The Tempest

by: William Shakespeare

Act IV, scene i

In almost all of Shakespeare’s comedies, marriage is used as a symbol of a harmonious and healthy social order. In these plays, misunderstandings erupt, conflicts break out, and at the end, love triumphs and marriage sets everything right. The Tempest, a romance, is not exactly a comedy. However, it is deeply concerned with the social order, both in terms of the explicit conflict of the play (Prospero’s struggle to regain his place as duke) and in terms of the play’s constant exploration of the master-servant dynamic, especially when the dynamic appears unsettled or discordant. One reason Shakespeare might shift the focus of the play to marriage at this point is to prepare the audience for the mending of the disrupted social order that takes place at the end of the story. Calling upon all the social and dramatic associations of marriage, and underscoring them heavily with the solemnity of the masque, Shakespeare creates a sense that, even though the play’s major conflict is still unresolved, the world of the play is beginning to heal itself. What is interesting about this technique is that the sense of healing has little to do with anything intrinsic to the characters themselves. Throughout this scene, Ferdinand seems unduly coarse, Miranda merely a threatened innocent, and Prospero somewhat weary and sad. But the fact of marriage itself, as it is presented in the masque, is enough to settle the turbulent waters of the story.

After this detailed exploration of marriage, the culmination of Caliban’s plot against Prospero occurs merely as a moment of comic relief, exposing the weaknesses of Stephano and Trinculo and giving the conspirators their just desserts. Any hint of sympathy we may have had for Caliban earlier in the play has vanished, partly because Caliban’s behavior has been vicious and degraded, but also because Prospero has become more appealing. Prospero has come to seem more fully human because of his poignant feelings for his daughter and his discussion of his old age. As a result, he is far easier to identify with than he was in the first Act. Simply by accenting aspects of character we have already seen, namely Prospero’s love for Miranda and the conspirators’ absurd incompetence, Shakespeare substantially rehabilitates Prospero in the eyes of the audience. We can cheer wholeheartedly for Prospero in his humorous defeat of Caliban now; this is one of the first really uncomplicated moments in the play. After this moment, Prospero becomes easier to sympathize with as the rest of the story unfolds.


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