events.
Language Devices:
- Alliteration: “Dearly, my delicate Ariel” emphasizes the affection Prospero feels for Ariel, while the repetition of “d” adds a gentle rhythm to the line.
- Imperative Mood: “Do not approach” shows Prospero’s commanding nature.
ARIEL
“Well; I conceive.”
- Ariel responds affirmatively, suggesting he understands the task or command. The word “conceive” here can also have a double meaning, implying that Ariel has both understood Prospero’s instructions and may also be forming a deeper understanding of what is expected.
Language Devices:
- Wordplay: “Conceive” can mean both to understand and to become pregnant, creating a subtle, layered meaning as Ariel is involved in magical creation.
Prospero, to Ferdinand
“Look thou be true; do not give dalliance Too much the rein. The strongest oaths are straw To th’ fire i’ th’ blood. Be more abstemious, Or else goodnight your vow.”
- Prospero gives Ferdinand a warning about being true to his word and not letting his desires overtake his promises to Miranda. The phrase “the strongest oaths are straw to th’ fire i’ th’ blood” uses imagery of fire to indicate that passion can easily overpower vows, especially those made in the heat of the moment. “Be more abstemious” is a caution to control his impulses.
Language Devices:
- Metaphor: “The strongest oaths are straw to th’ fire i’ th’ blood” compares vows to straw in the face of passionate fire, illustrating how easily they can be consumed by intense emotions.
- Imperative Mood: “Look thou be true” and “Be more abstemious” are commands, reinforcing Prospero’s authority over Ferdinand’s actions.
FERDINAND
“I warrant you, sir, The white cold virgin snow upon my heart Abates the ardor of my liver.”
- Ferdinand reassures Prospero that his love for Miranda is pure and controlled. “The white cold virgin snow upon my heart” metaphorically suggests that his love is innocent and untainted, with the “snow” representing purity and coolness, which “abates” or tempers his passion (“the ardor of my liver”).
Language Devices:
- Metaphor: “White cold virgin snow upon my heart” is a metaphor for purity and chastity.
- Symbolism: “The liver” symbolizes passion in Renaissance medicine, and “abates” suggests that Ferdinand’s desire is tempered.
PROSPERO
“Well.— Now come, my Ariel. Bring a corollary Rather than want a spirit. Appear, and pertly. Soft music. No tongue. All eyes. Be silent.”
- Prospero commands Ariel to bring spirits to perform, preferring them to be present rather than absent. “Corollary” refers to something supplementary or an addition to what has already been planned. He also instructs for silence, implying the solemnity of the moment.
Language Devices:
- Imperative Mood: The command “Bring a corollary” and “Appear, and pertly” shows Prospero’s control over the situation.
- Ellipsis: “Well—” shows a pause or an unfinished thought, adding emphasis to Prospero’s careful planning.
- Alliteration: “Pertly” and “present” give a rhythmic and energetic quality to the command.
Enter Iris.
- Iris, the messenger goddess in Greek mythology, enters as part of the masque Prospero has orchestrated. Her appearance marks the beginning of the magical performance.
IRIS
“Ceres, most bounteous lady, thy rich leas Of wheat, rye, barley, vetches, oats, and peas;”
- Iris begins her speech by addressing Ceres, the goddess of agriculture, calling her “most bounteous” as she praises the richness of her domains. The listing of crops symbolizes the fertility and abundance associated with Ceres’ realm.
Language Devices:
- Alliteration: “Rich leas” and “wheat, rye, barley” create a flowing, rhythmic quality, enhancing the sense of abundance.
- Cataloging: The list of grains and crops emphasizes the fertility of Ceres’ land and creates a sense of wealth and prosperity.
IRIS
“Thy turfy mountains, where live nibbling sheep, And flat meads thatched with stover, them to keep;”
- Iris continues to describe the natural landscape, mentioning “turdy mountains” and “flat meads,” portraying a peaceful, pastoral environment where sheep graze. The imagery evokes a serene, fertile world controlled by Ceres.
Language Devices:
- Imagery: “Turf mountains” and “flat meads” create a vivid picture of a calm, productive countryside.
- Personification: “Nibbling sheep” gives the animals human-like qualities, making them active participants in the scene.
IRIS
“Thy banks with pionèd and twillèd brims, Which spongy April at thy hest betrims To make cold nymphs chaste crowns;”
- Iris describes Ceres’ rivers or banks, with “pionèd and twillèd brims,” suggesting the delicate, intricate nature of Ceres’ realms. “Spongy April” refers to the dampness of the month of April, during which nature is renewed. The “cold nymphs chaste crowns” refer to the purity of spring’s transformation, symbolizing new life.
Language Devices:
- Imagery: “Pionèd and twillèd brims” suggests intricate, delicate edges of rivers and lakes.
- Allusion: “Cold nymphs chaste crowns” alludes to the seasonal rebirth and purity of nature.
IRIS
“And thy broom groves, Whose shadow the dismissèd bachelor loves, Being lass-lorn;”
- Iris describes the broom groves, where the shadow provides solace for “the dismissèd bachelor,” a poetic way of suggesting that the lonely and love-stricken find solace in nature.
Language Devices:
- Metaphor: “The dismissèd bachelor loves” metaphorically describes how lonely individuals seek comfort in nature.
- Personification: “Whose shadow” implies that the shadow has an almost maternal quality, offering comfort.
IRIS
“To come and sport. Her peacocks fly amain. Approach, rich Ceres, her to entertain.”
- Iris calls for Ceres to approach, setting the tone for the entrance of this divine figure. The “peacocks fly amain” uses vivid imagery, suggesting movement and grace as the peacocks symbolize pride, beauty, and nature’s bounty.
Language Devices:
- Imagery: “Her peacocks fly amain” evokes a visual of grandeur and natural beauty, emphasizing Ceres’ divine association with nature.
- Symbolism: Peacocks are often symbols of immortality, beauty, and fertility, aligning with Ceres’ role as the goddess of agriculture and the harvest.
Enter Ceres.
- Ceres enters, and her interaction with Iris builds on the established themes of divine power and natural abundance.
CERES
“Hail, many-colored messenger, that ne’er Dost disobey the wife of Jupiter; Who with thy saffron wings upon my flowers Diffusest honey drops, refreshing showers; And with each end of thy blue bow dost crown My bosky acres and my unshrubbed down, Rich scarf to my proud Earth. Why hath thy queen Summoned me hither to this short-grassed green?”
- Ceres greets Iris with admiration, referring to her as a “many-colored messenger” due to Iris’ role as the goddess of the rainbow and messenger of the gods. The imagery of saffron wings and honey drops evokes the nurturing aspects of nature, as Iris aids in spreading Ceres’ blessings. The “blue bow” of Iris symbolizes the rainbow that connects the heavens to the earth, crowning Ceres’ domains of fertile land.
Language Devices:
- Alliteration: “Many-colored messenger” and “Diffusest honey drops” create a flowing rhythm, enhancing the sense of movement and vitality.
- Imagery: Descriptions like “saffron wings” and “blue bow” evoke vivid, colorful visualizations, reinforcing the idea of divine beauty and abundance.
- Metaphor: “Rich scarf to my proud Earth” symbolizes Ceres’ role as the nurturer of the Earth, draping her fields in fertility and bounty.
IRIS
“A contract of true love to celebrate, And some donation freely to estate On the blest lovers.”
- Iris explains that Ceres is summoned to celebrate the contract of love between Ferdinand and Miranda, offering blessings or gifts to seal the union.
Language Devices:
- Metaphor: “Contract of true love” elevates the lovers’ bond to a sacred agreement, aligning it with divine will.
- Symbolism: The mention of “donation freely to estate” hints at the giving of blessings or gifts that solidify the union, reinforcing themes of prosperity and harmony.
CERES
“Tell me, heavenly bow, If Venus or her son, as thou dost know, Do now attend the Queen? Since they did plot The means that dusky Dis my daughter got, Her and her blind boy’s scandaled company I have forsworn.”
- Ceres asks Iris whether Venus (the goddess of love) or her son, Cupid, are present, as they were involved in the events leading to the troubling relationship between Ceres’ daughter and the god of the underworld, Dis (Pluto). Ceres refers to Venus and Cupid as “scandalous” because of their role in Ceres’ daughter’s troubled union, possibly referring to Persephone’s abduction by Pluto, which Ceres has resented.
Language Devices:
- Allusion: The mention of “dusky Dis” refers to Pluto, the god of the underworld, and the myth of Persephone’s abduction.
- Personification: “Blind boy” refers to Cupid, personifying love as a mischievous force that has led to pain and scandal in Ceres’ life.
- Tone: Ceres’ words show bitterness towards Venus and Cupid, reflecting the tension between love and control.
IRIS
“Of her society Be not afraid. I met her deity Cutting the clouds towards Paphos, and her son Dove-drawn with her. Here thought they to have done Some wanton charm upon this man and maid, Whose vows are that no bed-right shall be paid Till Hymen’s torch be lighted—but in vain.”
- Iris reassures Ceres that Venus and Cupid are not present in a harmful capacity. She tells Ceres that she encountered Venus and Cupid flying together, heading towards Paphos, a famous place of worship for Venus. Iris explains that Venus and Cupid had intended to work their magic on Ferdinand and Miranda, but their efforts were in vain because the lovers had vowed to remain chaste until their wedding.
Language Devices:
- Allusion: “Paphos” refers to the island sacred to Venus, connecting this to the themes of love and its divine influence.
- Metaphor: “Dove-drawn with her” evokes an image of divine love and purity, as doves are associated with Venus.
- Contrast: The phrase “wanton charm” contrasts with the lovers’ vow to remain chaste, emphasizing their purity in the face of temptation.
IRIS
“Mars’s hot minion is returned again; Her waspish-headed son has broke his arrows, Swears he will shoot no more, but play with sparrows, And be a boy right out.”
- Iris humorously refers to Cupid, the “waspish-headed son,” who has abandoned his arrows of love and now wishes to play with sparrows, thus returning to the innocence of childhood. Mars, the god of war, is mentioned as the one who has “returned,” possibly alluding to the often chaotic and combative nature of love and desire.
Language Devices:
- Metaphor: “Waspish-headed son” uses the image of a wasp to describe Cupid’s mischievous and troublesome nature.
- Symbolism: “Sparrows” represent innocence and playfulness, contrasting with the serious nature of love’s influence.
- Irony: The idea of Cupid “swearing he will shoot no more” adds irony to the situation, as he is abandoning his traditional role as the god of love.
JUNO descends.
- The appearance of Juno, the queen of the gods and goddess of marriage, marks a significant divine moment. Her arrival underscores the importance of the union between Ferdinand and Miranda, as Juno represents the institution of marriage and family.
CERES
“Highest queen of state, Great Juno, comes. I know her by her gait.”
- Ceres acknowledges Juno’s arrival, recognizing her by the way she moves—suggesting Juno’s grace and regal bearing.
Language Devices:
- Imagery: “By her gait” conjures an image of Juno’s majestic presence, emphasizing her authority and beauty.
JUNO
“How does my bounteous sister? Go with me To bless this twain, that they may prosperous be And honored in their issue.”
- Juno addresses Ceres as her “bounteous sister” and invites her to join in blessing the lovers, ensuring they are prosperous and fruitful in their future family.
Language Devices:
- Metaphor: “Bounteous sister” suggests a deep, familial bond between Ceres and Juno, as they are both goddesses of fertility and abundance.
They sing.
- Juno and Ceres sing their blessings, adding an ethereal and magical quality to the scene, reinforcing the idea of divine intervention in the lovers’ lives.
JUNO
“Honor, riches, marriage-blessing, Long continuance and increasing, Hourly joys be still upon you.”
- Juno’s blessings are centered around honor, wealth, marital happiness, and continuous joy for the couple.
Language Devices:
- Rhyme and Rhythm: The rhythmic, song-like quality of Juno’s blessings reinforces the magical, ceremonial nature of the moment.
- Symbolism: Juno’s wishes are symbolic of the ideal marriage, grounded in prosperity and happiness.
JUNO
“Juno sings her blessings on you.”
- The simple statement emphasizes that Juno’s power is channeled through song, making her blessings even more powerful and significant.
CERES
“Earth’s increase, foison plenty, Barns and garners never empty, Vines with clust’ring bunches growing, Plants with goodly burden bowing; Spring come to you at the farthest In the very end of harvest. Scarcity and want shall shun you. Ceres’ blessing so is on you.”
- Ceres, the goddess of agriculture, offers her own blessings of abundant crops and plenty. The imagery here is lush and vivid, with references to bountiful harvests, the growth of plants, and the ideal agricultural cycle.
Language Devices:
- Imagery: The descriptions of “clust’ring bunches” and “plants with goodly burden bowing” create vivid pictures of fertility and abundance.
- Symbolism: The blessings of “barns and garners never empty” and “spring come to you at the farthest” symbolize eternal prosperity, aligning Ceres with fertility and the sustaining power of the earth.
- Alliteration: “Barns and garners never empty” and “Vines with clust’ring bunches growing” create a rhythmic flow that enhances the poem’s musicality.
FERDINAND
“This is a most majestic vision, and Harmonious charmingly. May I be bold To think these spirits?”
- Ferdinand, in awe of the spectacle, marvels at the beauty and harmony of the moment, questioning whether these blessings are the work of spirits.
Language Devices:
- Tone: Ferdinand’s response conveys awe and reverence, reflecting the magical and divine nature of the blessings.
- Rhetorical Question: “May I be bold To think these spirits?” introduces a sense of wonder, as Ferdinand is unsure if these divine beings are real or part of a dream.
PROSPERO
“Spirits, which by mine art I have from their confines called to enact My present fancies.”
- Prospero reveals that these divine figures are not truly gods but spirits that he has summoned through his magic to enact his desires for the lovers.
Language Devices:
- Allusion: Prospero’s statement acknowledges the power of his magic, and there’s an allusion to his control over the elements and spirits in the play.
- Metaphor: “From their confines” suggests that these spirits have been summoned from another realm, highlighting Prospero’s authority and mastery over the supernatural.
FERDINAND
“Let me live here ever. So rare a wondered father and a wise Makes this place paradise.”
- Ferdinand, overcome with the beauty and majesty of the scene, expresses a desire to live forever in this magical world created by Prospero. He praises Prospero, calling him a “rare and wise” father, which elevates Prospero’s authority and wisdom.
Language Devices:
- Hyperbole: “Let me live here ever” exaggerates Ferdinand’s awe and his desire to remain in this enchanted place.
- Metaphor: “Makes this place paradise” conveys that the magical atmosphere created by Prospero is more heavenly than earthly.
Juno and Ceres whisper, and send Iris on employment.
- Juno and Ceres converse privately, sending Iris on a task, which keeps the scene moving forward.
PROSPERO
“Sweet now, silence.”
- Prospero calls for silence, signaling the end of this divine spectacle and bringing the focus back to the mortal realm.
JUNO and Ceres whisper seriously.
- Juno and Ceres’ serious whispering suggests a moment of urgency, indicating that there is more to be done in the magical celebration. The quietness they demand also highlights the fragility of the spell and the need for concentration.
IRIS
“You nymphs, called naiads of the windring brooks, With your sedged crowns and ever-harmless looks, Leave your crisp channels and on this green land Answer your summons, Juno does command.”
- Iris calls upon the naiads, water nymphs associated with fresh-water streams and brooks, to join the celebration. The naiads are traditionally depicted with crowns made from sedge (a type of plant), and Iris’s command reinforces the power and grace of these natural spirits.
Language Devices:
- Imagery: “With your sedged crowns and ever-harmless looks” creates a vivid image of the naiads, gentle and pure spirits of nature.
- Personification: Iris addresses the naiads as if they can understand her summons and respond with purposeful action.
IRIS
“Come, temperate nymphs, and help to celebrate A contract of true love. Be not too late.”
- The nymphs are summoned to help celebrate the marriage contract between Ferdinand and Miranda, symbolizing the connection between the natural and supernatural worlds in this moment of joyful union.
Language Devices:
- Personification: “Be not too late” implies that time itself is a factor in their ritual, adding a sense of urgency.
Enter certain Nymphs.
- The nymphs enter to carry out their role in the divine blessing, their participation adding to the harmony of the magical celebration.
IRIS
“You sunburned sicklemen, of August weary, Come hither from the furrow and be merry. Make holiday: your rye-straw hats put on, And these fresh nymphs encounter every one In country footing.”
- Iris addresses the reapers, those who work in the fields during harvest time, urging them to take a break and join in the celebration. The mention of “sunburned sicklemen” evokes the imagery of hard labor under the summer sun.
Language Devices:
- Imagery: “Sunburned sicklemen” paints a vivid picture of farmers working in the heat, while “rye-straw hats” adds a rustic, agricultural touch to the scene.
- Symbolism: The reapers’ participation in the celebration represents the cyclical nature of life and the integration of human labor with the divine blessings.
Enter certain Reapers, properly habited. They join with the Nymphs in a graceful dance.
- The reapers and nymphs begin a graceful, celebratory dance, further blending the natural world with the supernatural in a joyous ritual.
Prospero starts suddenly and speaks.
- Prospero’s sudden interruption, breaking the illusion of joy, signals a shift in the play’s tone. This moment foreshadows the disruption that is to come as he remembers Caliban’s plot.
PROSPERO
“I had forgot that foul conspiracy Of the beast Caliban and his confederates Against my life. The minute of their plot Is almost come.—Well done. Avoid. No more.”
- Prospero recalls the conspiracy of Caliban and his allies against him, interrupting the magical celebration with the reality of his mortal danger. His words “Well done” acknowledge that the spirits have acted in accordance with his command, even as he moves towards a more serious matter.
To a strange, hollow, and confused noise, the spirits heavily vanish.
- The spirits’ sudden departure is marked by a strange and eerie sound, further emphasizing the break between the magical world and the harsh realities of Prospero’s life.
FERDINAND, to Miranda
“This is strange. Your father’s in some passion That works him strongly.”
- Ferdinand, concerned by Prospero’s sudden shift in behavior, notes that his father figure is unusually upset, signaling a dramatic change in mood.
MIRANDA
“Never till this day Saw I him touched with anger, so distempered.”
- Miranda is shocked, revealing that she has never seen her father in such a state of anger or agitation, which contrasts sharply with the calm and controlled figure he has portrayed up to this point.
PROSPERO, to Ferdinand
“You do look, my son, in a moved sort, As if you were dismayed. Be cheerful, sir. Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air; And like the baseless fabric of this vision, The cloud-capped towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep. Sir, I am vexed. Bear with my weakness. My old brain is troubled. Be not disturbed with my infirmity. If you be pleased, retire into my cell And there repose. A turn or two I’ll walk To still my beating mind.”
- Prospero’s reflection on the fleeting nature of life and power is deeply philosophical. He compares life to a dream, emphasizing its transitory and fragile nature. The magical spectacle is compared to a vision or pageant that dissolves, much like the impermanence of earthly achievements.
Language Devices:
- Metaphor: “We are such stuff As dreams are made on” is one of the most famous metaphors in Shakespeare’s works, likening human existence to the ephemeral and insubstantial nature of dreams.
- Imagery: “The cloud-capped towers, the gorgeous palaces, The solemn temples” evoke a grand vision of life and power, but Prospero’s statement reminds the audience of their inevitable dissolution.
- Prospero’s admission of weakness and confusion, as he acknowledges his troubled state of mind, adds a personal, vulnerable dimension to his character, contrasting with his earlier image as a powerful magician.
FERDINAND/MIRANDA
“We wish your peace.”
- Ferdinand and Miranda express concern for Prospero’s well-being, reinforcing their love and respect for him.
They exit.
- Ferdinand and Miranda exit, leaving Prospero alone in his troubled state.
Enter Ariel.
- The entrance of Ariel signals a return to the supernatural realm, and Prospero’s interaction with Ariel may serve as a transition from the reflective, philosophical moment back to the unfolding plot.
PROSPERO
“Come with a thought. I thank thee, Ariel. Come.”
- Explanation: Prospero calls Ariel to approach and expresses his gratitude. “Come with a thought” suggests that Prospero has a specific task in mind, and he wants Ariel to bring it to him.
- Analysis: This line sets the tone for a leader-commander relationship. Prospero is directing Ariel, and Ariel’s actions are framed as being in service to Prospero’s plans.
- Language Devices: The phrase “Come with a thought” could imply a deeper intellectual or strategic connection. It’s an imperative, signaling Prospero’s control.
ARIEL
“Thy thoughts I cleave to. What’s thy pleasure?”
- Explanation: Ariel responds affirmatively, saying that she is devoted to Prospero’s thoughts or wishes. “What’s thy pleasure?” asks what Prospero desires next.
- Analysis: Ariel shows loyalty and readiness to serve, offering to fulfill Prospero’s commands. The use of “cleave” (to cling to) emphasizes Ariel’s dedication.
- Language Devices: The word “cleave” is a strong verb that suggests attachment and loyalty. The phrasing here gives a sense of subservience and obedience.
PROSPERO
“Spirit, We must prepare to meet with Caliban.”
- Explanation: Prospero directs Ariel to get ready for a meeting with Caliban, whom he considers a threat.
- Analysis: The word “Spirit” is a term of address for Ariel, highlighting Ariel’s supernatural nature. The need to “prepare” indicates something important or potentially difficult is about to happen.
- Language Devices: “Spirit” is used as a formal address. The imperative “We must prepare” signals action and urgency.
ARIEL
“Ay, my commander. When I presented Ceres,
I thought to have told thee of it, but I feared
Lest I might anger thee.”
- Explanation: Ariel acknowledges Prospero as her commander and reflects on a past event involving Ceres, the Roman goddess of agriculture. Ariel mentions she didn’t bring it up earlier out of fear of angering Prospero.
- Analysis: Ariel’s respect for Prospero is evident, and the fear of angering him highlights the power imbalance between them. Ariel is cautious about how Prospero will respond.
- Language Devices: “Commander” emphasizes Prospero’s authority over Ariel. The idea of anger is explored through the conditional “Lest I might anger thee,” showing Ariel’s concern for keeping in Prospero’s favor.
PROSPERO
“Say again, where didst thou leave these varlets?”
- Explanation: Prospero asks Ariel to repeat where she left the “varlets” (meaning troublemakers, referring to Caliban and his companions).
- Analysis: The word “varlets” shows how Prospero views Caliban and his companions as unruly and disrespectful.
- Language Devices: “Varlets” is an insult, giving the impression of worthless or dishonest people.
ARIEL
“I told you, sir, they were red-hot with drinking,
So full of valor that they smote the air
For breathing in their faces, beat the ground
For kissing of their feet; yet always bending
Towards their project. Then I beat my tabor,
At which, like unbacked colts, they pricked their ears,
Advanced their eyelids, lifted up their noses
As they smelt music. So I charmed their ears
That, calf-like, they my lowing followed through
Toothed briers, sharp furzes, pricking gorse, and
thorns,
Which entered their frail shins.”
- Explanation: Ariel describes how Caliban and his companions, intoxicated, were filled with false courage, doing silly and reckless things. Ariel played music on a drum (“tabor”), and the men, like animals, followed the sound despite the painful thorns and brambles.
- Analysis: Ariel’s description highlights the absurdity of Caliban and his companions’ behavior. They are portrayed as foolish and reckless, behaving like animals under Ariel’s influence.
- Language Devices:
- The phrase “red-hot with drinking” uses imagery to show the intensity of their drunkenness.
- The metaphor “like unbacked colts” compares them to wild, untrained horses, suggesting their reckless and uncontrolled nature.
- The repetition of animal imagery (“calf-like,” “pricked their ears”) further dehumanizes them.
- The listing of painful items (“toothed briers,” “sharp furzes,” “pricking gorse”) enhances the suffering they endure, adding a comical element to their foolishness.
ARIEL
“At last I left them
I’ th’ filthy-mantled pool beyond your cell,
There dancing up to th’ chins, that the foul lake
O’erstunk their feet.”
- Explanation: Ariel finishes her story, explaining that she left the men in a dirty pool, where they were dancing and getting themselves even dirtier.
- Analysis: The image of them “dancing up to th’ chins” in a filthy pool emphasizes their foolishness and the consequences of their intoxication. Ariel’s actions lead to their humiliation.
- Language Devices: The adjectives “filthy-mantled” and “foul” reinforce the unpleasant, degraded state of the men.
PROSPERO
“This was well done, my bird.
Thy shape invisible retain thou still.
The trumpery in my house, go bring it hither
For stale to catch these thieves.”
- Explanation: Prospero praises Ariel for the work and orders Ariel to remain invisible. He also asks Ariel to bring some “trumpery” (worthless or flashy items) to lure the men into a trap.
- Analysis: “My bird” is an affectionate term, showing a softer side of Prospero. The command to remain invisible shows Ariel’s role as a manipulator in Prospero’s plans.
- Language Devices: The word “trumpery” implies something flashy but of little worth. The imperative “go bring it hither” shows Prospero’s command.
ARIEL
“I go, I go. He exits.”
- Explanation: Ariel exits to fulfill Prospero’s command.
- Analysis: Ariel’s quick compliance reflects her loyalty and subservience to Prospero’s will.
PROSPERO
“A devil, a born devil, on whose nature
Nurture can never stick; on whom my pains,
Humanely taken, all, all lost, quite lost;
And as with age his body uglier grows,
So his mind cankers. I will plague them all
Even to roaring.”
- Explanation: Prospero reflects on Caliban’s nature, calling him a “born devil,” emphasizing that Caliban is inherently evil and cannot be reformed (“nurture can never stick”). He feels his efforts to civilize Caliban have been in vain.
- Analysis: This passage illustrates Prospero’s bitterness towards Caliban. He believes that no amount of kindness or education can change Caliban’s fundamental nature.
- Language Devices:
- “Born devil” is a strong metaphor, suggesting that Caliban’s evil nature is intrinsic.
- The image of a mind “cankering” (decaying) with age contrasts with the physical decay, reinforcing the idea of Caliban’s corruption.
- “Plague them all” shows Prospero’s vengeful intent.
Enter Ariel, loaden with glistering apparel, etc.
- Explanation: Ariel re-enters, bringing the shiny clothing to use as bait for the trap.
- Analysis: This shows Ariel’s compliance with Prospero’s plan.
PROSPERO
“Come, hang them on this line.”
- Explanation: Prospero instructs Ariel to hang the shiny clothing up, preparing the trap.
- Analysis: This line marks the setup for a trick or trap to ensnare Caliban and his companions.
Enter Caliban, Stephano, and Trinculo, all wet, as Prospero and Ariel look on.
- Explanation: Caliban, Stephano, and Trinculo enter, wet from their previous encounter. They are unaware of the trap being set for them.
- Analysis: Their wetness symbolizes their misadventures and the consequences of their drunken behavior.
CALIBAN
“Pray you, tread softly, that the blind mole
may not hear a footfall. We now are near his cell.”
- Explanation: Caliban asks his companions to be quiet, so they don’t alert Prospero, whom they fear.
- Analysis: Caliban’s words show his wariness of Prospero, even though he is plotting against him.
STEPHANO
“Monster, your fairy, which you say is a
harmless fairy, has done little better than played the
jack with us.”
- Explanation: Stephano, speaking to Caliban, complains that Ariel, whom Caliban had described as harmless, has actually tricked them.
- Analysis: Stephano’s complaint shows his frustration with Ariel’s manipulation and the failures of their plan.
TRINCULO
“Monster, I do smell all horse piss, at which
my nose is in great indignation.”
- Explanation: Trinculo, likely disgusted by the smell of Caliban or the environment, complains humorously about a bad odor, comparing it to “horse piss.”
- Analysis: Trinculo’s words show his tendency toward low humor and a lack of respect for the monster (Caliban). He uses crude language to express his discomfort.
- Language Devices: The phrase “horse piss” is a crude metaphor, evoking disgust and lowering the dignity of the characters involved. “Indignation” here is exaggerated for comedic effect.
STEPHANO
“So is mine. Do you hear, monster? If I
should take a displeasure against you, look you—”
- Explanation: Stephano, adding to Trinculo’s complaint, agrees with him. He warns Caliban that if he becomes angry with him, there will be consequences.
- Analysis: The threat shows Stephano’s overconfidence, as he believes himself in a position of power over Caliban. The statement is more bluster than actual threat, as Stephano is drunk.
- Language Devices: The phrase “If I should take a displeasure” is a formal way of saying “if I get angry.” It contrasts with Stephano’s drunken state, creating comedic tension.
TRINCULO
“Thou wert but a lost monster.”
- Explanation: Trinculo sarcastically suggests that Caliban would be nothing more than a “lost monster” if Stephano were to take action against him.
- Analysis: Trinculo’s sarcasm highlights his disrespect for Caliban. The word “lost” here could mean “helpless” or “out of control,” playing into Caliban’s portrayal as a pitiable figure.
- Language Devices: “Lost” is a metaphor suggesting that Caliban would be helpless without Stephano’s guidance, but it is spoken mockingly.
CALIBAN
“Good my lord, give me thy favor still.
Be patient, for the prize I’ll bring thee to
Shall hoodwink this mischance. Therefore speak
softly.
All’s hushed as midnight yet.”
- Explanation: Caliban, trying to appease Stephano, asks him to remain patient, promising that the reward will be worth it. He urges them to be quiet and sneaky, as they are near Prospero’s cell.
- Analysis: Caliban’s tone shifts to one of supplication and cunning. He is manipulating Stephano and Trinculo, trying to convince them that their actions will lead to great rewards.
- Language Devices: “Hoodwink” is a metaphor meaning to deceive or trick, suggesting that Caliban is using stealth and cunning to achieve his goals. The phrase “All’s hushed as midnight yet” uses a simile to describe the quietness, emphasizing the secrecy and anticipation.
TRINCULO
“Ay, but to lose our bottles in the pool!”
- Explanation: Trinculo laments that losing their bottles (likely referring to alcohol) in the pool is a serious problem, reflecting their drunken state and lack of focus.
- Analysis: Trinculo’s priorities are humorously misplaced. He is more concerned with losing alcohol than the serious matters at hand, like their plot or survival.
- Language Devices: The focus on “bottles” adds to the comic absurdity of the scene, highlighting the characters’ drunkenness and lack of concern for the greater dangers they face.
STEPHANO
“There is not only disgrace and dishonor in
that, monster, but an infinite loss.”
- Explanation: Stephano, still focused on the lost bottles, adds that it’s not just embarrassing but a huge loss. Again, this shows their misplaced priorities.
- Analysis: The exaggerated sense of importance placed on the alcohol highlights the comedic nature of their characters. They are intoxicated, and their concerns are trivial.
- Language Devices: “Infinite loss” is hyperbole, exaggerating the severity of losing the bottles to comic effect.
TRINCULO
“That’s more to me than my wetting. Yet this
is your harmless fairy, monster!”
- Explanation: Trinculo says that losing the bottles matters more to him than getting wet, and then sarcastically comments on Caliban’s description of Ariel as a “harmless fairy.”
- Analysis: The sarcasm in calling Ariel a “harmless fairy” highlights the characters’ ignorance of the real danger and deception they are under. Trinculo’s comments are both humorous and dismissive.
- Language Devices: The phrase “harmless fairy” is ironic, as Ariel has clearly proven to be anything but harmless. This irony adds to the comedy of the situation.
STEPHANO
“I will fetch off my bottle, though I be o’er
ears for my labor.”
- Explanation: Stephano decides to retrieve his bottle, even though it might involve hard work or getting into trouble.
- Analysis: His willingness to “fetch off my bottle” at all costs, even if it means difficulty or punishment, highlights his drunkenness and low priorities.
- Language Devices: “O’er ears” is an idiomatic expression that means “in over my head” or “in trouble,” which is a hyperbolic way of expressing his commitment to the bottle.
CALIBAN
“Prithee, my king, be quiet. Seest thou here,
This is the mouth o’ th’ cell. No noise, and enter.
Do that good mischief which may make this island
Thine own forever, and I, thy Caliban,
For aye thy foot-licker.”
- Explanation: Caliban pleads with Stephano to be quiet as they approach Prospero’s cell, urging him to act in a way that will make him the ruler of the island. He promises to serve Stephano forever.
- Analysis: Caliban’s obsequious tone (“my king,” “foot-licker”) shows how far he is willing to go to gain power and manipulate Stephano. His promises of service reflect his desire for revenge on Prospero and his hopes of a new master.
- Language Devices: The metaphor “foot-licker” is degrading, reinforcing Caliban’s willingness to abase himself for power. The phrase “good mischief” is an oxymoron, suggesting that destructive actions will somehow lead to good outcomes for Caliban and Stephano.
STEPHANO
“Give me thy hand. I do begin to have bloody
thoughts.”
- Explanation: Stephano accepts Caliban’s offer and seems to be stirred by the idea of ruling the island, beginning to entertain violent thoughts.
- Analysis: The phrase “bloody thoughts” suggests that Stephano is contemplating violence to achieve his goals. The idea of him being swayed by Caliban’s manipulations is important in showing the influence Caliban has over him.
- Language Devices: The phrase “bloody thoughts” is a metaphor for violent intentions, symbolizing the growing darkness of Stephano’s ambition.
TRINCULO, seeing the apparel
“O King Stephano, O peer, O worthy Stephano,
look what a wardrobe here is for thee!”
- Explanation: Trinculo, seeing the fine clothing, exclaims in exaggerated praise, calling Stephano a king and worthy of such riches.
- Analysis: Trinculo’s exaggerated admiration for the clothes highlights his sycophantic behavior and his willingness to flatter Stephano to gain favor.
- Language Devices: The repetition of “O” emphasizes Trinculo’s mock reverence, and “wardrobe” here is a metaphor for wealth and status. It’s also a literal reference to the clothes they are about to steal.
CALIBAN
“Let it alone, thou fool. It is but trash.”
- Explanation: Caliban dismisses the clothes as worthless, trying to prevent Trinculo from taking them.
- Analysis: Caliban’s frustration with Trinculo’s actions shows his possessiveness and perhaps his desire for the clothes to be used for a more serious purpose, not just to satisfy Trinculo’s flattery.
- Language Devices: The word “trash” is a dismissive metaphor, devaluing the clothes and making them seem unworthy of Trinculo’s attention.
TRINCULO
“Oho, monster, we know what belongs to a
frippery. He puts on one of the gowns. O King
Stephano!”
- Explanation: Trinculo, now putting on one of the gowns, mocks Caliban by pretending to know what’s fashionable, calling Stephano a king.
- Analysis: Trinculo’s action of putting on the gown is humorous because it contrasts with his earlier dismissive attitude toward the clothes. It shows his superficial desire to mimic royalty.
- Language Devices: “Frippery” refers to cheap or showy clothing, and Trinculo’s attempt to wear it reflects the comic character’s attempts to appear more important than he is.
STEPHANO
“Put off that gown, Trinculo. By this hand,
I’ll have that gown.”
- Explanation: Stephano, seeing Trinculo in the gown, demands it for himself, showing his greed and desire for status.
- Analysis: This shows Stephano’s competitive and selfish nature. The exchange over the gown is comically exaggerated, highlighting the characters’ vanity.
- Language Devices: The phrase “By this hand” is an oath, emphasizing Stephano’s determination and frustration.
TRINCULO
“Thy Grace shall have it.”
- Explanation: Trinculo sarcastically addresses Stephano with the title “Thy Grace,” a mock display of respect, as he hands over the clothing.
- Analysis: Trinculo’s mockery shows how he is ingratiating himself to Stephano in a way that lacks true reverence. His behavior reflects his superficiality and thirst for attention or favor.
- Language Devices: The use of “Thy Grace” is a mock formality, intended to humorously elevate Stephano in a false, exaggerated manner.
CALIBAN
“The dropsy drown this fool! What do you mean
To dote thus on such luggage? Let ’t alone,
And do the murder first. If he awake,
From toe to crown he’ll fill our skins with pinches,
Make us strange stuff.”
- Explanation: Caliban curses Trinculo for being foolish and overly attached to the clothes (“luggage”). He urges them to murder Stephano first to prevent further trouble.
- Analysis: Caliban is frustrated with Trinculo and Stephano’s priorities, which are based on petty concerns like clothes rather than their serious plot to kill Prospero. Caliban’s warning about Stephano’s awakening reflects his concern about the consequences if they don’t act quickly.
- Language Devices: “The dropsy drown this fool!” is a strong curse, wishing for Trinculo to be overwhelmed by disease. “Strange stuff” is a metaphor for transformation into something unrecognizable, a consequence of their potential failure.
STEPHANO
“Be you quiet, monster.—Mistress Line, is
not this my jerkin?”
He takes a jacket from the tree.
“Now is the jerkin under the line.—Now, jerkin, you
are like to lose your hair and prove a bald jerkin.”
- Explanation: Stephano, continuing his comically trivial focus on clothes, examines a jacket, which he imagines is his. He jokes about the jacket losing its hair, personifying it humorously.
- Analysis: This action exemplifies Stephano’s self-absorption and drunkenness. He is more concerned with his appearance and possessions than with the murder or rebellion they were planning.
- Language Devices: The phrase “lose your hair and prove a bald jerkin” is personification, treating the jerkin as if it were alive and capable of losing its hair. It’s a playful, nonsensical idea, furthering the comedy.
TRINCULO
“Do, do. We steal by line and level, an ’t like
your Grace.”
- Explanation: Trinculo agrees with Stephano’s joke about stealing clothes and cleverly makes a pun about “stealing by line and level,” referring to measurements and the act of theft.
- Analysis: Trinculo’s quick-witted wordplay reinforces his role as a comic character. His flattery toward Stephano, calling him “your Grace,” serves to enhance the absurdity of the situation.
- Language Devices: “Steal by line and level” is a pun that blends the idea of stealing with a reference to measurement, suggesting both dishonesty and precision in their actions.
STEPHANO
“I thank thee for that jest. Here’s a garment
for ’t. Wit shall not go unrewarded while I am king
of this country. “Steal by line and level” is an excellent
pass of pate. There’s another garment for ’t.”
- Explanation: Stephano appreciates Trinculo’s wit and rewards him with another piece of clothing, showcasing his inflated sense of self-importance as “king” of the island.
- Analysis: Stephano’s sense of humor and his reward for Trinculo’s cleverness show his gullibility and foolishness. He is quick to think himself a ruler, even in the midst of their farcical plot.
- Language Devices: The phrase “pass of pate” refers to a clever remark. The “garment for ’t” is another reward for Trinculo’s joke, emphasizing Stephano’s overindulgence in trivialities.
TRINCULO
“Monster, come, put some lime upon your
fingers, and away with the rest.”
- Explanation: Trinculo urges Caliban to help them steal more clothes by putting lime on his fingers to avoid leaving fingerprints.
- Analysis: Trinculo’s suggestion to “put some lime upon your fingers” is another example of the low-level humor and incompetence of their plan. He believes in his own cleverness but lacks real skill or seriousness.
- Language Devices: The idea of using lime to cover fingerprints is a playful but ineffective solution, emphasizing the characters’ misguided focus.
CALIBAN
“I will have none on ’t. We shall lose our time
And all be turned to barnacles or to apes
With foreheads villainous low.”
- Explanation: Caliban rejects the plan to steal more clothes, warning that it will be a waste of time, and they will end up turned into grotesque creatures (barnacles or apes).
- Analysis: Caliban’s superstition and sense of impending doom reveal his deep mistrust of the situation. His fear of punishment (being turned into “barnacles or apes”) reflects his belief in the magical consequences that could befall them if they fail.
- Language Devices: “Barnacles or apes” are metaphors for degraded, unworthy forms. “Foreheads villainous low” refers to the idea that their physical transformation would make them appear subhuman, emphasizing Caliban’s belief in their inevitable failure.
STEPHANO
“Monster, lay to your fingers. Help to bear
this away where my hogshead of wine is, or I’ll turn
you out of my kingdom. Go to, carry this.”
- Explanation: Stephano orders Caliban to help carry the stolen items to his wine stash, threatening to exile him if he doesn’t comply.
- Analysis: Stephano’s authority as “king” is tenuous and comical, as he attempts to command Caliban, who is not only stronger but also more familiar with the island. The threat of “turning you out of my kingdom” is empty, showing Stephano’s drunken delusion of power.
- Language Devices: “Hogshead of wine” is a metaphor for indulgence and drunkenness, emphasizing Stephano’s primary concern.
TRINCULO
“And this.”
And this.
STEPHANO
“Ay, and this.”
- Explanation: The exchange continues as Trinculo and Stephano steal more clothing, with a growing sense of absurdity.
- Analysis: The repetition of “and this” shows their increasing greed and the trivial nature of their theft. The scene becomes a farce of petty thievery.
A noise of hunters heard.
- Explanation: Suddenly, the sounds of hunting dogs are heard, signaling the arrival of Prospero’s magic-induced creatures.
- Analysis: The sudden interruption by the hunters shifts the tone from slapstick comedy to imminent danger. It foreshadows the retribution that will soon befall the characters.
**Enter divers spirits in shape of dogs and hounds,
hunting them about, Prospero and Ariel setting them on.**
- Explanation: Spirits appear as hunting dogs, chasing after Trinculo, Stephano, and Caliban. This is a direct action from Prospero and Ariel, setting the spirits to hunt the trespassers.
- Analysis: The spirits’ transformation into hunting dogs symbolizes the power Prospero wields over the island and the consequences of defying him. It also adds a layer of irony, as the thieves are now being chased by their own folly.
- Language Devices: The imagery of “hounds” and “dogs” reinforces the theme of pursuit and punishment. The spirits are also associated with the natural world, adding to the magical atmosphere of the play.
PROSPERO
“Hey, Mountain, hey!”
ARIEL
“Silver! There it goes, Silver!”
PROSPERO
“Fury, Fury! There, Tyrant, there! Hark, hark!
Caliban, Stephano, and Trinculo are driven off.
Go, charge my goblins that they grind their joints
With dry convulsions, shorten up their sinews
With agèd cramps, and more pinch-spotted make
them
Than pard or cat o’ mountain.”
- Explanation: Prospero and Ariel use the hunting spirits to chase and terrorize Caliban, Stephano, and Trinculo. Prospero commands his magical creatures to punish the intruders by making them physically suffer.
- Analysis: Prospero’s vengeance is harsh and manipulative, showing the darker side of his character. He has the power to control these spirits and use them to cause physical pain as punishment.
- Language Devices: The use of “dry convulsions” and “aged cramps” creates vivid imagery of physical suffering. The comparison to “pard or cat o’ mountain” emphasizes the ferocity and predatory nature of the punishment.
ARIEL
“Hark, they roar.”
- Explanation: Ariel hears the intruders’ cries, indicating that the punishment is working.
- Analysis: This line enhances the sense of imminent danger and adds a layer of satisfaction for Prospero’s control over the situation.
PROSPERO
“Let them be hunted soundly. At this hour
Lies at my mercy all mine enemies.
Shortly shall all my labors end, and thou
Shalt have the air at freedom. For a little
Follow and do me service.”
- Explanation: Prospero reflects on his power over his enemies and the success of his plan. He promises Ariel freedom soon and instructs Ariel to follow him.
- Analysis: Prospero’s triumph is complete, as he has subdued those who defied him. The promise of Ariel’s freedom serves as a reminder of the larger narrative of release and redemption.
- Language Devices: The phrase “at my mercy” emphasizes Prospero’s complete control, and “shortly shall all my labors end” indicates that his revenge and manipulation are nearing their conclusion.
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