This Act Begins with a Monologue from Prospero in Which He Essentially Implores Ferdinand

This act begins with a monologue from Prospero in which he essentially implores Ferdinand to honor Miranda. The reader begins to see somewhat of a softer side to Prospero here in that he acknowledges to Ferdinand that he [Prosper] has punished him. Prospero explains that his intentions are rooted in his protective love for his daughter. Notice Prospero's language and how he perceives Miranda, "Then as my gift and thine own acquisition worthily purchased, take my daughter." (4.1.15-16). Ferdinand's language demonstrates (possibly) an ownership over Miranda. Note Prospero’ emphasis on her virginity, "But if thou dost break her virgin-knot before all sanctimonious ceremonies" (lines 3-16). The implications of the father-daughter relationship are very strong here: Prospero exerts a rather complete control over Miranda and such control necessarily involves the safeguarding of her virginity. Ferdinand honors Prospero’s pleas.

Prospero calls upon Ariel to perform the magical celebration of the ‘Masque’ which is a form of amateurish dramatic entertainment that was commonly performed among 16th & 17th century nobles. In typical Shakespearean fashion, this part of the scene is loaded with mythological allusions.

Ceres, Iris, and Juno come to the stage to sing to Ferdinand and Miranda. Notice that Venus and Cupid are banished from the world of Prospero's masque. Instead, the songs of Ceres and Juno celebrate chaste love, a temperate union that eschews extremes of passion. The songs also make reference to the four elements- earth, fire, water, air- which is certainly appropriate considering Areil’s various guises and shape-shifting capacities. Juno and the rest of the figures bless the marriage. Prospero and Ariel’s Masque, then, is meant to be a blessing of sorts to this impending marriage. Ferdinand, especially, is taken with the vision paraded before Miranda and him. He states, “This is a most majestic vision!” (line 117).

The sanctity of the marriage bond is developed, then, via Prospero’s discussion of Miranda’s virginity and the elaborate performance of the Masque. All the while, magic continues to be a powerful motif, the agent through which Prospero can achieve his varied and layered goals….

The Masque is all its glory dissipates when Prospero suddenly remembers the plot against him in the aside beginning at line139. The revenge motif again rears its ugly head…

Like magic, one cannot escape the motif of sleep. Prospero's speech at line 146 shows not only a touching view of his ideas of Ferdinand as a son, but it also shows a bit about the idea of acting and the value of the individual. He states, "We are such stuff as dreams are made on, and our little life is rounded with a sleep" (lines 156-158). When people make reference to Shakespeare as Prospero, this is a commonly referenced portion of the text. [More on Prospero as a stand-in for Shakespeare as we finish out Act 5).

Prospero enquires about Caliban to Ariel. Ariel explains how he led the three through briars and marsh. Prospero acknowledges that he will plague them all. Caliban, Stephano, and Trinculo enter Prospero's dwelling. The men see Prospero's clothes and think about stealing them. The buffoon Trinculo says, "Look what a wardrobe here is for three!" (line 218). Ever-sharp, Caliban warns them against it, explaining that Prospero will make the three suffer with "pinches and strange stuff" (lines 234-235). Regardless, the men touch the robes, and as they do they are attacked by dogs, hounds, and spirits. These images chase them off stage.

Prospero’s closing monologue is dark and ominous, “Let them be hunted soundly…”

Questions to consider as we move into the final act: How can it be argued that Prospero is a layered and sophisticated character in this act in particular?....