Act I - Scene II
The Island. Before Prospero's cell. |
[Enter Prospero and Miranda] |
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[Miranda sits] |
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[Enter Ariel] |
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[Exit] |
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[Enter Caliban] |
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[Exit Caliban] |
[Re-enter Ariel, invisible, playing and singing; Ferdinand following] |
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[He draws, and is charmed from moving] |
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[Exeunt] |
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— Wesley, Owl Eyes Editor
While Caliban is depicted as contemptible, his relationship with Prospero features into a colonial dynamic within Shakespeare’s play. Prospero considers it a gift to have taught Caliban language; Caliban only sees this education as another form of imprisonment that Prospero has over him. Since Caliban states that the only value of language for him is to curse, we can understand his view that he is not treated equally by those with whom he can communicate. He can only speak to curse his oppressors. The tension between these two symbolically represents the "education" that European colonizers imposed on colonized groups across the world.
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— Wesley, Owl Eyes Editor
The exchange between Prospero and Caliban reveals much about their relationship. Prospero initially treated Caliban with care until Caliban tried to rape Miranda. Caliban’s claim that he wishes he had further depicts him as a despicable creature. Here, Caliban further reveals his vile character by saying that the only valuable thing he has learned from Prospero is how to curse.
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— Wesley, Owl Eyes Editor
Miranda expresses concern for the ship as she watched the storm tear it to pieces. Suspecting her father had something to do with the storm, Miranda expresses her sympathy for the ship and claims that some “noble creature” must have been on it. Since Gonzalo earlier told the Boatswain to remember who is onboard the ship (the King of Naples), Miranda appears to possess some kind of insight about the characters arriving on the island. This passage reveals Miranda to be a kind, compassionate person capably of sympathizing with the suffering of others, which puts her in stark contrast with other characters like Caliban and Antonio.
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— Wesley, Owl Eyes Editor
Under strict orders from Prospero, Ariel disguised himself as a water nymph and sings to bewitch Prince Ferdinand, bringing him to Prospero and Miranda. These first several words,"Full fathom five thy father lies" Ferdinand takes to mean that his father has drowned. This whole selection represents the detailed instructions that Prospero has given to Ariel: creating a kind of play within the larger play. Ariel's song emphasizes the fantastic and magical in the play. The lyrical and alliterative language not only persuades Ferdinand that his father is dead, but it also conveys the impression that the play is like a folktale or myth.
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— Wesley, Owl Eyes Editor
This is an allusion to the rooster Chanticleer whose origins are in fairy tales. Chaucer made Chanticleer even more popular in English stories in The Canterbury Tales.
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— Wesley, Owl Eyes Editor
The “red plague” is another term for smallpox, a human disease that is characterized by skin loss, pustules, and scars. It is believed to have been eradicated globally by widespread vaccination in the 20th century. Caliban invokes this disease here to emphasize his hatred of Prospero and the cruel and painful death he wishes on him.
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— Wesley, Owl Eyes Editor
These words are actually spoken by Prospero to Ariel. When he asks the spirit to “hark in thine ear,” he is telling Ariel to listen closely, and then he gives the spirit instructions for how to approach and deal with Ferdinand.
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— Wesley, Owl Eyes Editor
Most importantly, Gonzalo knew how much Prospero valued his books, which is why Gonzalo helped put them on the ship that took Prospero and his daughter away from Milan. These books contain much of Prospero’s magical power, and without them, he wouldn’t have been able to summon the tempest.
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— Wesley, Owl Eyes Editor
We learn here that Gonzalo, the same from the first scene, took pity on Prospero and Miranda and supplied them with goods before they were sent out to see. That Prospero calls him noble, that he made such efforts with the exiles, and that he showed respect for the Boatswain’s authority on the ship portrays Gonzalo as an amiable and respectable nobleman.
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— Wesley, Owl Eyes Editor
While we shortly do learn that Prospero studied much of his sorcery, his calling this garment “magic,” and removing it to speak with Miranda, is important. In many of Shakespeare’s plays clothing plays an important role in emphasizing status. Since Prospero wears a magic cloak, then this not only bestows him with arcane power, but it also reinforces his position of power on the island.
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— Kayla, Owl Eyes Staff
Prospero praises the work that Ariel has done for him in creating a violent storm; however despite Ariel’s faithful service, Prospero refuses to give Ariel his freedom. When confronted with this injustice, Prospero reminds Ariel that he would not be free if it were not for Prospero’s actions. This is ironic though, as Ariel goes from being enslaved, to free, and back to being enslaved again. Prospero may treat Ariel considerably well in comparison to his previous master, Sycorax, but Prospero still uses his power to maintain his position as master.
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— Kayla, Owl Eyes Staff
Neptune is the Roman god of the sea, the equivalent of Poseidon in Greek mythology. Since Neptune is considered a very powerful god, Ariel’s assertion that he created a storm that would make even Neptune “tremble” suggests that it was a terrifying storm.
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— Kayla, Owl Eyes Staff
While “cell” today might bring to mind an image of a prison cell, in this context a cell is a small dwelling or shack. Prospero’s humble dwelling immediately reveals that he is not a person of great wealth.
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— Kayla, Owl Eyes Staff
Prospero explains that initially, he and his brother Antonio were very close. Prospero emphasizes that he trusted his brother completely, and this makes Antonio’s betrayal all the more painful and shocking. This quote establishes Antonio as the villain of the play, emphasizing how he has used Prospero’s trust against him in his quest for power.
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— Sarah, Owl Eyes Staff
Miranda and Ferdinand both initially mistake each other for spirits—Miranda hasn't ever seen a human male besides her old father, and Ferdinand thinks Miranda is so beautiful that she can't possibly be a human woman. Shakespeare alludes to Aeneas's first glimpse of Venus disguised as a girl when he was shipwrecked at Carthage.
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— Sarah, Owl Eyes Staff
Prospero reveals the story of how he and his daughter, Miranda, came to be stranded on the island. As the Duke of Milan, Prospero was far more interested in reading than politics. He spent his time studying while his brother, Antonio, oversaw daily operations and otherwise managed the dukedom—so effectively, it seems, that he managed to usurp Prospero's power and set he and Miranda (then three-years-old) out to sea.
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— Caitlin, Owl Eyes Staff
Miranda and Prospero express anger that their "education" of Caliban has done very little to civilize him. However, their indignation fails to take into account both Caliban's history and the irony in their form of "civilization." Caliban was a free spirit who has now been forced into slavery. What they are calling his freedom from savagery ironically becomes his imprisonment in servitude. Caliban's character becomes more sympathetic through this lens of injustice.
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— William Delaney
Prospero is going to tell Miranda everything that happened since he was overthrown and she was only three years old. This is all intended to inform the audience of how these two people happen to be marooned on an island and not to enlighten Miranda. In fact, she must have asked him questions in the past, and he would have had no reason for concealing everything from her up to this moment in time.
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— William Delaney
In a stage play the exposition has, with a few exceptions such as in Our Town, to be delivered in the form of dialogue. The whole conversation between Prospero and his daughter is nothing but exposition for the benefit of the audience. Shakespeare has Miranda make an occasional comment or ask an occasional question, but this is merely to try to create the impression that it is a real conversation and not a monologue by Prospero. Obvious examples can be seen where Prospero at the end of a long passage asks, "Dost thou attend me?" and she answers, "Sir, most heedfully." A little later he asks, "Dost thou hear?" and she replies, "Your tale, sir, would cure deafness." There is a great deal of this sort of thing in Prospero's long expository monologue. It is the audience that is being filled in, not Miranda. Shakespeare usually handles exposition more adroitly, but perhaps he had a great deal of background material to fill in before the action got started.
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— William Delaney
This is an indication of Miranda's present age. She was about three years old when they came to the island, and later Prospero will tell her that twelve years ago he was the Duke of Milan. So Miranda is fifteen.