ACT IV SUMMARY

Prospero gives his blessing to Ferdinand and Miranda, warning Ferdinand only that he take care not
to break Miranda’s “virgin-knot” before the wedding has been solemnized (IV.i.15–17). Ferdinand
promises to comply. Prospero then calls in Ariel and asks him to summon spirits to perform a
masque for Ferdinand and Miranda. Soon, three spirits appear in the shapes of the mythological
figures of Iris (Juno’s messenger and the goddess of the rainbow), Juno (queen of the gods), and
Ceres (goddess of agriculture). This trio performs a masque celebrating the lovers’ engagement.
First, Iris enters and asks Ceres to appear at Juno’s wish, to celebrate “a contract of true love.”

Ceres appears, and then Juno enters. Juno and Ceres together bless the couple, with Juno wishing
them honour and riches, and Ceres wishing them natural prosperity and plenty. The spectacle awes
Ferdinand and he says that he would like to live on the island forever, with Prospero as his father
and Miranda as his wife. Juno and Ceres send Iris to fetch some nymphs and reapers to perform a
country dance. Just as this dance begins, however, Prospero startles suddenly and then sends the
spirits away. Prospero, who had forgotten about Caliban’s plot against him, suddenly remembers
that the hour nearly has come for Caliban and the conspirators to make their attempt on his life.

Prospero’s apparent anger alarms Ferdinand and Miranda, but Prospero assures the young couple
that his consternation is largely a result of his age; he says that a walk will soothe him. Prospero
makes a short speech about the masque, saying that the world itself is as insubstantial as a play, and
that human beings are “such stuff / As dreams are made on.” Ferdinand and Miranda leave Prospero
to himself, and the old enchanter immediately summons Ariel, who seems to have made a mistake
by not reminding Prospero of Caliban’s plot before the beginning of the masque. Prospero now asks
Ariel to tell him again what the three conspirators are up to, and Ariel tells him of the men’s drunken
scheme to steal Prospero’s book and kill him. Ariel reports that he used his music to lead these men
through rough and prickly briars and then into a filthy pond. Prospero thanks his trusty spirit, and
the two set a trap for the three would-be assassins.

On a clothesline in Prospero’s cell, Prospero and Ariel hang an array of fine apparel for the men to
attempt to steal, after which they render themselves invisible. Caliban, Trinculo, and Stephano enter,
wet from the filthy pond. The fine clothing immediately distracts Stephano and Trinculo. They want
to steal it, despite the protests of Caliban, who wants to stick to the plan and kill Prospero. Stephano
and Trinculo ignore him. Soon after they touch the clothing, there is “A noise of hunters” (IV.i.251,
stage direction). A pack of spirits in the shape of hounds, set on by Ariel and Prospero, drives the
thieves out.

ANALYSIS

The wedding of Ferdinand and Miranda draws near. Thus, Act IV, scene i explores marriage from
several different angles. Prospero and Ferdinand’s surprisingly coarse discussion of Miranda’s
virginity at the beginning of the scene serves to emphasize the disparity in knowledge and
experience between Miranda and her future husband. Prospero has kept his daughter extremely
innocent. As a result, Ferdinand’s vulgar description of the pleasures of the wedding-bed reminds
the audience (and probably Prospero as well) that the end of Miranda’s innocence is now imminent.
Her wedding-night will come, she will lose her virginity, and she will be in some way changed. This
discussion is a blunt reminder that change is inevitable and that Miranda will soon give herself, in an
entirely new way, to a man besides her father. Though Prospero somewhat perfunctorily initiates
and participates in the sexual discussion, he also seems to be affected by it. In the later parts of the
scene, he makes unprecedented comments on the transitory nature of life and on his own old age.
Very likely, the prospect of Miranda’s marriage and growing up calls these ideas to his mind.

After the discussion of sexuality, Prospero introduces the masque, which moves the exploration of
marriage to the somewhat more comfortable realms of society and family. In the sixteenth and
seventeenth centuries, masques were popular forms of entertainment in England. Masques featured
masked actors performing allegorical, often highly ritualized stories drawn from mythology and
folklore. Prospero’s masque features Juno, the symbol of marriage and family life in Roman
mythology, and Ceres, the symbol of agriculture, and thus of nature, growth, prosperity, and rebirth,
all notions intimately connected to marriage. The united blessing of the union by Juno and Ceres is a
blessing on the couple that wishes them prosperity and wealth while explicitly tying their marriage
to notions of social propriety (Juno wishes them “honour”) and harmony with the Earth. In this way,
marriage is subtly glorified as both the foundation of society and as part of the natural order of
things, given the accord between marriage and nature in Ceres’ speech.

Interestingly, Juno and Ceres de-emphasize the role of love, personal feeling, and sexuality in
marriage, choosing instead to focus on marriage’s place in the social and natural orders. When Ceres
wonders to Iris where Venus and Cupid, the deities of love and sex, are, she says that she hopes not
to see them because their lustful powers caused Pluto, god of the underworld, to kidnap
Persephone, Ceres’s daughter (IV.i.86–91). Iris assures Ceres that Venus and Cupid are nowhere in
sight. Venus and Cupid had hoped to foil the purity of the impending union, “but in vain” (IV.i.97).
Ceres, Juno, and Iris have kept the gods of lust at bay; it seems that, through his masque, Prospero is
trying to suppress entirely the lasciviousness of Ferdinand’s tone when he discusses Miranda’s
virginity.

QUESTIONS AND ANSWERS

Iris
Ceres, most bounteous lady, thy rich leas
Of wheat, rye, barley, vetches, oats and pease;
Thy turfy mountains, where live nibbling sheep,
And flat meads thatch’d with stover, them to keep;
Thy banks with pioned and twilled brims,
Which spongy April at thy hest betrims
To make cold nymphs chaste crowns; and thy broom- groves,
Whose shadow the dismissed bachelor loves,
Being lass-lorn: thy pole-clipt vineyard;
And thy sea-marge, sterile and rocky-hard,
Where thou thyself dost air; — the queen o’ the sky,
Whose watery arch and messenger am I,
Bids thee leave these, and with her sovereign grace,
Here on this grass plot, in this very place,
To come and sport: her peacocks fly amain:
Approach, rich Ceres, her to entertain.

(i)Who is Iris? Why does she appear in the scene? Whom does she invoke?
(ii)How does Iris describe the fields, mountains and riverbanks?
(iii)Who is Juno? Who is her messenger? What does the messenger tell Ceres on behalf of Juno?
(iv)Give the meaning of:
(a)Thy turfy mountains, where live nibbling sheep,
And flat meads thatch’d with stover, them to keep;
(b)…..and with her sovereign grace,
Here on this grass plot, in this very place,
To come and sport:
(v)Describe how attractive is nature under Ceres’ care.

(i) Iris is the rainbow coloured messenger of Juno, the goddess of the heaven. She is also one of
Prospero’s spirits. She represents the goddess of the rainbow in the masque which is arranged to
entertain the young lovers, Ferdinand and Miranda. She acts as the mistress of ceremonies for the
performance. She invokes Ceres, the goddess of agriculture, harvest and fertility, later she invokes
the nymphs and the reapers.

(ii) While invoking Ceres, the goddess of agriculture, harvest and fertility, Iris praises her by saying
that she is the goddess who presides over rich fields of wheat, rye, barley, vetches, oats and peas,
the turfy mountains where the sheep nibble and the flat meadows covered with hay to keep the
sheep, river banks over grown with marsh-marigold and reeds.

(iii) Juno is the Queen of Heaven and the wife of Jupiter. She is one of the spirits of Prospero. In the
form of a goddess she descends swiftly on her peacock’s to perform the masque. Iris is her
messenger. Iris invokes Ceres to appear in front of Ferdinand and Miranda as she is required to sport
with Queen Juno.

(iv) (a) Iris invokes Ceres by praising that she presides over the turf-covered mountains where the
nibbling sheep live and the flat meadows which are covered with fodder for sheep.

(b) Iris being the messenger of Juno, the goddess of heaven asks Ceres to leave her dwelling place
and arrive at that grassy place to sport with Juno and entertain her.

(v) Ceres being the goddess of the earth presides over the rich fields of wheat, rye, barley, vetches,
oats and peas. The green mountains are the dwelling places of the sheep. The river banks are
overgrown with marsh-marigold and reeds which are decked up at her command by April. They
serve as a crown worn by the passionless and pure deities who dwell in rivers and streams.

JUNO
(sings)
 Honour, riches, marriage, blessing,
 Long continuance, and increasing,
 Hourly joys be still upon you.
 Juno sings her blessings on you.

CERES
(sings)
Earth’s increase, foison plenty,
 Barns and garners never empty,
 Vines and clustering bunches growing,
 Plants with goodly burden bowing—
 Spring come to you at the farthest
 In the very end of harvest.
 Scarcity and want shall shun you.
 Ceres' blessing so is on you.

FERDINAND
This is a most majestic vision, and
Harmonious charmingly. May I be bold
To think these spirits?

(i)Who is Juno? Who has invited her to come on the scene? Why?
(ii)How does Juno bless the young couple?
(iii)Explain the song sung by Ceres about the bounty of nature.
(iv)Give the meaning of :
Long continuance, and increasing,
Hourly joys be still upon you. 
Earth’s increase, foison plenty,
Barns and garners never empty,
(v)Who arranged the majestic vision? Why was it arranged?

(i)Juno is the Queen of Heaven and the wife of Jupiter. Jupiter is the chief god in Roman mythology.
She is one of the spirits of Prospero. She is invited by Iris, her messenger to bless the young couple,
Ferdinand and Miranda.

(ii)Juno blesses the young couple by singing that, may honor, riches, marriage blessings, long life,
and unending joys come to both of them.

(iii)Ceres blesses Ferdinand and Miranda by wishing them to have plenty of produce, well-shocked
barns and their storehouses never go empty, the vineyards are full of clustered grapes, the fruits
laden heavily with fruits. May there be no hardships of winter so that spring continues till the
harvest season. May scarcity and want never approach them as their stores always be full.

(iv)(a) While blessing the young couple, Juno sings and wishes them with longevity and unending joy
in their life.

(b) Ceres blesses the young couple, saying that may they get the earth’s produce, well- stocked
barns and the storehouses are never empty.

(v)The majestic vision was arranged through a masque performed by the spirits of Prospero. As
Ferdinand had passed the test and proved his loyalty, Prospero wished to show the couple an
illusion created by his magic art and entertain both Ferdinand and Miranda.

Iris
Of her society
Be not afraid: I met her diety
Cutting the clouds towards Paphos, and her son
Dove-drawn with her. Here thought they to have done
Some wanton charm upon this man and maid,
Whose vows are, that no bed-right shall be paid
Ere Hymen’s torch be lighted; but vain;
Mars’s hot minion is returned again;
Her waspish-headed son has broke his arrows,
Swears he will shoot no more, but play with sparrows
And be a boy right out.

(i)What was the reason behind Ceres avoiding the company of Venus or her son?
(ii)What was the plan of Venus and her son, cupid against the young couple?
(iii)Who is Hymen? Why is he referred to in the extract? Who are Mars and Mars’ minion?
(iv)Give the meaning of
(a)…. Here thought they to have done
Some wanton charm upon this man and maid,
(b)Her waspish-headed son has broke his arrows,
Swears he will shoot no more, but play with sparrows
And be a boy right out.
(v)How does Ceres know that Juno is coming on the scene?

(i) Pluto, the god of death abducted Proserpina, Ceres’ daughter from the earth to his own kingdom.
Venus and her son Cupid helped Pluto in executing this plot. Since then, Ceres’ had been harbouring
a strong grievance against both Venus and Cupid.

(ii)Venus being the goddess of love and beauty and Cupid her son being the god of love are always
busy making people fall in love. They had planned some magic spell to lure Ferdinand and Miranda.
But did not succeed.

(iii)Hymen is the Greek god of marriage. He was usually represented as carrying a torch and a veil to
guide the newlywed couple. Mars is the god of war. Mars’s minion is referred to Venus, the
passionate darling.

(iv)(a) Iris consoles Ceres that Venus, the goddess of love and beauty and her son Cupid is the god of
love. They are always busy making people fall in love. They had plans of some magic spell to lure
Ferdinand and Miranda.

(b)Cupid is regarded as irritable. He is waspish- headed because he stings by hitting people with his
arrows which make them fall in love. As their plan failed Cupid broke all his arrows and sworn that
he would never shoot them again. He would only play with birds like the other boys of his age.

(v) Juno is the wife of Jupiter, the chief god in Roman mythology. When Ceres heard the footsteps of
the stateliest queen, Juno, she knew that she was coming. She was aware of Juno’s manner of
walking.

ARIEL
I told you, sir, they were red-hot with drinking
So full of valour that they smote the air
For breathing in their faces, beat the ground
For kissing of their feet; yet always bending
Towards their project. Then I beat my tabor;
At which, like unback’d colts, they prick’d their ears,
Advanced their eyelids, lifted up their noses
As they smelt music: So I charm’d their ears
That, calf-like, they my lowing follow’d through
Tooth’d briers, sharp furzes, pricking goss and thorns,
Which entered their frail shins: at last I left them
I’ the filthy mantled pool beyond your cell,

(i)Who are ‘they’ referred to in the first line of the extract? Describe what they were doing.
(ii)Describe the scene that followed when Ariel beat the tabor.
(iii) Where did Ariel leave them finally and in what condition?
(iv)Give the meaning of
(a)….. they smote the air
For breathing in their faces, beat the ground
For kissing of their feet;
(b)…. at last I left them
I’ the filthy mantled pool beyond your cell,
(v) What does Prospero ask Ariel to do next?

(i)’They’ refer to Caliban, Stephano and Trinculo, the three conspirators who plotted against
Prospero. They were totally drunk in the scene.

(ii) When Ariel beat his drum, the three drunkards like untrained horses pricked their ears, open
their eyes and blew out their noses trying to sense the music. Ariel then put a spell on their ears and
they followed through the thorny briars, sharp furz bushes that pierced their legs like calves follow
their mother’s call.

(iii) Ariel left them in the dirt-covered pool beyond Prospero’s cell. They were submerged up to their
chins as they danced in the filthy pool which was more stinking than their feet.

(iv)(a)When Prospero asked the whereabouts of the three conspirators, Ariel told him that they were
fully intoxicated with drinking. They smote the air that blew on their faces and beat the ground as it
touched their feet while walking.

(b) Ariel punished the three conspirators by making them walk like untrained horses through thorny
bushes and ended up by leaving them in a filthy pool in which they were submerged till their chin.

(v) Having punished the three conspirators, Prospero asks Ariel to bring some gaudy garments from
his cell to set up a trap for these rogues.

TRINCULO
Ay, but to lose our bottles in the pool, —
STEPHANO
There is not only disgrace and dishonour in that, monster, but an infinite loss.
TRINCULO
That’s more to me than my wetting: yet this is your harmless fairy, monster.
STEPHANO
I will fetch off my bottle, though I be o’er ears for my labour.
CALIBAN
Prithee, my king, be quiet. Seest thou here,
This is the mouth o’ the cell: no noise, and enter.
Do that good mischief which may make this island
Thine own for ever, and I, thy Caliban,
For aye thy foot-licker.

(i)What is a disgrace and an infinite loss? Where was the precious article lost? How?
(ii)Who is a harmless fairy? Why is the fairy harmless?
(iii)Who is referred to as my king? Where are the king and Caliban? Why is the king requested to
be quiet?
(iv) What is
a)“good mischief”?
b)How would the three benefit from this mischief?
(v)Which subplot involving Caliban is referred to in the extract?
(i)Stephano and Trinculo realised that their wine bottles were lost in the filthy pool. According to
Stephano, losing the wine bottles was more disgraceful than getting submerged in the smelly pool.
The wine bottles were lost in the filthy pool by the drunkards.

(ii) Trinculo calls Ariel as the harmless fairy. According to Caliban, Ariel will not harm anyone of
them. When Trinculo and Stephano lose their wine bottles in the filthy pool, they accuse Caliban that
his harmless fairy (i.e. Ariel) has harmed them more than even getting wet in the filthy pool.

(iii) Caliban addresses Stephano as ‘the king’. Caliban, Stephano and Trinculo were near Prospero’s
cell according to their plot. Once Prospero is killed, Stephano would be the king of the island and
Caliban his servant.

(iv)a) According to Caliban, the good mischief is the murder of Prospero.

(v) The subplot in the scene is the conspiracy hatched by Caliban to murder Prospero. At the end of
the scene, Prospero punishes the three conspirators through his supernatural powers.

Explain the dramatic purpose of the masque in Act IV Scene 1 in the play, ‘The Tempest’.

A masque was a dramatic presentation of the Elizabethan times, consisting of declamation and
dialogue, music and dance coupled with exotic scenery. It was performed by members of nobility.
The characters wore splendid and gaudy clothes. Masques were considered as the favourite form of
entertainment. With the passage of time, it came to be used in a long play. Its main aim was to
entertain the audience. It traditionally took place on festive occasions and provided an allegorical
setting to celebrate harvests, betrothals and marriages.

The first masque is the banquet scene of Act III Scene III. It is a dumb show that includes music,
dance, dramatic gestures and supernatural elements. The disappearance of the banquet provides
entertainment.

Though the masque is included to provide entertainment, it also serves a dramatic purpose. The
love-episode involving Ferdinand and Miranda looked real and natural to the audience by the
addition of the masque in the play. The romantic episode reaches its climax when Alonso showers
his blessings on the young lovers.

The second masque is very elaborate. It is the wedding masque and a materialisation of Prospero's
will and power. Like the court masque, it is a visual spectacle: "No tongue! All eyes! Be silent!"
Whereas in the second scene of ‘The Tempest’, Prospero wanted his daughter to listen, to his tale,
this time he wanted visual attention. The masque celebrates Prospero's paternal magnanimity and
his ability to defy the laws of time and nature — "Spring come to you at the farthest, / In the very
end of harvest!" winter has been excluded from Prospero's seasonal cycle. Abundance emanates
spontaneously from Nature's inexhaustible resources; the masque is a departure from the real world
of ‘The Tempest’, in which Ferdinand has to labour for his wedding, Ariel for his freedom, Caliban for
the liberation from bodily pain. These harsh, rigid transactions are replaced by a vision of
unconditional plenty.

The second masque starts with the appearance of Iris, the goddess of the rainbow and Juno, the wife
of the supreme god, Jupiter. Iris makes a long speech and summons Ceres, the goddess of
agriculture and all the fruits that enrich the earth. Juno joins Ceres and informs her that she has
been summoned to bless the couple who will be married soon. She showers her blessings and
wishes them long life, riches, honour, many children and happiness. Ceres then blesses them with
inexhaustible storehouses of corn, plenty of fruits and everything else. Later, a number of nymphs
and reapers perform a splendid dance. Ferdinand is very curious to know if the dance was actually
performed by spirits.

The masque is in tune with the general atmosphere of the play. Prospero, the great magician, has
acquired powers over the supernatural spirits and gets all his tasks done by them. The whole play is
dominated by the supernatural machinery. In Act IV scene 1 the masque presented by Prospero
involves, Ceres, Iris, Juno, nymphs and reapers. In ‘The Tempest’, the masque provides the essential
comic relief and helps in building up a romantic atmosphere.