Scene Study prepares you to perform key scenes for your theater class or audition. We've got all the information you need for a great performance.

Excerpt from Act 3, Scene 3 Monologue: Ariel

 

ARIEL

You fools, I and my fellows
Are ministers of fate. The elements
Of whom your swords are tempered may as well
Wound the loud winds or with bemocked-at stabs
Kill the still-closing waters as diminish
One dowl that’s in my plume...

Read the full monologue.

 

 

Understanding the Given Circumstances

  • The scene takes place on Prospero’s enchanted island, during a supernatural banquet set up by Ariel for Alonso, Antonio, Sebastian, and others. The atmosphere is ominous, with thunder and lightning heightening the tension.
  • The monologue comes after the feast magically vanishes. Ariel, appearing in the fearsome form of a harpy, accuses the men of sin and explains that their suffering is a form of divine retribution.
  • As Ariel addresses the characters—Alonso (King of Naples), Antonio (Prospero’s brother who betrayed him), and Sebastian—he reminds them of their past crimes against Prospero, including casting him and his daughter Miranda into the sea.
  • This moment is crucial because it marks a turning point when the wrongdoers must reckon with their actions, setting the stage for Prospero’s eventual decision regarding forgiveness and reconciliation.

 

Blocking and Movement

In theater, blocking is the process of planning the actors’ physical movements and positions. Be sure to show respect and establish trust when working with scene partners. As you prepare to block this scene, ask yourself the following questions:

  • How does Ariel’s supernatural entrance as a harpy impact his first movements?
  • How might Ariel’s movements mirror the stormy environment?
  • When reminding the men of their betrayal of Prospero, how should Ariel move and interact with each character? 
  • How should Ariel move during significant lines, such as “You are three men of sin,” to allow the weight of the words to settle with the accused?
  • How might Ariel physically react to the courtiers drawing their swords?
  • How should Ariel vanish at the end of the monologue?
  • How can Ariel’s wings or costume elements be used in movement to enhance the harpy persona?
  • How might Ariel use different stage positions to symbolize shifting power dynamics throughout the monologue? For example, might he stand on a platform to increase his height?

 

Meaning in Heightened Language

In The Tempest, Shakespeare’s heightened language in Ariel’s monologue conveys authority, accusation, and the power of the supernatural. Ariel speaks not just as an individual but as a representative of “Destiny” and “the powers” that govern justice. The Tempest is written in iambic pentameter, and in Ariel’s monologue, this formal, poetic structure, combined with vivid imagery and rhythmic phrasing, reflects Ariel’s role as a mystical enforcer of fate. By understanding and emphasizing the natural rise and fall of the meter, an actor can enhance the speech’s lyrical quality and convey Ariel’s supernatural authority with greater precision.

Consider the following questions:

  • Ariel uses grand, evocative language like “never-surfeited sea” and “ministers of fate” to emphasize cosmic justice. How can you use tone and pacing to convey the weight of these concepts?
  • The repetition of themes like sin, destiny, and punishment reinforces Ariel’s role as a judge. Why would you emphasize these words, and how will doing so affect your performance of Ariel?
  • The imagery of futility in “wound the loud winds” and “kill the still-closing waters” shows the powerlessness of Alonso, Antonio, and Sebastian. What can you do to reinforce this imagery in your performance?
  • Experiment with vocal dynamics. What performance choices can you make to express Ariel’s supernatural power and emotional detachment?

 

Full Act 3, Scene 3 Monologue: Ariel

 

Thunder and lightning

Enter ARIEL, like a harpy, claps his wings upon the table, and, with a quaint device, the banquet vanishes

ARIEL

(to ALONSO, ANTONIO, and SEBASTIAN)
You are three men of sin, whom Destiny,
That hath to instrument this lower world
And what is in ’t, the never-surfeited sea
Hath caused to belch up you—and on this island
Where man doth not inhabit, you ’mongst men
Being most unfit to live. I have made you mad,
And even with such like valor men hang and drown
Their proper selves. (some of the courtiers draw their swords)
    You fools, I and my fellows
Are ministers of fate. The elements
Of whom your swords are tempered may as well
Wound the loud winds or with bemocked-at stabs
Kill the still-closing waters as diminish
One dowl that’s in my plume. My fellow ministers
Are like invulnerable. If you could hurt,
Your swords are now too massy for your strengths
And will not be uplifted. But remember—
For that’s my business to you—that you three
From Milan did supplant good Prospero,
Exposed unto the sea, which hath requit it,
Him and his innocent child. For which foul deed
The powers—delaying, not forgetting—have
Incensed the seas and shores, yea, all the creatures,
Against your peace.—Thee of thy son, Alonso,
They have bereft, and do pronounce by me
Lingering perdition, worse than any death
Can be at once, shall step by step attend
You and your ways; whose wraths to guard you from—
Which here, in this most desolate isle, else falls
Upon your heads—is nothing but hearts’ sorrow
And a clear life ensuing.

ARIEL vanishes in thunder

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