Caliban’s Monologue:
CALIBAN
“All the infections that the sun sucks up
From bogs, fens, flats, on Prosper fall and make him
By inchmeal a disease!”
- Explanation: Caliban is cursing Prospero, wishing that all the diseases and sicknesses that come from swamps (bogs, fens, flats) would fall on Prospero and slowly make him sick. “Inchmeal” means bit by bit, implying a gradual decay. Caliban is expressing his deep resentment toward Prospero and his control over him.
- Language Devices:
- Imagery: The vivid description of diseases from nature paints a picture of decay and torment.
- Metaphor: The idea of diseases “falling” on Prospero suggests that they would harm him gradually.
CALIBAN
“His spirits hear me,
And yet I needs must curse. But they’ll nor pinch,
Fright me with urchin-shows, pitch me i’ th’ mire,
Nor lead me like a firebrand in the dark
Out of my way, unless he bid ’em.”
- Explanation: Caliban believes that Prospero’s spirits (magical beings or servants) are listening to his curse, but Caliban knows that these spirits will not harm him unless Prospero commands them to. The language here shows how Prospero’s power over Caliban makes him feel trapped and powerless.
- Language Devices:
- Personification: The “spirits” are given human-like qualities, as if they are listening to Caliban’s curse.
- Metaphor: “Pitch me i’ th’ mire” – Caliban uses an image of being thrown into mud or dirt, symbolizing the humiliation and suffering he feels.
CALIBAN
“For every trifle are they set upon me,
Sometimes like apes, that mow and chatter at me
And after bite me; then like hedgehogs, which
Lie tumbling in my barefoot way and mount
Their pricks at my footfall.”
- Explanation: Caliban describes how the spirits torment him for the smallest things. They first appear as apes, mocking him and causing him pain. Then, he compares them to hedgehogs that tumble in his path, and their spiky pricks (sharp spines) hurt his bare feet. Caliban’s words show his frustration with constant torment from these magical creatures.
- Language Devices:
- Simile: “Like apes” and “like hedgehogs” compare the spirits’ behavior to animals, showing their mocking and harmful nature.
- Imagery: Vivid, unpleasant imagery of animals to symbolize the torment Caliban endures.
CALIBAN
“Sometime am I
All wound with adders, who with cloven tongues
Do hiss me into madness. Lo, now, lo!”
- Explanation: Caliban compares his torment to being surrounded by snakes (adders) that hiss at him, driving him mad. The “cloven tongues” (split tongues) could refer to their forked tongues, a symbolic image of evil or torment.
- Language Devices:
- Metaphor: The adders represent the cruel forces or spirits that torment Caliban.
- Alliteration: “Wound with adders” and “cloven tongues” create a rhythmic, harsh sound that intensifies the sense of danger.
CALIBAN
“Here comes a spirit of his, and to torment me
For bringing wood in slowly. I’ll fall flat.
Perchance he will not mind me.”
- Explanation: Caliban anticipates the arrival of a spirit, which he believes will torment him for carrying wood slowly. He decides to fall flat on the ground, hoping that the spirit won’t notice him. This shows his fear and desperation.
- Language Devices:
- Personification: The spirit is described as being actively involved in Caliban’s suffering, almost as if it’s alive and aware.
- Irony: Caliban hopes the spirit will ignore him, but it suggests his constant battle to avoid punishment, even when he is trying his best to comply.
Trinculo’s Entrance:
TRINCULO
“Here’s neither bush nor shrub to bear off
any weather at all. And another storm brewing; I
hear it sing i’ th’ wind. Yond same black cloud, yond
huge one, looks like a foul bombard that would shed
his liquor.”
- Explanation: Trinculo, who has just entered the scene, observes the storm brewing and compares the dark cloud to a large cannon (bombard), as if it’s ready to pour out rain (its liquor). He is frightened by the storm and is looking for shelter.
- Language Devices:
- Simile: The cloud is compared to a “foul bombard,” meaning a large cannon.
- Imagery: The description of the storm evokes a sense of danger and discomfort.
TRINCULO
“If it should thunder as it did before, I
know not where to hide my head. Yond same cloud
cannot choose but fall by pailfuls.”
- Explanation: Trinculo expresses fear that the storm will be as intense as the previous one, and he doesn’t know where to take cover. The idea of rain falling “by pailfuls” emphasizes how heavy the storm could be.
- Language Devices:
- Hyperbole: “Fall by pailfuls” exaggerates the amount of rain to emphasize the danger and intensity of the storm.
TRINCULO
“What have we here, a man or a fish? Dead or
alive? A fish, he smells like a fish—a very ancient
and fishlike smell, a kind of not-of-the-newest poor-John.
A strange fish.”
- Explanation: Trinculo finally notices Caliban under the cloak, and he is confused about whether Caliban is a man or a fish. He makes a crude joke about Caliban’s smell, calling it “a fish-like smell.” “Poor-John” refers to cheap, salted fish, highlighting Caliban’s strange and lowly status in Trinculo’s eyes.
- Language Devices:
- Metaphor: Caliban is compared to a fish, which emphasizes his “otherness” and the dehumanizing way Trinculo views him.
- Humor: Trinculo’s comments are meant to be funny but also highlight how he sees Caliban as a strange, inferior creature.
“I was, and had but this fish painted, not a holiday fool there but would give a piece of silver. There would this monster make a man.”
Explanation:
- The speaker (Caliban) seems to be observing how strange and rare the creature (the fish) is, and how people would pay to see it.
- “This monster make a man” could be Caliban’s comment on how people are fascinated by something unusual, treating even a “monster” as human in its oddness.
Analysis/Language devices:
- Metaphor: Refers to the “fish” as a “monster” to highlight its unnatural or strange nature.
- Irony: People spend money to see this creature, while they might not give a penny to help the poor or needy (a beggar).
“Any strange beast there makes a man. When they will not give a doit to relieve a lame beggar, they will lay out ten to see a dead Indian.”
Explanation:
- Caliban is critiquing society’s values. He is pointing out how people prefer to spend money on strange or exotic things (like seeing a “dead Indian”) rather than helping those in need.
- “Doit” refers to a small coin, symbolizing how little society cares for the poor.
Analysis/Language devices:
- Contrast: Between helping a beggar and spending money on a spectacle, emphasizing society’s misplaced priorities.
- Irony: The line underscores the absurdity of prioritizing spectacle over compassion.
“Legged like a man, and his fins like arms! Warm, o’ my troth! I do now let loose my opinion, hold it no longer: this is no fish, but an islander that hath lately suffered by a thunderbolt.”
Explanation:
- Caliban is describing a creature (perhaps himself or another islander) as part human and part beast.
- He humorously suggests that the creature is not a fish but an islander who has been struck by a thunderbolt (suggesting an unnatural origin).
Analysis/Language devices:
- Imagery: Describes a half-human, half-beast creature, creating a vivid picture.
- Metaphor: “Suffered by a thunderbolt” symbolizes something extraordinary or unnatural happening to the creature (possibly referencing the island’s magical nature).
- Hyperbole: Exaggerating the strangeness of the creature by saying it “suffered by a thunderbolt.”
“Thunder. Alas, the storm is come again. My best way is to creep under his gaberdine. There is no other shelter hereabout. Misery acquaints a man with strange bedfellows. I will here shroud till the dregs of the storm be past.”
Explanation:
- Caliban hears thunder and decides to take shelter under the cloak of the “monster” (likely Stephano). The line “Misery acquaints a man with strange bedfellows” is a famous line meaning that in times of trouble, even the most unlikely alliances are formed.
- He will stay under the cloak until the storm passes.
Analysis/Language devices:
- Allusion: The line “Misery acquaints a man with strange bedfellows” has become a famous Shakespearean expression about how adversity brings people together in unexpected ways.
- Metaphor: “Shroud” represents both literal and figurative shelter from the storm.
“He crawls under Caliban’s cloak.”
Explanation:
- This is a stage direction indicating that Caliban physically takes shelter under the cloak, highlighting the desperate and comical situation.
Enter Stephano singing.
Explanation:
- Stephano enters singing a tune, likely to add humor and lightness to the scene. He’s drunk and oblivious to the situation around him.
“STEPHANO: I shall no more to sea, to sea. Here shall I die ashore—”
Explanation:
- Stephano sings about giving up on the sea and resigning himself to living on land (“Here shall I die ashore”).
- This line expresses his drunken state and possibly his desperation after the shipwreck.
Analysis/Language devices:
- Repetition: The line “to sea, to sea” is repeated to emphasize his dramatic, exaggerated decision to stay ashore.
- Hyperbole: “Here shall I die ashore” is a dramatic way of saying he’s staying on land, possibly because he’s drunk and disoriented.
“This is a very scurvy tune to sing at a man’s funeral.”
Explanation:
- Caliban sarcastically critiques Stephano’s song, calling it inappropriate for a funeral. This could refer to the fact that they’ve just survived a shipwreck and are facing a new, dangerous situation.
“Well, here’s my comfort. Drinks.”
Explanation:
- Stephano seems to find solace in alcohol, suggesting his coping mechanism is drinking.
“The master, the swabber, the boatswain, and I, The gunner and his mate, Loved Mall, Meg, and Marian, and Margery, But none of us cared for Kate.”
Explanation:
- Stephano sings a song about the sailors and their romantic interests. It’s a lighthearted, comic tune meant to entertain.
Analysis/Language devices:
- Rhyme: The song features a rhyming pattern, contributing to its light, sing-song quality.
- Humor: The song’s irreverent tone adds humor to the scene, contrasting with the serious or dire situation.
“For she had a tongue with a tang, Would cry to a sailor “Go hang!” She loved not the savor of tar nor of pitch, Yet a tailor might scratch her where’er she did itch.”
Explanation:
- This stanza mocks a woman (likely “Kate”) for being unpleasant and not liking sailors’ lives. It adds to the humorous tone, suggesting the woman’s characteristics in a comical light.
Analysis/Language devices:
- Alliteration: “Tongue with a tang” and “tar nor of pitch” create a rhythmic quality in the song.
- Metaphor: “A tailor might scratch her where’er she did itch” implies that the woman had particular, superficial needs that could be easily satisfied by someone who catered to her.
“Then to sea, boys, and let her go hang!”
Explanation:
- The sailors (in the song) decide to abandon the woman (“let her go hang”). This further lightens the tone and emphasizes their carefree attitude.
“This is a scurvy tune too. But here’s my comfort. Drinks.”
Explanation:
- Caliban again critiques the song as “scurvy” (meaning bad or unpleasant). He then returns to his drinking for comfort, reinforcing his misery and reliance on alcohol.
CALIBAN: “Do not torment me! O!”
Explanation:
- Caliban finally reacts to the song, likely feeling tormented or annoyed. He’s trying to find shelter, but Stephano’s behavior is making the situation worse.
STEPHANO: “What’s the matter? Have we devils here? Do you put tricks upon ’s with savages and men of Ind? Ha?”
Explanation:
- Stephano is confused and scared by Caliban, whom he now sees as a strange creature. He thinks Caliban might be a “devil” or some kind of trick, as he associates the island with “savages and men of Ind” (Indians, a term historically used to refer to the indigenous peoples of the Americas and elsewhere).
- Stephano’s reaction shows his lack of understanding and fear of the unfamiliar.
Analysis/Language devices:
- Allusion: Referring to “savages and men of Ind” invokes colonial and racial stereotypes of the time.
- Rhetorical Question: Stephano uses it to express his confusion and fear.
STEPHANO: “I have not scaped drowning to be afeard now of your four legs, for it hath been said ‘As proper a man as ever went on four legs cannot make him give ground,’ and it shall be said so again while Stephano breathes at’ nostrils.”
Explanation:
- Stephano is trying to assert his bravery by saying he survived a shipwreck, so he won’t be scared by something with “four legs” (Caliban). He’s quoting an old saying (“As proper a man as ever went on four legs…”) to reinforce his courage.
- It’s a humorous boast about how he believes no animal or creature, even one with four legs, can intimidate him.
Analysis/Language devices:
- Hyperbole: Stephano exaggerates his bravery to make himself seem invincible.
- Colloquialism/Proverb: “As proper a man as ever went on four legs” is an old saying used here ironically to make light of his situation.
- Irony: He says he’s not afraid of four-legged creatures, but he’s clearly uneasy about Caliban.
CALIBAN: “The spirit torments me. O!”
Explanation:
- Caliban is speaking in distress, feeling tormented by the spirit, possibly referring to the magical influence of Prospero (the magician who controls the island’s magic).
Analysis/Language devices:
- Personification: Caliban attributes torment to a “spirit,” which suggests that his suffering is caused by magical forces.
- Exclamation: The “O!” here emphasizes his suffering.
STEPHANO: “This is some monster of the isle with four legs, who hath got, as I take it, an ague. Where the devil should he learn our language? I will give him some relief, if it be but for that.”
Explanation:
- Stephano describes Caliban as a “monster” with four legs, and he assumes Caliban has an illness (an ague, or fever). He’s puzzled as to how Caliban knows their language and decides to give him “relief” (alcohol).
Analysis/Language devices:
- Metaphor: Referring to Caliban as a “monster” reinforces the idea of him being perceived as strange or non-human.
- Rhetorical Question: “Where the devil should he learn our language?” highlights Stephano’s confusion and suspicion of Caliban’s abilities.
STEPHANO: “If I can recover him and keep him tame and get to Naples with him, he’s a present for any emperor that ever trod on neat’s leather.”
Explanation:
- Stephano imagines profiting from Caliban by taking him to Naples (a city in Italy) and presenting him as a gift. The phrase “trod on neat’s leather” refers to someone wealthy or important (as neat leather is fine leather, symbolizing wealth).
Analysis/Language devices:
- Irony: Stephano sees Caliban as a valuable “monster” to profit from, not realizing that Caliban is an intelligent and wronged individual.
- Metaphor: “Trod on neat’s leather” suggests wealth or nobility, making Caliban seem valuable.
CALIBAN: “Do not torment me, prithee. I’ll bring my wood home faster.”
Explanation:
- Caliban is pleading with Stephano to stop tormenting him, offering to do something in exchange, like working faster.
Analysis/Language devices:
- Colloquialism: “Prithee” is a form of the word “pray thee,” meaning “please.”
- Repetition: Caliban repeats his plea, showing his desperation.
STEPHANO: “He’s in his fit now, and does not talk after the wisest. He shall taste of my bottle. If he have never drunk wine afore, it will go near to remove his fit. If I can recover him and keep him tame, I will not take too much for him. He shall pay for him that hath him, and that soundly.”
Explanation:
- Stephano assumes Caliban is having some sort of fit or illness and thinks that alcohol (wine) will help. He plans to “tame” Caliban and sell him, making money from the transaction.
Analysis/Language devices:
- Irony: Stephano believes that giving Caliban alcohol will “cure” him, which is not the case.
- Metaphor: “Keep him tame” suggests Stephano sees Caliban as something wild that needs to be controlled.
CALIBAN: “Thou dost me yet but little hurt. Thou wilt anon; I know it by thy trembling. Now Prosper works upon thee.”
Explanation:
- Caliban acknowledges that Stephano is not hurting him much yet but predicts that he will soon. He also refers to “Prosper,” suggesting that the magical force (Prospero) is somehow influencing events around them.
Analysis/Language devices:
- Foreshadowing: Caliban’s comment about Stephano trembling hints at something bad happening to him soon.
- Personification: “Prosper works upon thee” personifies Prospero as a controlling force in the situation.
STEPHANO: “Come on your ways. Open your mouth. Here is that which will give language to you, cat. Open your mouth. This will shake your shaking, I can tell you, and that soundly.”
Explanation:
- Stephano orders Caliban to drink from his bottle, believing that alcohol will help Caliban “speak” or “shake” off whatever is troubling him. He refers to Caliban as a “cat,” further dehumanizing him.
Analysis/Language devices:
- Imperative tone: Stephano uses commands (“Come on your ways, open your mouth”) to assert control over Caliban.
- Metaphor: “Give language to you” suggests Stephano thinks alcohol will help Caliban communicate better.
CALIBAN: “You cannot tell who’s your friend. Open your chaps again.”
Explanation:
- Caliban, still under the influence of the wine, warns Stephano that he may not know who is truly on his side. “Open your chaps” refers to opening his mouth to drink again.
Analysis/Language devices:
- Metaphor: “Chaps” refers to the mouth, making the language playful and colloquial.
- Foreshadowing: This line hints that Stephano might be in for a surprise—he doesn’t know who his true allies are.
TRINCULO: “I should know that voice. It should be—but he is drowned, and these are devils. O, defend me!”
Explanation:
- Trinculo enters and hears Stephano’s voice. He mistakes the situation for a supernatural or demonic occurrence, thinking that Stephano is dead (“drowned”) and that he’s surrounded by devils.
Analysis/Language devices:
- Dramatic Irony: The audience knows Stephano is alive, but Trinculo’s confusion adds humor.
- Hyperbole: Trinculo exaggerates the situation by calling it “devils” when it’s merely a drunken situation.
STEPHANO: “Four legs and two voices—a most delicate monster! His forward voice now is to speak well of his friend. His backward voice is to utter foul”
Explanation:
- Stephano comments humorously that Caliban is a “delicate monster” because he has four legs and two voices (referring to Caliban’s drunken behavior). He notes that Caliban’s voice seems to change depending on his mood.
Analysis/Language devices:
- Juxtaposition: “Four legs and two voices” contrasts the idea of a monster with human-like qualities (a voice).
- Irony: The “delicate monster” is an oxymoron, suggesting something both dangerous and vulnerable at the same time.
STEPHANO: “If all the wine in my bottle will recover him, I will help his ague. Come.”
Explanation:
- Stephano is convinced that alcohol will cure Caliban’s “fit” (likely a fever or sickness). He believes the wine from his bottle is a cure-all.
Analysis/Language devices:
- Hyperbole: Stephano believes wine can solve all problems, an exaggerated belief, especially in a situation as strange as this one.
- Irony: Stephano thinks he is helping Caliban when, in reality, he is just making things more chaotic.
CALIBAN: “Amen! I will pour some in thy other mouth.”
Explanation:
- Caliban, now drunk, responds in a disoriented way, possibly playing along with the situation as he takes the wine offered by Stephano.
Analysis/Language devices:
- Irony: Caliban, while suffering under the influence of alcohol, humorously says “Amen,” possibly to indicate a resigned acceptance of his fate.
TRINCULO: “Stephano!”
Explanation:
- Trinculo calls out to Stephano, still confused but eager to reconnect.
Analysis/Language devices:
- Exclamation: Trinculo’s shout emphasizes his urgent need for recognition and clarity.
STEPHANO: “Doth thy other mouth call me? Mercy, mercy, this is a devil, and no monster! I will leave him; I have no long spoon.”
Explanation:
- Stephano, who is clearly tipsy, mistakes Caliban for a devil, not recognizing him as the “monster” he thought he was. He humorously mentions not having a “long spoon,” referencing a common superstition about devils and the need for distance.
Analysis/Language devices:
- Metaphor: “No long spoon” is a playful metaphor. It’s a reference to the saying about not getting too close to devils or evil beings.
- Irony: Stephano’s confusion and reluctance to stay close to Caliban add humor, as he is more afraid of Caliban than of the dangerous sea that nearly drowned him.
TRINCULO: “Stephano! If thou be’st Stephano, touch me and speak to me, for I am Trinculo—be not afeard—thy good friend Trinculo.”
Explanation:
- Trinculo is trying to convince Stephano that he’s alive and that they are friends, though his situation is clearly bizarre. His plea shows both desperation and humor.
Analysis/Language devices:
- Repetition: Trinculo repeats Stephano’s name to get his attention, emphasizing his urgency.
- Colloquial language: The use of “afeard” (afraid) makes the language more informal and adds to the humor of the scene.
STEPHANO: “If thou be’st Trinculo, come forth. I’ll pull thee by the lesser legs. If any be Trinculo’s legs, these are they.”
Explanation:
- Stephano finally recognizes Trinculo but comically pulls him out from under Caliban’s cloak, still thinking that he’s something of a “monster.”
Analysis/Language devices:
- Wordplay: The phrase “lesser legs” is a humorous way of referring to Trinculo’s legs. It also highlights the physical disparity between the characters.
- Metaphor: “Trinculo’s legs” are being used as a way to identify Trinculo, as though he’s a different type of creature.
STEPHANO: “Thou art very Trinculo indeed. How cam’st thou to be the siege of this mooncalf? Can he vent Trinculos?”
Explanation:
- Stephano now recognizes Trinculo for sure and asks how he ended up in such a strange situation with Caliban. “Siege of this mooncalf” is a reference to Caliban, with “mooncalf” being an insult and a term that refers to something monstrous or malformed.
Analysis/Language devices:
- Metaphor: “Siege of this mooncalf” suggests that Trinculo is trapped or surrounded by the strange situation, much like a siege.
- Colloquialism: “Venting” refers to expressing or showing something, here used in a joking manner.
TRINCULO: “I took him to be killed with a thunderstroke. But art thou not drowned, Stephano? I hope now thou art not drowned. Is the storm overblown? I hid me under the dead mooncalf’s gaberdine for fear of the storm. And art thou living, Stephano? O Stephano, two Neapolitans scaped!”
Explanation:
- Trinculo humorously describes how he thought the storm had killed Stephano, and he hid under Caliban’s cloak (“gaberdine”) for safety. He expresses relief upon realizing that both he and Stephano survived the storm.
Analysis/Language devices:
- Metaphor: “Dead mooncalf’s gaberdine” (gaberdine meaning coat) is a colorful way of describing how Trinculo took refuge under Caliban.
- Irony: Trinculo thought Stephano was dead, adding to the confusion and comedic nature of the scene.
- Exclamation: Trinculo’s repeated expressions of disbelief (“O Stephano, two Neapolitans scaped!”) emphasize his surprise and joy at their survival.
STEPHANO: “Prithee, do not turn me about. My stomach is not constant.”
Explanation:
- Stephano, still tipsy, asks Trinculo not to turn him around, as he feels unsteady and nauseous.
Analysis/Language devices:
- Hyperbole: “Not constant” refers to his physical instability and exaggerated state due to drinking.
CALIBAN (aside): “These be fine things, an if they be not sprites. That’s a brave god and bears celestial liquor. I will kneel to him.”
Explanation:
- Caliban, still drunk, seems to mistake Stephano for some sort of god, praising him for his “celestial liquor” (alcohol), and plans to kneel to him in reverence.
Analysis/Language devices:
- Dramatic Irony: The audience knows that Stephano is just a drunken man, but Caliban believes he is a god.
- Metaphor: “Celestial liquor” elevates the alcohol to a divine status, playing on Caliban’s drunken state.
STEPHANO, to Trinculo: “How didst thou scape? How cam’st thou hither? Swear by this bottle how thou cam’st hither—I escaped upon a butt of sack, which the sailors heaved o’erboard—by this bottle, which I made of the bark of a tree with mine own hands, since I was cast ashore.”
Explanation:
- Stephano recounts his escape from the shipwreck, humorously swearing by his bottle of wine. He explains that he floated ashore on a cask of wine (“butt of sack”) and crafted his bottle from the bark of a tree.
Analysis/Language devices:
- Hyperbole: The exaggerated story of his escape adds to the comic absurdity of the scene.
- Metaphor: “Butt of sack” refers to a large wine barrel, with “sack” being a term for wine.
- Rhetorical Question: The questions Stephano asks Trinculo add to the humor and confusion.
CALIBAN: “I’ll swear upon that bottle to be thy true subject, for the liquor is not earthly.”
Explanation:
- Caliban, under the influence of alcohol, declares that he will swear allegiance to Stephano, convinced that the liquor is divine and otherworldly.
Analysis/Language devices:
- Hyperbole: Caliban exaggerates the nature of the alcohol, claiming it is “not earthly,” which adds a layer of absurdity to the scene.
- Dramatic Irony: The audience knows that Caliban’s devotion to Stephano is fueled by drunkenness, not genuine admiration.
STEPHANO (to Trinculo): “Here. Swear then how thou escapedst.”
Explanation:
- Stephano, now fully engaged in the ridiculousness of the situation, asks Trinculo to swear on the bottle how he escaped the storm.
Analysis/Language devices:
- Humor: This adds to the comedic element, as Stephano treats a simple act of survival (swimming) as something requiring a sworn oath.
TRINCULO: “Swum ashore, man, like a duck. I can swim like a duck, I’ll be sworn.”
Explanation:
- Trinculo humorously responds, claiming to have swum ashore like a duck, exaggerating his swimming skills.
Analysis/Language devices:
- Hyperbole: The comparison to a duck emphasizes how Trinculo overstates the simplicity of his escape.
STEPHANO: “Here, kiss the book. Though thou canst swim like a duck, thou art made like a goose.”
Explanation:
- Stephano hands Trinculo the book to swear upon it, but insults him by saying that, despite his swimming ability, Trinculo is “made like a goose” (silly or foolish).
Analysis/Language devices:
- Wordplay: “Made like a goose” plays on the idea of a silly, foolish creature, contrasting with Trinculo’s earlier claim.
- Humor: The interaction is meant to mock Trinculo’s self-importance, but the insult adds another layer of comedy.
TRINCULO: “O Stephano, hast any more of this?”
Explanation:
- Trinculo, enjoying the alcohol, asks if there’s more, highlighting his increasing drunkenness.
Analysis/Language devices:
- Colloquial language: The informal “O Stephano” adds to the casual, humorous tone of their interaction.
STEPHANO: “The whole butt, man. My cellar is in a rock by th’ seaside, where my wine is hid.”
Explanation:
- Stephano boasts about his extensive wine stash, claiming that his “cellar” is hidden in a rock by the seaside.
Analysis/Language devices:
- Metaphor: “Butt” refers to a large barrel of wine, a playful metaphor for his supply.
- Exaggeration: The description of his hidden “cellar” is likely an embellishment, adding to the absurdity of the scene.
CALIBAN: “Hast thou not dropped from heaven?”
Explanation:
- Caliban, still drunk, asks Stephano if he has descended from heaven, further elevating Stephano to godlike status in his mind.
Analysis/Language devices:
- Irony: Caliban mistakes a drunken man for a divine being, creating humor from the character’s delusion.
- Hyperbole: Caliban’s description of Stephano as a divine figure exaggerates his reverence.
STEPHANO: “Out o’ th’ moon, I do assure thee. I was the man i’ th’ moon when time was.”
Explanation:
- Stephano humorously claims to be from the moon, engaging in the fantasy that he is some kind of celestial being.
Analysis/Language devices:
- Hyperbole: Stephano’s claim to be from the moon is an exaggerated and absurd boast.
- Play on myth: There’s also a playful reference to the old myth of the “man in the moon,” adding a layer of silliness to the scene.
CALIBAN: “I have seen thee in her, and I do adore thee. My mistress showed me thee, and thy dog, and thy bush.”
Explanation:
- Caliban continues his delusion, saying that he has seen Stephano in the moon, along with a “dog” and “bush,” referring to some strange vision.
Analysis/Language devices:
- Imagery: Caliban’s strange description adds to the comic absurdity, invoking a bizarre image of Stephano’s supposed moon appearance.
- Exaggeration: The idea of Stephano being seen in the moon emphasizes the fantastical and drunken state of Caliban.
STEPHANO: “Come, swear to that. Kiss the book. I will furnish it anon with new contents. Swear.”
Explanation:
- Stephano playfully asks Caliban to swear on the book again, promising to provide “new contents” (perhaps more alcohol).
Analysis/Language devices:
- Wordplay: “New contents” may refer to both the content of the book (which they are swearing upon) and the alcohol that continues to flow.
- Humor: The playful and absurd nature of the exchange continues the farcical tone of the scene.
TRINCULO: “By this good light, this is a very shallow monster. I afeard of him? A very weak monster. The man i’ th’ moon? A most poor, credulous monster!—Well drawn, monster, in good sooth!”
Explanation:
- Trinculo sarcastically mocks Caliban, calling him a “shallow” and “weak” monster, calling out the absurdity of Caliban’s belief in the moon story.
Analysis/Language devices:
- Sarcasm: Trinculo sarcastically praises Caliban, highlighting his gullibility and the comedic nature of the scene.
- Mockery: By calling Caliban a “credulous” monster, Trinculo mocks how easily Caliban believes in the absurd stories.
CALIBAN: “I’ll show thee every fertile inch o’ th’ island, and I will kiss thy foot. I prithee, be my god.”
Explanation:
- Caliban, fully intoxicated, offers to serve Stephano, pledging to show him the entire island and even kiss his foot in worship.
Analysis/Language devices:
- Hyperbole: “Every fertile inch o’ th’ island” exaggerates Caliban’s offer, though it’s comical given his drunken state.
- Irony: Caliban believes Stephano is a god, which is both a humorous and pitiful mistake.
TRINCULO: “By this light, a most perfidious and drunken monster. When ’s god’s asleep, he’ll rob his bottle.”
Explanation:
- Trinculo humorously critiques Caliban, calling him a “perfidy” (traitorous) and drunken monster, and adds that when “God’s asleep,” Caliban will steal his alcohol.
Analysis/Language devices:
- Irony: Trinculo’s comment highlights the absurdity of the situation, where Caliban worships Stephano like a god, yet he is simply a drunken man.
- Sarcasm: The phrase “When ’s god’s asleep, he’ll rob his bottle” mocks Caliban’s devotion and the drunken chaos of the scene.
CALIBAN: “I’ll kiss thy foot. I’ll swear myself thy subject.”
Explanation:
- Caliban continues to show his exaggerated devotion to Stephano, swearing himself to be his subject and even offering to kiss his foot.
Analysis/Language devices:
- Hyperbole: The exaggerated submission to Stephano is a clear comedic device, emphasizing the absurdity of Caliban’s drunken worship.
STEPHANO: “Come on, then. Down, and swear.”
Explanation:
- Stephano, enjoying the power dynamic, urges Caliban to kneel and swear loyalty, further playing along with the farce.
Analysis/Language devices:
- Commanding tone: Stephano’s tone here is more authoritative, as he revels in the false power bestowed upon him by Caliban’s drunken worship.
TRINCULO: “I shall laugh myself to death at this puppy-headed monster. A most scurvy monster. I could find in my heart to beat him—”
Explanation:
- Trinculo expresses his amusement at Caliban’s foolishness, mocking him as a “puppy-headed” (naive or foolish) monster. He even contemplates beating him, though it’s said humorously.
Analysis/Language devices:
- Mockery: Trinculo continues to mock Caliban, calling him a “scurvy monster” and enjoying the chaotic situation.
- Hyperbole: The idea of laughing “to death” emphasizes the intensity of Trinculo’s amusement.
STEPHANO: “Come, kiss.”
Explanation:
- Stephano, still caught up in the ridiculousness of the moment, commands Caliban to kiss him, further inflating his sense of power and influence over the intoxicated creature.
Analysis/Language devices:
- Commanding tone: Stephano is now more dominant in the relationship, reinforcing the power dynamic between him and Caliban, who is submissive and drunk.
TRINCULO: “—but that the poor monster’s in drink. An abominable monster.”
Explanation:
- Trinculo comments sarcastically on Caliban’s drunken state, calling him an “abominable monster.” He mocks Caliban for being so easily swayed by alcohol.
Analysis/Language devices:
- Sarcasm: Trinculo belittles Caliban, suggesting that his monstrous nature is excused only because of his drunkenness. This reinforces the idea that Caliban’s actions are out of his control.
CALIBAN: “I’ll show thee the best springs. I’ll pluck thee berries. I’ll fish for thee and get thee wood enough. A plague upon the tyrant that I serve. I’ll bear him no more sticks, but follow thee, Thou wondrous man.”
Explanation:
- Caliban, in his drunken haze, promises Stephano a variety of services, from gathering berries to fishing, all while lamenting the “tyrant” he previously served (Prospero). His devotion to Stephano has grown to an absurd level, calling him a “wondrous man.”
Analysis/Language devices:
- Hyperbole: The exaggerated promises of what Caliban will do for Stephano (gathering berries, fishing, etc.) add to the comic absurdity of the scene.
- Irony: Caliban, once a rebellious character, now praises Stephano as a “wondrous man” despite being a mere drunkard.
TRINCULO: “A most ridiculous monster, to make a wonder of a poor drunkard.”
Explanation:
- Trinculo sarcastically refers to Caliban as a “ridiculous monster” for elevating a simple drunkard (Stephano) to the level of a wonder. Trinculo recognizes the absurdity of Caliban’s newfound admiration for Stephano.
Analysis/Language devices:
- Sarcasm: Trinculo mocks the situation, highlighting how ridiculous it is that Caliban is so easily swayed by alcohol into worshipping a man like Stephano.
- Irony: The irony here lies in the fact that Caliban, a once proud and defiant character, is now subservient and praising a drunken, self-absorbed man.
CALIBAN, standing: “I prithee, let me bring thee where crabs grow, And I with my long nails will dig thee pignuts, Show thee a jay’s nest, and instruct thee how To snare the nimble marmoset. I’ll bring thee To clustering filberts, and sometimes I’ll get thee Young scamels from the rock. Wilt thou go with me?”
Explanation:
- Caliban continues to offer his services to Stephano, promising to show him all kinds of natural wonders and to hunt for food. His long nails are used as a humorous tool for digging pignuts, and he imagines leading Stephano through the island to find exotic animals and foods.
Analysis/Language devices:
- Imagery: The list of natural elements (crabs, pignuts, jay’s nest, marmoset, filberts, scamels) paints a vivid picture of the wild island, showing Caliban’s knowledge of the land.
- Hyperbole: The idea that Caliban can procure all of these resources is exaggerated, highlighting the absurd devotion he now has for Stephano.
- Alliteration: The repetition of “I’ll bring thee” creates a rhythmic flow, adding to the humor and eagerness in Caliban’s speech.
STEPHANO: “I prithee now, lead the way without any more talking.—Trinculo, the King and all our company else being drowned, we will inherit here. —Here, bear my bottle.—Fellow Trinculo, we’ll fill him by and by again.”
Explanation:
- Stephano, enjoying his newfound sense of power and authority, tells Caliban to lead the way and nonchalantly mentions that he and Trinculo will inherit the island after the king and others have drowned. This reveals Stephano’s overblown ego and fantasy of power. He hands his bottle to Trinculo, further indulging in their drunken revelry.
Analysis/Language devices:
- Exaggeration: The claim of inheriting the island after everyone is drowned is a far-fetched, drunken fantasy that reflects Stephano’s inflated sense of importance.
- Nonchalance: The casual tone with which Stephano speaks about the death of the king and others further underscores his selfishness and the absurdity of the scene.
CALIBAN sings drunkenly: “Farewell, master, farewell, farewell.”
Explanation:
- Caliban, still intoxicated, bids farewell to his former master (Prospero) in a drunken, sing-song manner.
Analysis/Language devices:
- Repetition: The repeated “farewell” emphasizes Caliban’s emotional state, as he drunkenly lets go of his past allegiance to Prospero.
- Dramatic Irony: The audience knows that Caliban’s devotion to Stephano is temporary and born of intoxication, adding a layer of irony to his farewell to Prospero.
TRINCULO: “A howling monster, a drunken monster.”
Explanation:
- Trinculo mocks Caliban’s drunken state further, calling him a “howling” and “drunken” monster.
Analysis/Language devices:
- Repetition: The repetition of “monster” highlights how Trinculo dehumanizes Caliban, making his drunken behavior the punchline of the humor.
CALIBAN sings:
“No more dams I’ll make for fish,
Nor fetch in firing
At requiring,
Nor scrape trenchering, nor wash dish.
’Ban, ’ban, Ca-caliban
Has a new master. Get a new man.
Freedom, high-day! High-day, freedom! Freedom, high-day, freedom!” Explanation:
- Caliban’s song is a drunken expression of his freedom from his old servitude to Prospero. He vows never again to perform the menial tasks (like fetching firewood, scraping dishes, etc.) he once did. His chant of “freedom” represents his desire for liberation, albeit while under the illusion that Stephano is a new “master” (in his inebriated state).
Analysis/Language devices:
- Repetition: The chant of “freedom” emphasizes Caliban’s emotional release from his past servitude.
- Rhyme: The song’s rhyme and rhythm mirror a celebratory tone, but this is undercut by the ridiculousness of the situation (as Caliban is drunkenly celebrating his “freedom”).
- Irony: The irony lies in Caliban’s belief that he is free, when in reality, he is simply switching one form of servitude for another under a drunken master.
STEPHANO: “O brave monster! Lead the way.”
Explanation:
- Stephano, still enjoying the power trip, praises Caliban as a “brave monster,” reinforcing the absurd hero-worship that Caliban has projected onto him.
Analysis/Language devices:
- Irony: Stephano’s praise of Caliban as a “brave monster” is absurd, as Caliban is clearly drunk and deluded.
- Hyperbole: The exaggerated praise elevates Caliban’s drunken actions to something heroic, contributing to the farce.
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