Blooms Literary Themes - THE TRICKSTER.pdf - ymerleksi - home

Th e Tempest 197
the fools for murdering Prospero is only ridiculed and frustrated in
quite an external manner, just as they are about to carry it out. In the
latter case, the hardened criminals, who are already deep in crime and
plotting fresh wickedness, meet with a most severe punishment which
touches them to the very quick. Th e action almost threatens to take a
tragic turn, and the last scene would, in fact, leave too deeply aff ecting
an impression, had not the poet taken care to exhibit it so hurriedly
and suddenly, and to give the colours, the outlines, light and shade in
such light touches, that we can scarcely be said to have witnessed the
madness and its horrors. On the other hand, it had to receive a certain
degree of emphasis, because it is the climax of the dramatic complication;
the knot is tied and all that the two following acts have to do is
to unravel it skilfully and happily.
Th e fourth act, therefore, begins at once with this work. Prospero
takes off his mask towards Ferdinand, begs to be forgiven for the
trials he put upon him, and with paternal aff ection places Miranda’s
hand in his. In celebration of their betrothal, Prospero’s spirits give an
ingenious masque, in which Juno and Ceres congratulate the young
couple. [ . . . ] Th e masque is followed directly by the merry chase after
Caliban, Stephano and Trinculo. Th e high cothurnus upon which Juno,
Ceres and Iris had walked about, falls again suddenly into the soccus of
low comedy. Th is wavering to and fro between the two extremes is a
characteristic feature peculiar to this piece, to which I draw attention,
as it essentially belongs to that special view of life which, as I think,
is expressed in the play.
When the plot has, in this manner, been unravelled from two
points, the fi fth act has only to solve the main complication. Th e
unravelling, however, follows as rapidly and smoothly as was the case
with the ravelling. Prospero’s magic, which, so to say, tied the knot, is
also the means of loosening it; ‘heavenly music,’ played by his spirits,
drives off the madness it had produced. Th e king, upon recovering selfconsciousness,
appears deeply aff ected and fi lled with genuine contrition.
Even Sebastian and Antonio cannot resist the mysterious power
which captivates both heart and mind, at least, they remain silent
and agree to the arrangements made by Prospero and Alonzo. Th e
King willingly consents to the marriage of Ferdinand and Miranda,
who when united are to rule over Naples and Milan. Stephano, Trinculo
and Caliban are likewise pardoned. And in the end it is also
found that the ship had not gone to pieces, but had been preserved