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Explore Shakespeare's presentation of this scene - Is it an appropriate ending?

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Explore Shakespeare's presentation of this scene. Is it an appropriate ending? In the final scene of the Tempest, all the characters have assembled onto the stage together for the first time for the climax to the end of the play. Prospero states his intention of "relinquishing his magic" nevertheless its presence pervades the scene. Prospero enters in his magical robes, He lures Alonso and the other main characters into his self created charmed circle and holds them there; almost paralysed whilst he recaps. Once he releases them from the magical spell he created, he makes the magic-like spectacle of unveiling Miranda and Ferdinand who are playing chess. This is the first time that Alonso has seen Ferdinand since the tempest Prospero created at the start of the play. Only in the epilogue, when he is alone on-stage, does Prospero announce definitively that his charms are "all o'erthrown" Prospero passes great judgment on his enemies in the final scene, however we are no longer put off by his power, both because his love for Miranda has radically changed his and humanised him to a vast degree. ...read more.


She is depicted to be innocent and in her innocent perspective, such a remark seems genuine and even true. But from the audience's perspective, it must seem somewhat ridiculous. After all, Antonio and Sebastian are still surly and impudent; Alonso has repented only after believing his son to be dead; and Trinculo and Stefano are drunken, petty thieves. However, Miranda speaks from the perspective of someone who has not seen any human being except her father since she was three years old. She is merely delighted by the spectacle of all these people. In a sense, her innocence may be shared to some extent by the playwright, who takes delight in creating and presenting a vast array of humanity, from kings to traitors, from innocent virgins to inebriated would-be murderers. As a result, though Miranda's words are to some extent undercut by irony, it is not too much of a stretch to think that Shakespeare really does mean this benediction on a world "that has such people in't!" ...read more.


The plot of The Tempest is organised around the idea of persuasion, as Prospero gradually moves his sense of justice from his own mind into the outside world, gradually applying it to everyone around him until the audience believes it, too. This aggressive persuasiveness makes Prospero difficult to admire at times. Still, in another sense, persuasion characterises the entire play, which seeks to enthral audiences with its words and magic as surely as Prospero sought to enthral Ariel. And because the audience decides whether it believes in the play-whether to applaud, as Prospero asks them to do-the real power lies not with the playwright, but with the viewer, not with the imagination that creates the story, but with the imagination that receives it. In this way, Shakespeare transforms the troubling ambiguity of the play into a surprising cause for celebration. The power wielded by Prospero, which seemed unsettling at first, is actually the source of all our pleasure in the drama. In fact, it is the reason we came to the theatre in the first place. ...read more.

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