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50 pages 1 hour read

William Shakespeare

The Tempest

Fiction | Play | Adult | Published in 1611

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Act V-EpilogueChapter Summaries & Analyses

Act V, Scene 1 Summary: “Before Prospero’s cell.”

Ariel reports that King Alonso and his court are confined by a magical charm to a nearby grove. All bemoan their crimes, and Gonzalo’s tears stain his beard. Ariel’s heart goes out to them, and Prospero admits that he too feels for them; now that they’ve become penitent, he has no further desire to punish them. He orders Ariel to release them, and he promises shortly to bury his magic staff and book of spells.

King Alonso and his court arrive and stand in a circle charmed by Prospero, their minds in a trance. The magician thanks Gonzalo for provisioning him at the start of his exile. He scolds Alonso and Antonio but tells his brother, “I do forgive thee, / Unnatural though thou art” (5.1.78-79). Prospero sends Ariel to fetch the sailors from the ship.

The trance fades, and Gonzalo wishes aloud that heaven save them from the island. Dressed in his regal attire, Prospero appears and welcomes Gonzalo. Alonso, regaining his senses, sees Prospero. Feeling as if he has somehow escaped madness, Alonso promptly renounces his military control of Prospero’s throne and begs forgiveness for his past behavior. Prospero turns to Antonio and Sebastian and reminds them that they must now restore to him his dukedom, offering in return to say nothing of their plot against Alonso.

The king mourns his missing son. Prospero sympathizes, saying that he too has lost someone: his daughter. Dramatically, he reveals the king’s son playing chess with Miranda. Son and father are reunited; Miranda, in turn, is amazed at all the people gathered in one place, saying that for her this is a “brave new world” (5.1.183). Ferdinand introduces Miranda as his fiancée, and he says that Prospero has become a “second father” to him.

Gonzalo beseeches the gods to bless their union. He declares that the deities have arranged things so that in one voyage, Alonso’s Claribel becomes a queen, his son Ferdinand finds a wife, and Prospero is returned to his rightful place in Milan. Alonso cries, “Amen, Gonzalo!”

Ariel brings the sailors to the assembled group. Gonzalo, recognizing the boatswain, says happily, “I prophesied, if a gallows were on land, / This fellow could not drown” (5.1.216-17). The boatswain says that the crew were somehow asleep on the ship and then awoken by loud noises to find that the vessel, which they thought lost, is mysteriously in excellent shape. Prospero privately compliments Ariel on his masterful work and says that he will be rewarded with his freedom.

Alonso wonders at how all this could have happened; Prospero tells him not to worry over it and that he’ll explain everything to him before long. He tells Ariel to free Caliban, Trinculo, and Stephano. They appear, shame-faced but still wearing the fine clothes they stole. Sebastian and Antonio briefly wonder if they could sell Caliban as a fish. Prospero announces that Caliban is his servant and that the three plotted to kill him. He sends them away, telling Caliban to begin his repentance by preparing a room for the guests. Caliban calls himself a “thrice-double ass” for thinking a drunkard like Stephano could be a god.

Prospero invites his guests to stay the night, and he will entertain them with the story of his life on the island. In the morning, all will set sail for Milan and the nuptials of Miranda and Ferdinand. Turning aside, he charges Ariel with making sure of good weather and winds for the ship’s passage, adding that Ariel thereafter is free.

Epilogue Summary: “Spoken by Prospero”

Prospero turns to the audience and asks that they release him from his bondage to the island and forgive him his faults so that he can return to Italy, complete the story, and thereby realize his fondest dream, “Which was to please” (Ep. 13).

Act V Analysis

Act V completes Prospero’s project, and all things are set right.

Early in the act, Ariel confesses to feeling sorrow for the plight of Prospero’s courtly prisoners: Alonso, Antonio, Sebastian, and the others. Prospero betrays a bit of warm humanity himself, telling Ariel that he’ll forgive them rather than dole out punishment. His confession brings to mind a passage from Alexandre Dumas’s great 19th-century adventure saga The Count of Monte Cristo, in which the hero exacts revenge on a man who betrayed him and rose to prominence while the hero festered unjustly in a dank prison. The hero gets revenge on the offender, ruining his life, then feels sorry for him since “men who are truly generous are always ready to [be] compassionate when the misfortune of their enemy surpasses the extent of their hatred.” (Alexandre Dumas. The Count of Monte Cristo. University of California, 1894 [digitized 2009], page 80.)

Sympathizing with Alonso, who mourns the apparent loss of his son, Prospero tells him that he too has lost someone dear: a daughter. By this he means she has grown up and he has “lost” her to marriage; in fact, Prospero is delighted by the turn of events.

As the literary critic Northrop Frye explained, tragedies bring ruin to the great and comedies raise up the ordinary. (Northrop Frye. Anatomy of Criticism. Princeton University Press, 1957.) The Tempest is a comedy, and Prospero, at first reduced to ordinariness, finally rises up to his rightful place. No one is killed; beyond a bit of torment amusingly visited on two groups of conspirators, none are truly harmed. Thus, everyone can rejoice, and the playgoers can leave the theater with smiles and happy thoughts.

In the Epilogue, Prospero turns to the audience and asks to be released to his proper fate, as if he were merely a fictional character who wishes to pursue its own dream. Shakespeare thus hints that the real magic of the play occurs within the audience’s imagination.

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