Act V
Before Prospero's cell. |
[Enter Prospero in his magic robes, and Ariel] |
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[Exit] |
[Prospero draws a magic circle with his staff] |
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[Ariel sings and helps to attire him as Duke of Milan] |
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[Exit] |
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[He embraces Alonso] |
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[Here Prospero discovers Ferdinand and Miranda playing at chess] |
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[He kneels] |
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[Ferdinand rises] |
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[Re-enter Ariel, driving in Caliban, Stephano, and Trinculo, in their stolen apparel] |
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[Exit Caliban] |
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[Exeunt Stephano and Trinculo] |
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[Exeunt all but Prospero] |
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— Kayla, Owl Eyes Staff
By “thing of darkness,” Prospero is referring to Caliban. We again see Prospero denying Caliban’s humanity, referring to him as a nonhuman “thing” rather than a man, which Prospero has done numerous times throughout the play. The term “darkness” refers to Caliban’s skin tone, further emphasizing Prospero’s racism. Prospero believes Caliban is his property and treats him as if he were his pet or possession. Considering that the play was written only a few decades before the Atlantic slave trade began, during this time colonizers would have referred to indigenous people as “thing[s]” to justify their enslavement of them. Viewed through this lens, Prospero’s comments echo this imperial mindset.
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— Kayla, Owl Eyes Staff
Notice that all of the characters have been brought together here, even those that have been presumed dead. Gonzalo points out that although the storm wreaked havoc on the group, the natural order has actually been restored: Prospero has regained his dukedom, and Ferdinand and Miranda have fallen in love. Gonzalo again illustrates his caring and optimistic nature here, emphasizing that although the characters have faced much adversity, they have all found themselves even “when no man was his own.” However, while Gonzalo describes the ways in which Italian society has been improved upon by the storm, he ignores the ways in which the natives of the island have been affected. Gonzalo’s celebratory comments may be coming from a place of compassion, but they also indicate his ignorance of and indifference to the plight of the natives.
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— Wesley, Owl Eyes Editor
Ariel’s exclamation here represents her surprise and pleasure at seeing so many new people. However, it also represents how young and naive she is, because many of these men, and humans in general, are cruel, selfish, and treacherous, a fact that Prospero immediately points out in the next line.
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— Wesley, Owl Eyes Editor
Having resolved to free Alonso and the others, Prospero gives a speech about his experiences with magic and concludes that he shall give it up after his final actions by breaking his staff and throwing his books into the ocean. Prospero’s resolution suggests that this must happen in order for him to return to Italy and to restore a natural order and balance of power. A further reading of this passage could represent a symbolic farewell by Shakespeare to the theatre, with magic and the power to write drama as gifts that are not meant to last forever.
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— Wesley, Owl Eyes Editor
Prospero has decided to be more sympathetic, and despite the hurt he feels for Antonio’s past transgressions, this line represents his reasoning that it is better to be virtuous than vengeful. The use of “rarer” here also has a double meaning. While it can refer to something happening less frequently, the word “rare” can also mean something of value or quality. Therefore, acting with compassion and forgiveness is a more important part of being human.
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— Wesley, Owl Eyes Editor
Prospero’s response to Ariel’s inspiring him to be more compassionate towards others once again portrays Ariel in a noble way despite being only “air.” Prospero uses this as a comparison for his humanity and Ariel’s non-humanity, saying that Prospero should sympathize even more for Alonso and the others because they are human, and if Ariel can have such compassion, then Prospero should have even more.
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— Wesley, Owl Eyes Editor
While Prospero does have magical power of his own, Ariel has done nearly all of the work in carrying out Prospero’s plan. In addition to Ariel’s power, he has also acted with more compassion, intelligence, and restraint than most of the characters in the play. Keeping this in mind, it is somewhat ironic that this humble comment reminds the audience that Ariel is not human because of his actions and the advice he gives Prospero. Ariel’s role then, like Caliban’s, can be viewed as another example of a colonized subject, obediently doing Prospero’s work and passively accepting Prospero’s without claiming a right to equal status.
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— Jane, Owl Eyes Staff
Prospero finally sets Ariel free with these words. Though certain earlier scenes in the play may suggest that the relationship between Prospero and Ariel could be interpreted as a form of slavery, Prospero’s word choice here clearly shows that the relationship is very different from the hate-filled one between Prospero and Caliban. Prosper calls Ariel a “dainty,” or excellent, spirit and admits that he will miss Ariel.
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— Jane, Owl Eyes Staff
Prospero’s statement further reinforces the master and slave relationship between him and Caliban. Also, calling Caliban a “thing of darkness” reveals Prospero’s disgust towards the slave; at the same time, the three words dehumanize and demonize Caliban.
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— Jane, Owl Eyes Staff
Miranda’s first impression of humankind reflects her overwhelming innocence that has resulted from being stranded on the island for twelve years with only Prospero and Caliban. Miranda calls the men from the shipwreck “beauteous,” showing her shallow knowledge of humankind. At the same time, seeing other humans has created a “brave new world” in her mind. “Brave” in this context refers to “fine,” “noble,” and “splendid.”
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— William Delaney
The world always looks new to the young, but it is really very old and full of specimens of humanity who can hardly be described as "beauteous." Prospero's brief observation should draw laughter from the audience, because most of them have been around for a while and know what the world is like.
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— William Delaney
Aldous Huxley borrowed the title of his best-known novel Brave New World from this enthusiastic exclamation by Miranda. She is young and expects a great deal more of the world than the world has to offer. She has been living on an island for most of her life and knows nothing about the outside world. Huxley's use of Brave New World as his title suggests that people once expected the future world to be wonderful because of all the advances in science and technology, but there have been many adverse developments as well. In The Tempest, Miranda's father, who has had a lot of sobering life experiences, knows that Miranda will have a more realistic view of the world in the future. He doesn't have to tell her what he thinks. She will have to find out for herself. Everybody does.