Comedies of William Shakespeare Ver. 1.00 Part IV (C) COPYRIGHT 1987 by The Neutral Zone ALL RIGHTS RESERVED ------------------------------------------------------------ MEASURE FOR MEASURE Cast of Characters Main Characters VINCENTO, Duke of Venice, an admirable, kindly ruler, but so afraid of being thought a tyrant that he refuses to accept the responsibility for enforcing the harsh laws of his country. ANGELO, Vincentio's deputy, a hard and frosty man, cannot himself resist temptation. He falls into the very sin he punishes others for. CLAUDIO, a young gentleman, nearly loses his life because of his unrestrained love. ISABELLA, Claudio's sister, refuses to sacrifice her honor for her brother's life, and turns from a nunnery to merry the Duke. MARIANA, once engaged to Angelo and spurned by him in a plot which finally finds her married to the hard-hearted deputy. JULIET, Claudio's sweetheart, suffers many indignities before her lover finally becomes her husband. Supporting Characters --------------------- ABHORSON, an executioner BARNADINE, a prisoner ELBOW, a stupid constable ESCALUS, an old lord FRANCISCA, a nun FROTH, a silly gentleman LUCIO, another foolish gentleman MISTRESS OVERDONE, a prostitute PETER, a friar POMPEY, a servant PROVOST, a jailer THOMAS, a friar VARRIUS, a gentleman attending the Duke (Gentleman, a justice, Lords, Officers, a Boy, Attendants) (PLACE: The city of Vienna) BACKGROUND. Composed and performed in 1604, the play was not printed until 1623. A play by George Whetstone, "Promos and Cassandra" (1578), furnishes the direct source. Whetstone's play is in turn based upon an incident from the "Hecatommithi" (1565), a work by an Italian writer, Giraldi Cinthio. Cinthio is thought to have drawn his tale from an actual occurrence in an Italian town. Though the play is usually classed among the comedies, it has been called a "problem play." Its dark and brooding tragic overtones are relieved only by a happy ending. ACT BY ACT ANALYSIS ------------------- ACT I. Unwilling to enforce the harsh laws of his domain, the Duke of Vienna announces his plans to leave the city for a time. In his absence, he appoints Angelo to rule, aided by Escalus (i). The Duke, however, merely goes into hiding disguised as a friar, making Friar Thomas his confident (iii). As soon as he assumes power, Angelo arrests Claudio for sexual promiscuity with Juliet, the girl Claudio plans to marry. Unable to find the Duke and appeal directly for mercy, the unfortunate young man sends Lucio to find Isabella, Claudio's sister. She is about to enter a nunnery, but Claudio hopes that she will delay her entrance long enough to intercede for him (ii). When Isabella receives the message, she promises to plead with Angelo (iv). Meanwhile, throughout the act the effect of Angelo's law enforcement campaign upon the lower strata of the city's poor society is illustrated by the actions of Elbow, the foolish constable, who pursues Madame Overdone and her servant, the clown Pompey. ACT II. Escalus appeals to Angelo on behalf of Claudio. The stern deputy refuses to be lenient and justifies his harshness on the grounds that an example must be made (i). Now Isabella appears and adds her pleas to those of Escalus. Still unmoved, Angelo does, however, consent to see her again on the following day. Left alone, Angelo wonders aloud if his motives concerning Isabella are honorable (ii). Next day Isabella returns. His passion thoroughly aroused, Angelo offers to free her brother if she will submit to him. Refusing, she threatens to expose him; he scoffs; no one, he says, will believe her story. Utterly crushed, she realizes that he has spoken truly (iv). ACT III. Awaiting his execution, Claudio receives Isabella, who tells him of Angelo's proposal. Panicky at the thought of approaching death, Claudio pleads with his sister to accept Angelo's offer; but soon he realizes the enormity of the conduct. In his role as a sympathetic friar, the Duke suggests a counterplot. He suggests that the sister accept Angelo's monstrous proposition. But Mariana, a girl who was once engaged to marry Angelo, and who still loves him, will be substituted when the assignation takes place (i). On the comic level, Elbow continues his pursuit of Madame Overdone and her entourage, and finally succeeds in having them imprisoned. Lucio entertains the disguised Duke with tales of the Duke's supposed misdemeanors, supposing that he is impressing a simple friar (ii). ACT IV. Mariana agrees (offstage) to take Isabella's place "i' th' dark," and the meeting with Angelo is arranged (i). Angelo suspects nothing when he meets her; but instead of freeing Claudio, he treacherously sends his jailer a letter confirming the execution and demands that Claudio's head be sent to him. At first the disguised Duke and jailer plan to substitute the head of Barnardine, a condemned criminal (ii); but finally they decide to spare him and send the head of an already dead pirate. Now the Duke is readily to spring his trap for Angelo. He writes a not telling his deputy that he plans to return, and arranges to be met at the city gates (iii). He plots with Isabella: she is to accuse Angelo of deflowering her. Mariana, the real victim, is to play another role (iv). ACT V. Isabella denounces Angelo, who denies his guilt. The Duke, now stripped of his disguise, pretends to defend the guilty deputy, and sends for his other self (the friar) to plead the women's cause. He leaves the stage and returns again disguised. At a properly dramatic moment, the poor friar is revealed as the real ruler of the city. When Angelo, confronted by his master, confesses, he is forced to marry Mariana. Once married, he is to death but is finally spared when it is revealed that Claudio still lives. Claudio and Juliet are reunited, and the Duke announces his love for Isabella. Tripped up by his earlier bragging and lying, Lucio is forced to marry a prostitute (i). ------------------------------------------------------------- CYMBELINE Cast of Characters Main Characters CYMBELINE, King of Britain, a weak man, easily swayed by his evil queen. CLOTEN, the Queen's son by a former husband. Though he is a doltish lout, he is not without some patriotism. His mother is intent on his marrying Imogen. Posthumus Leonatus, a gentleman, Imogen's husband. In our day Posthumus' wager with Iachimo seems in poor taste; however, to the Renaissance mind it probably was a perfectly honest act of faith in Imogen. IACHIMO, the villain. Note the similarity between his name and Iago's "Othello". In general, he is the same kind of scheming opportunist; but his plans fail, and he is saved from death. QUEEN, Cymbeline's wife. She is an example of the traditional stepmother. Anxious to advance Cloten, she is completely unscrupulous in her methods. IMOGEN, Cymbeline's daughter by a former marriage. She is one of Shakespeare's triumphs of characterization: though faithful and loving, she is capable of desperate measures when they become necessary. Supporting Characters --------------------- ARVIRGUS, son of Cymbeline, disguised under the name of Cadwal. BELARIUS, a banished lord disguised under the name of Morgan. CAIUS LUCIUS, emissary for Augustus Caesar and general of the Roman forces which invade Britain. CORNELIUS, a physician. GUIDERIUS, son of Cymbeline, disguised under the name of Polydore. PHILARIO, a friend of Posthumas, who introduces Posthumas to Iachimo. PISANIO, servant to Posthumus. (A Roman Captain; two British Captains; a Frenchman, friend of Philario; two Lords of Cymbeline's court; two Gentlemen of the same; two Gaolers; Helen, a lady attending on Imogen; Lords; Ladies; Roman Senators; Tribunes; a Soothsayer; a Dutchman; a Spaniard; Musicians; Officers; Captains; Soldiers; Messengers; Attendants; Apparitions.) (PLACE: Britain; Rome) BACKGROUND. "Cymbeline" was probably composed and played in 1610. The first appearance in print is in the First Folio of 1623. Some critics claim to see the hand of an interpolator or collaborator especially with regard to the verse of Posthumus vision. The two principal sources are a tale from the second day of the "Decameron" by Boccaccio and Holinshed's "Chronicle." Shakespeare may also have received some ideas from the play printed in 1589, "The Rare Triumphs of Love and Fortune." ACT BY ACT ANALYSIS ------------------- ACT I. Cymbeline, King of Britain, has married a second wife, a widow with one son, Cloten. The Queen, to protect the interests of her son, wishes him to marry Imogen, daughter of Cymbeline and heiress to the throne. However her plans hit a snag when Imogen marries Posthumus, a noble gentleman, who because of his family's bravery in the service of Cymbeline, has been reared at the court. Posthumus has been a great favorite of the King, partly because Cymbeline's own sons, Guiderius and Arviragus, have been kidnapped in infancy. The Queen succeeds in arousing the King's anger at Posthumus and Imogen because of their hasty marriage and convinces him that he should banish the young bridegroom from court, though she pretends to be friendly to the lovers. As Imogen and Posthumus part, she gives him a ring and receives a bracelet in return (i). When Posthumus prepares to leave the court for exile in Italy, the doltish Cloten draws his sword on him; but they are parted before Cloten is hurt (i,ii). The only person left at court to comfort the distracted Imogen is Pisanio, Posthumus' faithful servant (iii). When Posthumus arrives in Rome and sings the praises of his wife in the company of Iachimo, the latter challenges Imogen's chastity. A wager is then proposed: Iachimo is to go to Britain and test Imogen's faithfulness; if he brings back proof of his intimacy with her, he will receive Posthumus' ring and friendship; if not, he must pay Posthumus ten thousand ducats and fight a duel with him (iv). Iachimo arrives at the British court and attempts to seduce Imogen with a story of Posthumus' unfaithfulness to her; but when she refuses to believe the lie, Iachimo dissembles, says that he is has been testing her, and asks her to keep a trunk full of treasure for him in her room. She willingly consents (vi). Meanwhile, the Queen has a plan to rid herself of Imogen by putting what she thinks is a deadly poison in the hand of Pisanio with instructions to deliver it as a cordial to Imogen; however, Cornelius, the physician, has mixed, instead of a poison, a harmless sleeping potion (v). ACT II. As Imogen retires, Iachimo, who has hidden in the trunk, approaches her, observes the chamber closely, slips the bracelet off her arm, notices a mole on her left breast, and returns to the trunk (ii). When he returns to Rome, he describes these details and shows the bracelet to Posthumus. The husband believes his wife guilty (iv) and delivers a diatribe on the weakness of the women (v). Meanwhile, Cloten is angered by Imogen's contemptuous treatment of his suit for her hand and swears revenge (iii). ACT III. Pisanio receives a letter from Posthumus, requesting him to kill Imogen. Imogen also receives a letter from Posthumus, which requests her to accompany Pisanio to Wales ostensibly to meet him there, actually to afford Pisanio an opportunity to kill her (ii). When the two arrive in Wales, Pisanio, unable to fulfill his masters request, shows her the letter. He suggests that she dress as a boy; and, since Lucius, the Roman ambassador is to arrive in Wales shortly, he advises her to accompany the Romans to Italy, to find Posthumus, and to make her peace with him (iv). Imogen, lost, wanders around Welsh hills and seeks refuge in a cave. This cave is inhabited by three mountaineers (identified in iii as Belarius, Guiderius, and Arviragus). Belarius, a nobleman having been misjudged by Cymbeline, out of revenge has kidnapped the Kings' sons in infancy and has raised them under assumed names as his own sons. When the three return to the cave, the boys feel unaccountably attracted to the disguised Imogen (vi). Meanwhile, Lucius, who has come to Britain to collect tribute for Augustus Caesar, is refused the tribute by Cymbeline, who has egged on by the Queen and Cloten (i). The Romans consequently plan to invade Britain (vii). Pisanio, now that Imogen is safe, saves his own life by showing to Cloten Imogen's letter from Posthumus and by giving Cloten some of Posthumus' clothes. Cloten now intends to ambush Posthumus when he comes to Wales and to ravish Imogen (v). ACT IV. In Wales, Belarius sees Cloten and recognizes him. Under provocation Guiderius kills Cloten and cuts off his head. Meanwhile Imogen has taken the cordial and lies seemingly dead in the cave. Guiderius and Arviragus place her body with honors beside Cloten's headless trunk. She awakens, sees the corpse dressed in Posthumus' garments, and believes it to be her husband. Sick at heart, she meets Lucius and the Romans, tells them that the dead man is her master, watches him buried, and goes with Lucius as his page (ii). Meanwhile, things are going badly with Cymbeline: his Queen is mortally ill; Cloten and Imogen are missing; and the Romans are on their way to Britain (iii). In spite of the misgivings of Belarius, he yields to the pleas of Guiderius and Arviragus, and he and the boys decide to fight for Britain against the Romans (iv). ACT V. Posthumus has received a bloody handkerchief from Pisanio; and, believing it to be a token of Imogen's death, he is struck with remorse. He had come to Britain with the Romans, but now intends to disguise as a British peasant and to fight for Britain (i). Posthumus, Belarius, and Arviragus are the heroes of the battle: they rally the Britons, who have been in retreat. In single combat with Iachimo, Posthumus disarms him, but leaves him alive (ii). The day won, Posthumus longs for death, he displays himself as a Roman before the Britons and is taken prisoner (iii). In prison under sentence of death, Posthumus sees a vision, in which Jupiter prophesies that when a lion's whelp shall be embraced by a piece of tender air when from a stately cedar lopped branches shall to the old stock and revive, then shall Posthumus be happy and Britain fortunate. A messenger enters and orders Posthumus to be unshackled and to be taken to the King (iv). Meanwhile, the Queen has died, and Cornelius enters with her confessions of villainies: she has intended to murder Cymbeline himself. Imogen, still disguised as a boy, is brought in with the Roman prisoners, and Lucius begs for her life. Cymbeline feels that he has seen the pseudo- boy before, and three mountaineers are struck with wonder at seeing the one who they have thought was dead. When Cymbeline offers to grant her a boon, she asks Iachimo, also among the prisoners, whence he received the ring he is wearing. Iachimo confesses his guilt, and in turn Cornelius tells his story of the supposed poison which he furnished the Queen. Imogen is thereupon returned to her father and her husband. When Guiderius confesses his murder of Cloten, the three mountaineers stand under penalty of death until Belarius confesses his kidnapping; then the sons are restored to their father. The soothsayer now interprets Posthumus' vision: Posthumus Leonatus (leo-natus) is the lion's whelp; the tender air (mulier supposedly from mollis aer) is Imogen; the lofty cedar is Cymbeline, and the lost branches are his sons. Everyone, even Iachimo, is forgiven; Cymbeline is to resume his tribute to Rome; and Rome and Britain are to live in peace (v). ------------------------------------------------------------- THE WINTER'S TALE Cast of Characters Main Characters LEONTES, King of Sicilia. His unwarranted jealousy of Hermione precipitates the action of the play. CAMILLO, Lord of Sicilia. He leaves Leontes' service for that of Polixenes when Leontes orders him to kill Polixenes. He remains faithful friend of all the principal characters. POLIXENES, King of Bohemia. Leontes suspects that Polixenes has cuckolded him. Then Polixenes' opposition to his son's marriage to Perdita brings the action back to Sicilia. FLORIZEL, son of Polixenes and Prince of Bohemia, in love with Perdita. HERMIONE, Leontes' Queen, unjustly suspected of infidelity. In a simple yet effective courtroom speech, she stoutly maintains her innocence. PERDITA, daughter of Leontes and Hermione, in love with FLORIZEL. The discovery of her identity fulfills the prophecy of the Delphic oracle. PAULINA, wife of Antigonus, sharp-tongued but burning for justice. She acts, in a sense, as Leontes conscience. Supporting Characters --------------------- ANTIGONUS, a lord of Sicilia, husband to Paulina. He leaves the infant Persia in Bohemia and is punished by death for the injustice. ARCHIDAMUS, a lord of Bohemia. AUTOLYCUS, one of Shakespeare's famous rogues. He cheats the rustics at every opportunity. CLEOMENES and DION, lords of Sicilia. MAMILLIUS, young Prince of Sicilia. OLD SHEPHERD, reputed father of Perdita. CLOWN, his son. (A Mariner; a Gaoler; Emilia, a lady attending on Hermione; Mopsa and Dorcas, Shepherdesses; Time, as chorus; other Lords and Gentlemen; Ladies; Officers; Servants; Shepherds; and Shepherdesses.) (PLACE: Sicilia and Bohemia) BACKGROUND. Played in 1611, this drama found its way into print in the First Folio of 1623. The principal source is Robert Greene's "Pandosto, The Triumph of Time" (1588). There are also some minor sources. ACT BY ACT ANALYSIS ------------------- ACT I. Polixenes, King of Bohemia, has been visiting at the court of his boyhood friend Leontes, King of Sicilia (i). When the time arrives for Polixenes to return to Bohemia, Leontes in vain begs his friend to extend his stay. But Queen Hermione, at her husband's behest, finally convinces Polixenes that he should remain a time longer. Now however, Leontes becomes irrationally jealous of Queen Hermione and Polixenes. Positive in his own mind that Polixenes is cuckolding him and is the father of Hermione's unborn child, Leontes orders Camillo, Polixenes' cupbearer at the court Sicilian Court to poison Polixenes. Camillo pretends to agree to do the deed, but immediately finds Polixenes and tells him of Leontes' enmity. Polixenes takes Camillo into his own service and leaves the Sicilian Court by stealth. Meanwhile, of course, Hermione is left to bear the brunt of her husband's jealousy (ii). ACT II. When he hears of Polixenes' departure, Leontes is furious. In spite of the protests of some of his courtiers, Leontes separates Hermione from Mamillius, their son, and orders her to prison. He proposes to hold her in confinement until he hears from the Delphic oracle the truth about his domestic situation (i). Meanwhile, in prison Hermione gives birth to a daughter. Paulina determines the child to be Leontes, hoping thus to soften the father's heart (ii). But when she delivers the baby to Leontes, he insists that it is not his child and orders it burned. Somewhat softened by the horrified exclamations of the courtiers, he relents to the extent that he pledges Antigonus, Paulina's husband, to take the child abroad by sea and to leave it in some remote and deserted place (iii). ACT III. At the trial of Hermione, Leontes accuses her of adultery. Simple and noble, she denies the indictment. The oracle from Delphi is then read in the court: it states that "Hermione is chaste; Polixenes blameless; Camillo a true subject; Leontes a jealous tyrant; his innocent babe truly begotten; and the King shall live without an heir, if that which is lost is not found." When Leontes blasphemously denies the validly of the oracle, he is immediately informed that Mamillius has died. To add further catastrophe, Paulina enters with word that Hermione is also dead. Leontes is thus left completely alone (ii). Meanwhile, in a dream Antigonus has been instructed to leave the babe in Bohemia and to name her Perdita. He also dreams that because of his share in Leonte's guilt, he shall never see Paulina again. No sooner has he laid Perdita on the ground than he is chased and killed by a bear, and the ship in which he has come is destroyed by a storm. Perdita is found by a shepherd and his son, a clown. The shepherds, impressed by the clothes on the infant and by the gold left beside her, decides to take her home with him (iii). ACT IV. Sixteen years have elapsed; Perdita has been taught to consider the shepherd as her father (i). Polixenes, meanwhile has received information that his son, Florizel, has been visiting a shepherd's hovel to see the shepherd's pretty daughter. He confers with Camillo, and the two decide to disguise themselves and visit the shepherd so that they may observe Florizel's actions (ii). Since Perdita knows that Florizel is the King's son, she is also worried what will happen if the King discovers that they are in love. Polixenes and Camillo arrive at the shepherd's hut during the sheep-shearing feast. There is much merriment: a dance of shepherds and shepherdesses; a dance of satyrs; singing by Autolycus, a rogue who consistently cheats the clown and the other rustics. When the shepherd announces the engagement of Perdita to Florizel, Polixenes reveals his identity; denounces his son with much bitterness; and threatens the shepherd, the clown, and Perdita with death. Since Florizel has a boat ready to sail, Camillo (who now wishes to return to Sicilia) suggests that Florizel and Perdita sail for Sicilia and put themselves under Leontes' protection without telling him that they are fleeing from Polixenes. Camillo then intends to inform Polixenes of the flight and thus expects to secure his own return to Sicilia by following the lovers. Meanwhile, to protect himself, the shepherd decides to reveal to Polixenes that Perdita is not his daughter and show the King the clothes and money he found lying beside the deserted child. However, on their way to find Polixenes, the shepherd and the clown meet Autolycus, who, hoping to return to the service of the Prince, induces them to go with him on board Florizel's boat (iv). ACT V. In Sicilia, Paulina exacts a promise from Leontes that he will never marry again until she can choose a wife for him. Florizel and Perdita, pretending to be married, arrive and receive a gracious welcome from Leontes. Word now comes that Polixenes is also in Sicilia, has met the shepherd and the clown, and intends to find the lovers. Florizel confesses to Leontes that he is not married and that his beloved is of humble birth. Leontes promises to intercede with Polixenes for the lovers (i). By report we learn the following news: through the shepherd's story Perdita has been acknowledged the daughter of Leontes; Paulina has discovered Antigonus' death; and Paulina has created a statue of Hermione. The shepherd and the clown are now made gentlemen for their the part in the affair (ii). Paulina escorts Leontes and the others to the others to the unveiling of the statue. After Leontes has stared at the statue for several minutes, it comes alive; and Hermione herself descends to her husbands arms. She has been hiding until her daughter is found. All the families are now reunited; and, since Paulina has lost her husband, Leontes suggests that Camillo marry her (iii). ------------------------------------------------------------- THE TEMPEST Cast of Characters Main Characters ALONSO, King of Naples, accessory to the plot which has deprived Prospero of his dukedom. SEBASTIAN, his brother, also an accessory; he later joins with Antonio in an Abortive plot to kill Alonso. PROSPERO, the rightful Duke of Milan. Having been deprived of his dukedom, Prospero, on the island, devotes himself to magic. ANTONIO, his brother, who has usurped the dukedom and who foments a plot to replace Alonso with Sebastian as King of Naples. FERDINAND, son of Alonso. He falls in love with Miranda. MIRANDA, daughter of Prospero. She loves Ferdinand. Supporting Characters --------------------- ADRIAN and FRANCISCO, Lords ARIEL, an airy spirit and servant to Prospero. CALIBAN, a monster, the son of the witch Sycorax and unwilling servant of Prospero. GONZELO, an honest old counselor, who has befriended Prospero. STEPHANO, a drunken butler, whom Caliban mistakes for a god and who intends to succeed Prospero as master of the island. TRINCULO, a jester, a member of the plot to kill Prospero. (Master of a Ship; Bostswain; Mariners; the following spirits: Iris, Ceres, Juno, Nymphs, Reapers; Other Spirits attending on Prospero.) (PLACE: A ship at sea; an uninhabited island) BACKGROUND. Played in 1611, this play is probably the last one written entirely by Shakespeare. The first printing is the First Folio of 1623. There are a number of influences traceable in the play, but the primary source is probably a letter written by William Strachey called "A true repertory of the wracke of the 'sea adventure,' and the redemption of Sir Thomas Gates, Knight," not printed until 1625 but in private circulation after its date of composition, July 15, 1610. Two other accounts of the wreck probably influenced Shakespeare: Sylvester Jourdan's "A Discovery of the Bermudas, otherwise called the Isle of Divals" and Stachey's "A True Declaration of the Colonie in Virginia." ACT I. Because the chief interests of Prospero, Duke of Milan, lay in "secret studies" rather than statecraft, twelve years ago he was dispossessed of his dukedom by his brother Antonio, aided by Alonso, King of Naples. Antonio, to gain Alonso's aid, promised tribute and homage to Naples. When Antonio set Prospero and his daughter, Miranda, afloat in a rotten boat, they were saved by the ministrations of Gonzelo, who had put into the boat fresh water, food, clothing, and Prospero's books. The two have landed on an island inhabited only by Caliban, son of the witch Sycorax. By setting Ariel free from a tree where he had been confined by Sycorax, Prospero has gained an instrument by which to implement his deep knowledge of magic. Prospero, meanwhile, has promised Ariel eventual freedom. Although Prospero has taught Caliban to speak and has made much of him, Caliban has attempted to ravish Miranda. As punishment, Prospero has reduced him to menial tasks and has kept him under enchantment (ii). As the play opens, a terrible storm founders a ship carrying Alonso, Sebastian, Antonio, Ferdinand, and Gonzalo form the wedding of Alonso's daughter (i). This tempest has been raised by Prospero, who intends to gain revenge against his former persecutors. Ariel separates the noble personages from the mariners as they seek refuge on the island; and, careful to save the lives of all of them, he leads Ferdinand, son of Alonso, to Prospero's cell. Although Miranda and Ferdinand are immediately attracted to each other, Prospero charms Ferdinand and sets him at menial tasks; Prospero wishes to be certain that the conquest of his daughter be not easy (ii). ACT II. On another part of the island Alonso, Sebastian, Antonio, Gonzalo, and others are glad to escape with their lives; but Alonso mourns for Ferdinand, whom he believes dead, and the others worry as to how they will be rescued. When Ariel charms all but Antonio and Sebastian to sleep, these two plot the murder of Alonso, intending to supplant him with Sebastian. Ariel awakens the others in time to prevent mischief (i). In still another part of the island Caliban meets the drunken Trinculo and Stephano; impressed especially by Stephano and his liquor, Caliban claims him as his master (ii). ACT III. Prospero, much pleased, overhears Ferdinand's proposal of marriage to Miranda (i). Meanwhile, Caliban proposes to Stephano that while Prospero sleeps, the two, together with Trinculo, surprise Prospero and kill him; they will then be masters of the island. Ariel overhears their plans (ii). Ariel, disguised as a harpy, then teases Alonso and the others: he sets a table with food, and when they try to eat, snatches the food away, accusing them of their previous sins. Alonso is overcome with remorse (iii). ACT IV. Prospero now makes his peace with Ferdinand and blesses the betrothal of Ferdinand and Miranda by presenting a pageant in which spirits clothed as Iris, Ceres, Juno, and nymphs celebrate the impending nuptials. Suddenly remembering Caliban's plot, Prospero calls Ariel to him. Ariel informs him that he has charmed the conspirators, who, half drunk, have wandered over the island, and have landed in a dirty wallow. When Caliban finally leads them to Prospero's cell, the drunkards discover cheap glittering apparel and, to Caliban's disgust, forget all about the plot. Ariel and the other spirits enter and drive the three roaring around the island (i). ACT V. Ariel now leads Alonso, Gonzalo, Sebastian, and Antonio to Prospero's cell where Prospero discloses his identity, reveals Sebastian's and Antonio's abortive plot against Alonso, and demands the restoration of his dukedom. Prospero then shows the company Ferdinand and Miranda playing chess. Alonso, repentant yet overjoyed to find his son alive, blesses the betrothal. Ariel delivers the master and boatswain, who reveal that the was not sunk and is now ready to sail. Finally, Ariel drives in Caliban, Stephano, and Trinculo with their gaudy apparel; when the whole company laughs at them, Caliban cannot understand how he has mistaken these drunkards for gods. Before Prospero accompanies the group into his cell for the night, he sets Ariel free, but instructs him as his last task to furnish calm seas and auspicious winds for the voyage to Naples (i). THE END h calm seas and auspicious winds for the voyage to Naples (i).