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00:07Now, as the scene opens, and I hope all of you children out there have your books open
00:12before you, open to Act 4, Scene 1, and you see how he talks to Ferdinand.
00:17He has the grace, he also has the grace to explain to Ferdinand why he had so austerely,
00:26strictly punished you.
00:28Alright, so I will read from the text, he tells Ferdinand, if I have too austerely punished,
00:34your compensation makes amends.
00:36I have punished you very strictly, but I am willing to compensate you for that.
00:42How?
00:43Now he is short of Ferdinand, so he is going to give him one third of his life.
00:48Who is the one third?
00:49His daughter.
00:50Alright, so earlier, you know, we have heard that he kept on telling Miranda how important
00:56she was in his life.
01:04Let's not put a show.
01:09Colonial power.
01:14A brief recap.
01:19Welcome to our show.
01:20Thank you very much.
01:21First of all, as I have already told that the Tempest Act 4, today we will discuss about
01:27it and I think, and we will discuss for class 12 only.
01:32Yes, and I think there is a recapitulation is very much needed.
01:36Very quiet, yes.
01:37Welcome children to this edition of Lockdown Classroom.
01:42This is an effort to introduce you to your play, which you might have forgotten by this time.
01:48It's been a long gap since your class 11 and now class 12.
01:52Class 12 starts with Act 4.
01:54But before that, we will do a brief recap of class 11 and we will start at the very beginning.
02:02So, the play opens with a tempest and we will go into how it is a tempest in more senses
02:07than
02:08one or storm at sea.
02:10The scene, you can imagine, all of you have been to the cinema, so if not to a play, so
02:15you can imagine what it feels like, isn't it?
02:18If you have a tempest, a movie starting with a tempest or a storm, it creates a sense, it
02:25is intense, it is dramatic and it creates a sense of immediacy.
02:30At the end of the scene, of scene 1, it seems as if all is lost and everyone who is
02:36travelling
02:37on the ship, which is caught in the storm, is going to sink and die.
02:43But in a subsequent scene, we learn that the tempest was actually an illusion.
02:49It was raised by Prospero, the ruler of an enchanted island.
02:54So, then, Prospero was actually the renowned duke of Milan, who was known for being, and
03:01remember, for your ISC, quotations are very important.
03:06So, when you are talking about Prospero, that he was the prime duke and his command over
03:11the liberal arts and magic was known throughout.
03:14We are also introduced to Miranda, Prospero's daughter.
03:17Now, these characters will become very important in Act 4 also.
03:21Father and daughter had been ousted from Milan by Prospero's deceitful brother, Antonio.
03:28They had been cast out to sea in a leaking boat.
03:32Now, this was Antonio's greatest act of treachery against his brother.
03:36Not only did he take away the duke dung from his brother, but he also cast them out to sea
03:43in a leaking boat, which would obviously sink.
03:46That's what they thought.
03:46But, fate or divine providence helped them and they arrived at this island.
03:53At that point, the island was inhabited by Arian, a spirit of the air, and Caliban, who
04:00is presented as a subhuman creature, who was the offspring of a witch, Cycorax, and the
04:06devil.
04:07Prospero, usurped.
04:09So, the theme of usurpation is coming in more sense than one.
04:12Your teachers might have also talked about the colonial aspect here.
04:16Because, remember, when Elizabeth and subsequently when this play was written, King James I was
04:22on the throne, England had become an important colonial power.
04:27Alright?
04:27And Shakespeare very often puts himself into somebody else's shoes.
04:32Remember, Merchant of Venice, how he put himself into Shylock's shoes so that we tended
04:38to sympathize, to understand Shylock's point of view.
04:42Here, too, it is Caliban, who is the offspring of a witch and a devil.
04:48That's what Prospero says.
04:50And Caliban feels that Prospero had usurped the island from Caliban.
04:56Now, what did Prospero do?
04:58The enchanted island had nothing apart from these two.
05:01He spent time perfecting his magic and, more importantly, he taught his daughter.
05:08Alright?
05:09He gave his daughter.
05:10Remember, we've already been told that he was a person who was very well known for his
05:15command over the liberal arts.
05:18Therefore, he gave his daughter an education which was fit for princes.
05:23Alright?
05:24Now, there's a method in what he's doing.
05:26Now, you would wonder why.
05:27Why would he give his daughter an education when he's sitting in, you know, in an enchanted
05:34island which is cut off from the rest of the world.
05:38Alright?
05:39But, Prospero has a plan in his mind.
05:41And this plan is tied up with his theme of revenge.
05:46Alright?
05:47He's not going to sit easy.
05:49He's going to take revenge and he's just waiting for the perfect moment.
05:55So, when Providence brings Alonso's ship to the shores of the island, Prospero gets the
06:02perfect opportunity for revenge.
06:05He creates the tempest and, through the work of Ariel, brings the king and his company to
06:11the island and distributes them in different groups all around the island.
06:16And what did he want?
06:18He wanted to bring about a union between Alonso's son, Ferdinand, and Miranda.
06:24Now, why Alonso's son?
06:26Alonso was a king of Naples.
06:28And he had helped Prospero's brother, Antonio, in his plan of ousting Prospero.
06:35What better revenge can they be than seeing that his daughter becomes the queen of Naples?
06:41All right?
06:42So, you can see that he is a man who is totally in command and who is trying to bring
06:50things,
06:50order things.
06:51He's the master puppeteer of the play.
06:53He's trying to bring things together to fill his particular mission in life.
07:00His mission is to take revenge on his enemies and also to ensure that his daughter gets a
07:07place as the queen of Naples.
07:10All right?
07:10So, we have looked about at this.
07:13Ferdinand is not put ashore with his father.
07:16It wouldn't have helped because Alonso would have told Ferdinand who Prospero was.
07:20So, Prospero is cast aside on a nook alone by himself and Ferdinand believes that his father
07:27is dead.
07:28All right?
07:28Now, Prospero creates, affects the meeting between Ferdinand and Miranda.
07:34Very much like the films that you've seen, you know, the hero and heroine meet and both
07:39instantly fall in love.
07:41In fact, Ferdinand thinks that Miranda is a goddess.
07:44And remember, Ferdinand is a prince.
07:45So, he's a courtier.
07:47He's seen a lot of women.
07:48All right?
07:49But, in his eyes, Miranda seems to be the goddess of the island and Miranda, who's never seen
07:56another man in her life apart from her father.
07:58Now, nobody actually thinks of her father as a man.
08:01You think of your father as a father.
08:03All right?
08:03And, she had seen Caliban.
08:05Obviously, he's a subhuman creature, not worthy.
08:07He didn't have a human shape.
08:09That's what we are led to believe.
08:11All right?
08:11And so, when she sees him, she thinks he's a spirit.
08:14And the two promptly fall in love.
08:19Now, Prospero is very happy.
08:20All right?
08:21Now, one of the aspects of Prospero's character is not only is he omnipotent, that is, he's
08:27all-powerful, but he's omnipresent.
08:30He's present everywhere.
08:32In this particular scene, of course, we can see him.
08:35Sometimes, he just uses his magic to, you know, vanish from the place, or apparently
08:41vanish, but be there in an invisible form.
08:44Now, Prospero is very happy that his plans are succeeding.
08:49And what do they do?
08:50He, however, wants to test Ferdinand.
08:54Again, do you see the concerned father?
08:56You know, he doesn't want to give his daughter away to him just because he's a prince.
09:00He decides to test them and to do that and also their love.
09:05All right?
09:06Love has to stand a test.
09:07In most of your great romances, you will find, whether it's in plays, whether it's in any
09:13kind of form, love has to withstand a particular test.
09:16And here the test is, he accuses Ferdinand of being a spy.
09:23He tells his daughter that Ferdinand is not as handsome as she thinks he is.
09:27And what does she do?
09:29He decides to imprison Ferdinand, put him in manacles, give him the roughest kind of food
09:36and also give him the task of piling logs of food.
09:41Now, imagine a prince doing that job.
09:44Yes.
09:44And also, obviously, Ferdinand tries to protest, tries to rebel.
09:49He draws out his sword also.
09:51But it doesn't help because he immobilizes him.
09:56Prospero immobilizes him with his magic.
09:59All right?
10:00And Ferdinand and Miranda disobeys her father.
10:03He tells her not to meet Ferdinand, but she steals out and grows and meets Ferdinand.
10:08And therefore, the love, instead of diminishing, only grows.
10:13So, love always you'll find in romances.
10:16I do not know about real life.
10:18But in romances, against obstacles, they always grow.
10:23In fact, Miranda even asks Ferdinand, can I lift those logs of food for you?
10:27Remember, she's a young girl, 14 odd.
10:30All right?
10:31The girls were young and, you know, would be married very young in those days.
10:36And she says, can I do it?
10:38And he says, no.
10:39He says, no.
10:40How will I do that?
10:40He's a gallant.
10:41He's a courtier.
10:42So, he refuses to do something like that.
10:46All right?
10:47And then, now we come to Act 4, Scene 1.
10:52So, up till now, this is one subplot of the story.
10:56The major plot is, of course, revenge.
10:59All right?
11:00Yes.
11:00So, ma'am, we have already learned about what is the play in a brief.
11:05So, Prospero, who is a ruler, as you told, that Prospero is considered as a very interesting
11:13figure.
11:14Yes.
11:15But what is the reason behind?
11:16Think of him.
11:17He's a magician.
11:18Now, today, in our world, today, the things he does, probably a scientist does.
11:23He controls the storms.
11:24He controls the elements.
11:26At the same time, he's a scholar.
11:29He was well known.
11:30He was the prime duke.
11:31That means he was a very powerful ruler.
11:34Unfortunately, he trusted his brother too much.
11:37He's also a very fond father.
11:39The fact that he comes to this island and doesn't let it get him down.
11:44Instead, he commands all the elements, all right, that they are in the island.
11:49And, you know, he becomes the absolute ruler.
11:52All this makes him a very, very enigmatic character.
11:56Not very easy to understand.
11:58Unless, but one thing stands out, and that is his love for his daughter.
12:03Right.
12:04Yes.
12:04And which aspects of Prospero does the present scene reveal?
12:08This scene, it's a very intelligent question.
12:10That is because in this scene, we see two aspects of Prospero.
12:15We've seen bits of it in the earlier scenes also.
12:18We see Prospero the magician.
12:20All right.
12:21I'll come to that a little later.
12:23But, now, as the scene opens, and I hope all of you children out there have
12:27your books open before you open to Act 4, Scene 1.
12:31And, you see how he talks to Ferdinand.
12:34He has grace.
12:36He also has the grace to explain to Ferdinand why he had so austerely, strictly punished you.
12:44All right.
12:45So, I'll read from the text.
12:46He tells Ferdinand,
12:47If I have too austerely punished, your compensation makes amends.
12:53I've punished you very strictly, but I'm willing to compensate you for that.
12:58How?
12:59Now, he's short of Ferdinand.
13:00So, he's going to give him one-third of his life.
13:04Who's the one-third?
13:05His daughter.
13:06All right.
13:06So, earlier, you know, we have heard that he kept on telling Miranda how important she was in his life.
13:14And, it must have taken it.
13:15It's a pang to all fathers to part with their daughters.
13:18So, here he's giving a third of mine own life or that for which I live.
13:25A very strong statement, isn't it?
13:27She is his reason for living.
13:29Remember when he was in the leaking boat?
13:32Even then, he had said, she had given him the strength to buoy him up when he would have given
13:38up.
13:39All right.
13:40So, you see these two aspects of Prospero in this scene.
13:44All right.
13:45May I continue?
13:46Who once again, I tender.
13:48So, once more, probably.
13:50He says, I'm giving, tendering, offering to your hand.
13:53All your vexations, all your trials, your tests, were but my tests of your love.
14:00I was trying to test you whether you truly loved my daughter or was it just a dalliance of flirtation.
14:08Now, many, all of you have seen films again because Shakespeare, I find, was a master entertainer.
14:14And, this is something that every father will first check, isn't it?
14:19When his daughter brings a man she wants to marry to her father.
14:23Today's situations have changed a little.
14:25So, the father first tests the man out.
14:28Is he the correct man for his daughter?
14:30Because, why?
14:31Because he's going to give his heart.
14:34His daughter, a daughter's heart for every father.
14:37All right.
14:38The father's heart resides in his daughter.
14:41And, you've got a lot of these fairy tales also.
14:43And, the same idea is presented.
14:46So, he says, were my trials of love, which you, thou hast strangely, in a manner which inspires wonder.
14:55Something strange inspires wonder.
14:58Strangely stood the test.
15:00Here, before heaven, and now it's a very solemn declaration that Prospero makes.
15:06Here, before heaven, I ratify, I am giving you, I am certainly going to give you this, my rich gift.
15:16The third of my life.
15:18And, again, my rich gift.
15:20He considers her precious.
15:23All right.
15:24And, what happens to Ferdinand?
15:26He starts smiling.
15:27You know.
15:28If you see a father praising a daughter a lot, you are very amused, isn't it?
15:32Look at him.
15:33What is he doing?
15:33And, he says, and see how Shakespeare's stage directions are within the narrative itself.
15:40He says, don't smile at me, Ferdinand.
15:43I boast, that I am boasting of her.
15:45For you will find that she will outstrip.
15:48She will go beyond all praise.
15:51You cannot praise my daughter enough.
15:53And, make any praise will fall short when it comes to Miranda.
15:59All right.
16:00So, then, of course, Ferdinand, what can he tell Prospero, his prospective father-in-law?
16:06He says, I believe it against an oracle.
16:09Now, you have come across the word oracle when you did your Merchant of Venice.
16:13The oracle was believed by the Greeks to be the voice of God.
16:18So, even if the gods told me otherwise, I will believe thee.
16:21And, now, he comes to something again, a concern of a father.
16:27Also, ideals which were valued during the Elizabethan and Jacobian times.
16:33Why do I say Jacobian?
16:34Because, by the time Shakespeare was writing this play, King James I was on the throne.
16:40So, he was writing partly for Queen Elizabeth I and then, later, this play especially was written during the reign
16:51of King James I.
16:52Jacobian is an adjective of James.
16:56All right.
16:57Ma'am, here, I am just interrupting you.
16:59May we take a call?
17:00Definitely.
17:01A student is waiting for us from Uttar Pradesh.
17:04Michael Shreya Tiwari is over phone.
17:07Hello.
17:08Hello.
17:09Good afternoon, dear.
17:10Tell me.
17:11Good afternoon, ma'am.
17:12I am Shreya Tiwari.
17:14Yes.
17:15Ma'am, I want to ask that if Prospero was a great magician, so can we say, Miranda, can we
17:25say Ariel as a base of his magic?
17:29No, base, he's an agent.
17:32You know, Ariel without Prospero again is nothing.
17:35All right?
17:35It is Prospero who's the master puppeteer, the master magician.
17:39But he has people, his attendants, who do his tricks for him or whatever he does.
17:45All right?
17:46Thank you for asking that question.
17:48So, then, as my gift and your own acquisition, you've acquired her, worthily purchased.
17:53What you've done, your actions have been worthy.
17:56Take my daughter.
17:58What?
17:59And he says, but.
18:01Father who's happy, now I've got Miranda, and then the word, but, comes into place.
18:07And now what, which but, which condition are you going to place before me?
18:11So, he says, no.
18:13The idea of chastity was very important.
18:16Especially premarital chastity was very important in Elizabethan times.
18:21So, he says, if thou does break her virgin knot, do not have any kind of, you know, relations with
18:31her before the marriage is being sanctimoniously, has been celebrated with all the holy rites.
18:39All right?
18:40That you must.
18:41See, this is one of the themes also of the play.
18:45Restraint.
18:46All right?
18:47Prospero, Antonio, it was very, very, he's unrestrained in his lust for power.
18:53You have Sebastian also unrestrained in his lust for power.
18:59The idea that having a restrained, moderate attitude to life is important, whether it's in love or in politics or
19:07whatever.
19:07So, therefore, he says, if you break her virginity, and the virgin knot would be most understandable to the Elizabethans,
19:15because the bride would wear a gurde, which was tied with a knot, which the husband was supposed to untie.
19:22All right?
19:23Before all the holy ceremonies may with full and holy rites be administered.
19:29So, let the marriage ceremony be over.
19:32I'm giving my daughter to you, but wait till the marriage.
19:36Otherwise, no blessings shall the heavens let fall on you.
19:42No sweet aspersions to make this contract, this union grow, but what will be there?
19:49Barren hatred, sour-eyed disdain, disrespect.
19:54Now, these are things that we do not want in a marriage.
19:57Disdain, disrespect, hate, and discord, trouble, quarrels.
20:04Shall strew the union of your bed with weeds.
20:09Now, normally the marriage bread would be decorated with flowers.
20:13All right?
20:13Now, he says, no, if you do not obey these rules of chastity and purity, then, you know, the marriage
20:22bed will be covered with weeds of hatred, of disdain, and discord.
20:28So, that instead of looking forward to the marriage, enjoying married life, you'll start hating it.
20:36Therefore, pay attention as Hymen's lamps shall lead you.
20:41Now, Hymen was a great god of marriage.
20:43And he was always shown with torches.
20:48And in the olden days, the bride and groom would be escorted to the bedchamber with flaming torches on either
20:56side.
20:56Now, you may have forgotten all this, or some of you might have read all this in your wonder tales
21:01of Greece and Rome.
21:02But the Elizabethans would easily relate to this.
21:07What is wonderful is that Shakespeare is referring to these classical myths, being a man who was looked down upon
21:14by many of his compatriots as a man who knew little Latin and less Greek.
21:18He didn't have a formal university education, as your teachers must have told you.
21:24Yes.
21:24May we take another one?
21:25Yes, please, please.
21:26Shivam Thapa is waiting for us.
21:28He is calling from Beradon.
21:29Hello, Shivam.
21:31Hello.
21:32Hello, ma'am.
21:33I just want to ask.
21:34I didn't understand this with paraphrase, ma'am.
21:37Alright, I'll repeat it for you.
21:39Okay.
21:39Good afternoon, Shivam.
21:41He says, then, as my, what is he saying?
21:43He is saying that as my gift.
21:45I am giving my daughter as a gift, whom you have worthily purchased.
21:50But, he places a qualification there.
21:53That is, he says, that now that you are about to be married, they are not married as yet, isn't
21:59it?
21:59So, about to be married, let no aspersions, sorry, do not anticipate your marriage by breaking her virginity.
22:09Have you understood it till here?
22:10So, if you do that, he says, the blessings of heaven, which should fall on a happily married couple, will
22:17be withdrawn.
22:18And, your marriage will be marked by hatred, by disdain and discord.
22:24Alright.
22:24So, therefore, he says, wait till hymen's torches guide you to the marriage bed.
22:30Alright.
22:31And, Ferdinand assures Prospero.
22:34So, you know, he realizes that this is the concern of a concerned father.
22:38He says, as I hope for quiet days.
22:41What does he look forward to?
22:42Quiet days.
22:43What is a marriage about?
22:46It's about quiet days, good children and a long, happy married life.
22:51He says, I want all this.
22:52With such love as it is now.
22:55And that my love that I have now, it should remain like that.
22:59So, therefore, the darkest place.
23:01Now, why dark?
23:03Murkiest means darkest.
23:05Because, the idea is darkness encourages you to think, to do things which you do not do in the light.
23:12Say, like.
23:12Alright.
23:12The more opportune, the more suitable place, the strongest suggestion, temptation, that are lower geniuses.
23:21The worse geniuses, the Christian belief that man is made of a higher, some higher qualities, spiritual qualities.
23:29He is made up of a baser nature also.
23:33So, therefore, our baser natures always tempt us to do things which are wrong on which are not accepted.
23:40Say, our worse genius, Gan, shall never melt my honor into lust.
23:45So, he gives his word as a man of honor.
23:48And the idea of honor was very important in those days.
23:53Alright.
23:54That if you give your word as a man of honor, you don't break your word.
23:59Alright.
24:00So, my honor into lust.
24:02And so, I will not, I will not change.
24:04You see, there is a difference between love and lust.
24:07Lust means giving it to your passions.
24:10Alright.
24:10He says, I will not do that to take away the edge, the enjoyment of my marriage day.
24:15Why should I do that?
24:16He says, well, what, how shall I console myself because he is a young man?
24:21So, he gets impatient.
24:23So, he says, I shall think that Phoebus' steeds, again one classical allusion, Phoebus was the sun god.
24:31And it was believed that his chariot was drawn by the horses.
24:35I will think that his steeds have gone lame or they have been kept chained below the earth.
24:43Alright.
24:44So, Prospero then, he is satisfied.
24:45For the time being, you know, he says, fairly spoke.
24:50Sit then and talk with her.
24:52She is thy own.
24:53Now, he will not have surveillance.
24:56He is always, you know, having, in today's terms, surveillance.
25:00He is very protective about his daughter.
25:02And remember, she is an innocent person.
25:04She hasn't seen the world at all.
25:06She can be led into anything.
25:08Alright.
25:09So, therefore, he says, she is yours.
25:12Alright.
25:13Now, do you see that Prospero, we've seen through all these scenes, a very larger than life figure.
25:20Alright.
25:20When he was magnificent, when he must have raised the storm.
25:23Remember, Shakespeare was meant to be acted.
25:26He was not meant to be read.
25:28And today, we are reading him, of course.
25:30You know, it's a pity.
25:32And so, he, in our eyes, if he were to cast for Prospero, think of whom you would cast.
25:38Some actor who was larger than life.
25:40You know, some quiet actor who doesn't have much of a figure, you know, and things like that.
25:46So, a man who commands attention by his very presence.
25:49And there are different shades in his character.
25:51Yes.
25:52Yeah.
25:52Very, very, very, very perceptive remark.
25:55There are many shades in his character.
25:57And therefore, you know, this humanizes him in our eyes.
26:01That, oh, such a great magician, so bent on revenge.
26:05But, he also wants to ensure his daughter's well-being.
26:10And as an audience, I can relate to such a character.
26:15This is very important, you know.
26:16Ironically, that as the audience, we must be able to relate to that character.
26:22We've talked about Ariel before, isn't it?
26:25That one of the spirits of the island whom Prospero commands.
26:29So, now he calls Ariel.
26:31And the way he calls Ariel is very interesting also.
26:34What, Ariel?
26:35My industrial servant.
26:37Hard working.
26:38Because Ariel has done all his work for him.
26:41Enter Ariel.
26:43What, what?
26:43And what does Ariel call Prospero?
26:45My potent master.
26:48Alright?
26:49So, he says, my powerful master.
26:51Here I am.
26:52And he rewards him for the earlier service, which was another mask-like scene.
26:58But, which is not technically a mask.
27:00The harpies, when Ariel had brought in the banquet in front of Alonso and his group and then snatched it
27:07away.
27:08So, you and your lower spirits, your last service, did worthily perform.
27:15And I must use you in another trick.
27:19So, we are going to see another aspect of Prospero's magic.
27:24Another trick.
27:25Go, bring the rabble, the crowd of lower spirits over whom I have given you power.
27:31So, Ariel is like the supervisor of all the spirits.
27:35Hear to this place.
27:37Incite them.
27:38Urge them to move quickly.
27:40And the next few lines are very important.
27:42For I must give upon the eyes of this young couple.
27:45I must show them some vanity of my art.
27:49So, this is some trick.
27:50I want to show them my magic.
27:52Alright.
27:54Here Prospero is a bit of a show of fear.
27:57I will show you.
27:57You know, I will show you my magic.
27:59Sociality.
27:59Yes.
28:00It is my promise.
28:01I am expected of me.
28:03They are worried about my magic.
28:04Now, let me show it to them.
28:06Okay.
28:06May I take an answer?
28:08There is someone waiting from Deradun again.
28:10And it is Puja Bisht is there on call.
28:13Hello, Puja.
28:15Now, I will be up to my man.
28:16Good afternoon.
28:17So, I just wanted to know that here Prospero, you tell Claudine and Miranda that they should
28:22not be played by their passion because of marriage rights are performed.
28:26Yes.
28:26In some ways, these rights are not given.
28:28Yes.
28:29They are the flavors or not.
28:31The council is a very perceptive command.
28:34This year, we faced this.
28:36The council does not recommend any annotation.
28:40And if you are big enough to, I think all of you are old enough to read the unedited texts.
28:47Okay.
28:47All right.
28:49So, Arian says, presently, you want me to do this task immediately?
28:54He says, I, within a drink, a blink of an eye.
28:57And Arian, now, Shakespeare's plays, who always is marked by a lot of songs.
29:03And from it, Arian sings this bit.
29:05I'm sorry, I cannot sing it for you.
29:07Before you say, come and go and breathe twice and cry so-so, each one tripping on his toe
29:15will be here with moth and moth.
29:17Each of the spirits will come and with facial expressions.
29:21And another aspect of Arian that we've noticed all through the play, his child-like nature.
29:28You know how a child goes to a teacher, teacher, I've done this, do you like me?
29:31All right.
29:32So, he says, do you love me, master?
29:34No.
29:37And Prospero also is very, very patronizing to him and says, dearly, my delicate Arian,
29:44delicate.
29:45He's a spirit of the air.
29:47So, he is not, he's not a spirit of the earth.
29:51All right.
29:52Here, I'm again interrupting.
29:53Yes, yes, that's all right.
29:54May I take a short break?
29:56Certainly.
29:56It's time to take a short break.
29:58We'll be back very soon.
30:12Can we introduce on September's question index?
30:17summons yes, it's time to take a short break?
30:42Go present, Ryan Anderson.
30:44For all a labor edition.
30:44Elegant Steel, QGIS No.1 QSTBAR, Shabai Jenei Thaykeni.
31:36Elegant Steel, QSTBAR, Shabai Jenei Thaykeni.
31:49Elegant Steel, QSTBAR, Shabai Jenei Thaykeni, Shabai Jenei Thaykeni, Shabai Jenei Thaykeni,
31:53Anmur Dairy Creamer for a perfect cup of tea, Shalimar Shev, Guna Mojla, Jibone Rashul Shad.
32:09Welcome back to our program, I'm a mayor of police country.
32:12Yes, so we just talked at a very, very critical moment in the scene where he tells Ariel, do not
32:19approach.
32:19Now he's going to present something before the young couple.
32:23As the audience also, I would be very interested to know what exactly he is presenting.
32:28So do not approach till you hear me call.
32:31So do not present anything till I tell you when to do it.
32:35Okay, so here you see Shakespeare also, he was a theatre manager, he was a director, he was an actor,
32:43he was a writer.
32:44Yes, so here also, you know, almost Prospero becomes Shakespeare's auto ego.
32:49He's commanding the entire set.
32:51Now those of you who've worked in school plays, you know that there's one person in charge, you know.
32:56And that's why he'll tell the others, do not enter till I tell you.
32:59And do this and do that.
33:01So that's exactly what Prospero is doing.
33:04So Ariel says, I understand that.
33:06And yet there's that niggling doubt in Prospero's mind.
33:10So he says, tells Ferdinand, look thou, be true.
33:13Alright?
33:14Do not give flirtation, galleons, too much reign, too much freedom.
33:19The strongest oaths become like weak straw because the blood, when you're young, you're hot-blooded and given to your
33:27passions.
33:29Be restrained or else forget your vow, forget your promise.
33:34And Ferdinand says, I assure you, sir, I warrant you.
33:38I'll put the white, cold, virgin snow on earth.
33:41I'll abate my ardour.
33:44And to abate the ardour of my liver.
33:46Why liver?
33:46The liver was considered to be the seat of passion in those days.
33:51Well, alright, now he's going to go on to his show, his mega show.
33:56Now come, my Ariel, bring an extra corollary attendant rather than want a spirit, a pure and pertly is soft
34:06music.
34:06And he says, no, tell me, in magic, if you've ever watched magic shows.
34:11In my city, we've got a master magician and who's just next door to the studios here.
34:17And this is one prerequisite of any magic show.
34:21That is complete silence.
34:24So he says, no tongue, all eyes be silent.
34:28And what he presents is a mask.
34:31If you look at the slide, it's spelled M-A-S-Q-U-E.
34:35Though, you know, there is a link between this and mask, M-A-S-K, before the young couple.
34:41Now, what is a mask?
34:43You've seen a bit of a mask, but a different kind in the Merchant of Venice.
34:48Here, masks were a kind of courtly entertainment, alright, which was presented in courts.
34:56And it was there during the Elizabethan and the Jacobian times.
35:00There were elaborate spectacles with pageantry, elaborate costumes, music, song, and very, very exalted speeches.
35:11Then also, you would have a lot of reference to classical mythology.
35:16Mythological characters would be present there.
35:19It is believed that this mask was added to the play for a specific purpose.
35:23It celebrated the wedding of Princess Elizabeth, who was the daughter of King James I, to the Elector Palatine in
35:331611, the first recorded performance of the play.
35:38Apart from theatre artists, it's believed that during Queen Elizabeth's time, Queen Elizabeth herself also took part in the play.
35:45The royals and nobles at court would take a part in these masks.
35:50Again, so before presenting the mask, you know, Prospero has, as I've told you, he has, you know, warned Ferdinand
35:59about not giving in to his passion.
36:01Now, I'll give you a thumbnail sketch of the mask so that you can actually follow it up in school
36:08reopens and all of you are there.
36:11The mask has three central characters.
36:13I've told you that this classical mythology, three goddesses come down from the heavens, alright.
36:20And in Shakespeare's time, and this was possible, why?
36:23Because as you all know, Shakespeare performed in this theatre, which was known as the Globe Theatre.
36:29But by this time, and it was quite a rudimentary, rough and rudimentary theatre house.
36:35You know, you couldn't have a lot of special effects.
36:37Now, you are the generation, and here you were used to stagecraft, spectacle, if you had to present this as
36:46a movie, you know, the kinds of special effects.
36:51You've got special effects departments nowadays.
36:53Shakespeare poor man didn't have any such special effects, but he made do with what he had.
36:58So, by this time, it's believed he had moved into a more sophisticated theatre called the Blackfriars, which made the
37:07producing, the performance of this play much more, you know, effective.
37:12So, he needs to have a kind of a contraption, which would descend from this first floor down to the
37:19stage.
37:19It would be wrapped in flowers, and it was called, it was just a platform, which is to be winched
37:25down by machinery.
37:27And whoever would come down was termed the Duke Arch Machina.
37:32D-E-U-X-E-X-M-A-C-H-I-N-A.
37:35A Latin term means God in a Machine.
37:38Ma'am, let me see if you can call again.
37:40Yes, yes.
37:41Isha, Isha, Isha is smiling, is waiting for us.
37:43She is calling from Kerala.
37:44Hi, Isha.
37:47Hello, ma'am.
37:48Good afternoon.
37:48Can I ask some questions?
37:49Yes.
37:50Yes, good afternoon.
37:51So, my question is not related to the act right now.
37:55The question is that, can you give a brief character such as the characters in the play?
38:03Because that's the question that comes quite often.
38:05As a child, that would be a very long, I'd need another session from the EBP, and I don't think
38:11they'd be very happy to give me that.
38:12But I've done a little bit, if you allow me to proceed with this, and I've done it for one
38:17character.
38:17If you do it for one character, you know how to do it for the others.
38:20Okay, you should listen to us.
38:22Yes, the mask has three central characters.
38:26They're actually super pure natural creatures.
38:29They're goddesses.
38:30One is Iris.
38:32She's the goddess of the rainbow.
38:34All right, the name Iris and the rainbow, sorry, the rainbow in the Bible, you know, symbolizes hope.
38:42And one doesn't know whether Shakespeare was thinking about this when he brought down the rainbow.
38:49The rainbow unites the heavens and the earth.
38:52So, it unites the spiritual and the earthly.
38:56Iris is also the messenger of Juno, the queen of gods.
39:00There's also Ceres, the goddess of agriculture, the earth and harvest.
39:06And Juno, the queen of gods, of riches, honor, patroness of marriage and childbirth.
39:13And you see the symbolism about the three goddesses.
39:16That each one of them have a very important role to play.
39:20You know, it is actually, in a way, Shakespeare is Prospero externalizing all the blessings that he wants to give
39:26his daughter.
39:27All right?
39:27And he does it through this mask.
39:30Also mentioned, a Venus, the goddess of love and passion.
39:33Then, Cupid, her son, the god of love, and this, or Hades, or even Pluto, he's known as, as god
39:40of the underworld.
39:41They're just mentioned.
39:42They don't appear.
39:44Now, therefore, Ceres was associated with, she's the goddess of agriculture, remember.
39:50So, she's associated with meadows and granaries and orchards.
39:54Now, when Iris calls her, she's at first reluctant to come to the spot if Venus is there.
40:00And I've got to tell you a little story here.
40:03It's a storytelling time because you won't understand otherwise.
40:08Ceres had a beautiful daughter.
40:10So goes Greek mythology.
40:13Who was known?
40:14Prosepina or Prosepine.
40:16All right?
40:17Ceres, as I've said, is the goddess of the earth, of agriculture.
40:20It was due to her, the Greeks believed, that harvests grew.
40:24Now, Prosepina was her daughter and a very beautiful young woman.
40:30Pluto or Hades, the god of the underworld, or this, as he's mentioned here, fell in love with her.
40:36And he wanted her.
40:38But Venus, oh, sorry, Ceres would not part with her daughter.
40:41And Hades abducted her, took her to the underworld.
40:45And Ceres laid in her grief and agony and pain, laid the earth waste.
40:52Nothing grew.
40:53You see the relation between life and myths.
40:56All myths have some relation to our lives.
40:58So nothing grew, mankind suffered, till Jupiter or Zeus intervened.
41:06And Pluto was persuaded to give up his bride to her mother.
41:10But because she had eaten four grains of a pomegranate in the underworld, so goes the myth,
41:18she would have to spend four months every year with her husband in the underworld.
41:23So when she is not there with her mother, the world in winter becomes bleak and cold and nothing grows.
41:31When she's united with her mother again in spring, you see that earth becomes bountiful.
41:38So Ceres is the goddess of bounty.
41:41Now, therefore, when Ceres, of course, when she's called, she first wants to know whether Venus and Cupid are there.
41:48Because Venus have told you she's a goddess of fashion.
41:51All right.
41:51And she felt that Venus and Cupid had helped this to abduct her daughter.
41:58When she's assured that they are not there, Ceres and Juno proceed to bless the young couple with what?
42:07Agricultural plenty, fertility, a long married life and children.
42:13All right.
42:14So agricultural, why agricultural plenty?
42:18What kind of a world or Shakespeare living in?
42:20An agrarian world.
42:21So as ruler, as rulers, shall we say, of the world, of Naples, what would they need in their world?
42:30They would need this.
42:31They would need good agriculture.
42:33They would need wealth.
42:34They would need fertility.
42:36And of course, a long life.
42:39Ma'am, there's another one for us.
42:40Rona Kasort is calling from Kolkata.
42:42Hello, Rona.
42:44Hello, Ma'am.
42:45Good afternoon, Ma'am.
42:46Good afternoon.
42:48Ma'am, my question, I just had a question which I wanted to ask.
42:52Ma'am, my question is that what is the impact of this mask in the play, The Tempest?
43:28It's all right.
43:29So the impact is one of a wonder.
43:32And that's exactly what Shakespeare had, sorry, Prospero had said, no, he wanted to show them
43:37the vanity of his art.
43:39I hope you are answered.
43:43So therefore, the themes of charity, of chastity, fertility and unity are reinforced through the mask.
43:52All right.
43:53So you can see that not only is it a spectacle because Shakespeare had been commanded to present
43:58a mask and present a plea rather in front of the court, but it is also very meaningful
44:05in the context of the play.
44:07In fact, the last gentleman who questioned us, he has a reason, perhaps he's read it
44:12somewhere.
44:12Some people say that the mask is extraneous to the play, but a close reading of the play
44:17will tell you that it very much ties in with the main themes of the play.
44:23All right.
44:24So, yes, no, no, Iris plays an important role.
44:28She's the rainbow.
44:30She unites, as I said in the Bible, the rainbow symbolizes hope and any marriage must have hope.
44:37And Ferdinand and Miranda are Prospero's hope for the future.
44:43Perhaps, you know, a future in a world devoid of bitterness, devoid of treachery.
44:49All right.
44:50In a world of, in a union, which would be an ideal union.
44:54Again, a typical fatherly sentiment who hopes for nothing but the best for his daughter.
45:01So, Iris plays an important role as the rainbow.
45:04She unites the heavens and earth, the spiritual and the earthly, the characteristics of a true
45:10marriage.
45:11All right.
45:12Which must, you know, involve both aspects of life.
45:17The mask presents Prospero's idea of a perfect world.
45:21One in nature, in which nature and civilization are balanced.
45:25And if you noticed in the mask, or you will notice, there are no evil characters.
45:32All right.
45:33Before we go on to the sample question, I would like you to just know what happens after this.
45:41What is the impact of the mask?
45:43The impact of the mask on Ferdinand is that he's full of wonder.
45:47Because he has not actually seen Prospero's magic.
45:51See, he's full of wonder.
45:53But the mask ends abruptly.
45:55And this abrupt ending is also very meaningful.
45:59Because the abrupt ending happens how?
46:02Prospero is reminded of Caliban.
46:05And Caliban's plot, which you have read about in Act 3, against Prospero.
46:10All right.
46:11And Caliban's plot was, again, a plot to overthrow Prospero by killing him.
46:17So, what is happening?
46:18The harsh realities of life, the mundane, the ordinary, you know, we've talked about our
46:25basal natures.
46:26All that is impinging on something that's very ethereal, very otherworldly.
46:33And the two cannot prohibit.
46:35And then Prospero philosophizes, you know, about the illusory quality of life.
46:42So, the mask itself is an illusion.
46:44And therefore, Prospero talks about how everything in the world is an illusion and swiftly fading.
46:51That it doesn't stay for very long.
46:54All right.
46:55And then he goes on to punish Caliban and his companions.
46:59Now, Act 4 is almost heading towards the resolution of the play.
47:03Because the play proceeds from revenge, all right, harshness, treachery first.
47:11Then Prospero is obsessed by his revenge.
47:14You know, he's pretty harsh towards his enemies.
47:18And this mask comes as a lull between two very important scenes.
47:24You've got the banquet scene before and you've got the last act after.
47:30And you've, of course, got Caliban's, you know, demeaning acts there.
47:37So, between this, this is a little bit of poetic relief where the audience can see something
47:43that's beautiful, that's noble, that's graceful.
47:46Yes.
47:47And there's another call for us.
47:48Shopan Oshin is calling from Kool Lani.
47:51Ma'am, I have a question.
47:52Good afternoon.
47:53Yes.
47:54Ma'am, what is the primary reason for Prospero of arranging this mask?
47:59I would like to quote, he says, it is line 40 in Act 4.
48:05It is, I must bestow upon the eyes of this young couple some vanity of my art.
48:12I want to show them my skills.
48:14It is my promise and they expect it from me.
48:19Have you understood it?
48:20All right.
48:21So, it is, what does he do?
48:23Why does he do it?
48:23He wants to reward them.
48:26And like a father, to do also, we have, if you watch the weddings on television, you
48:31have a dance show by some actor.
48:33All right.
48:34You have some famous band coming and performing.
48:38All right.
48:38For the bride and the groom after the marriage ceremony is conducted.
48:41So, here too, Prospero actually presents a show in front of Miranda and Ferdinand.
48:50Of course, as you can see, there is a meaning to it because it's not only for Miranda and
48:55Ferdinand who are literary core characters, but also for Princess Elizabeth and her husband
49:01who were very much there.
49:03So, you know, he was sort of externalizing what a father might be feeling.
49:09All right.
49:10So, as I said, and then finally, Prospero's revenge takes a break here.
49:14For here, you will notice that nothing special like happens.
49:18There's no action at us as such.
49:20Nobody's killing anybody.
49:21Nobody's fighting with anybody.
49:23It's a scene of great harmony.
49:25The only discord being the reference to Venus.
49:30All right.
49:31And towards the latter part of the scene, of course, when we bring in Caliban, then, of
49:36course, there is some amount of discord.
49:39And the scene naturally leads into Act 5, where Prospero now, you know, in a way, it's a very
49:47Christian sort of a play because it talks about repentance, it talks about forgiveness
49:53and reconciliation.
49:54And what bigger reconciliation can there be but of marriage?
49:59The marriage between Ferdinand and Miranda, which in one way would unite the houses of
50:05Maples and Milan.
50:07Yes.
50:07So, may we move on to the samples question?
50:10Yes, ma'am.
50:11Yes, ma'am.
50:11But before that, we have another student with us.
50:14From Uttar Pradesh, Amitesh Rikshit is calling us.
50:17Hello, Amitesh.
50:18Good afternoon, ma'am.
50:20Good afternoon.
50:22Ma'am, my question is, by this scene, we see that Staggo trusts the aerial.
50:27What is the reason behind it?
50:29Why he trusts aerial?
50:31But he's trusted aerial all through the play.
50:33There hasn't been a place where he has not trusted aerial.
50:39Because aerial does all his tasks.
50:41Yes.
50:41Like a strict schoolmaster, he gets a little annoyed if aerial steps out of line.
50:47But there's never a distrust.
50:48He distrusts Caliban.
50:50But he doesn't distrust aerial.
50:52Yes.
50:53So, we move on to the sample questions.
50:56And I've again taken, as in my previous classes, the 866 question.
51:00Because this 866 is where you score the highest.
51:04And I've taken just one component.
51:06Because we've been talking about Prospero all through.
51:10And I think I'm answering that young lady who had asked me to just give her small sketches of all
51:16the characters.
51:17Referring closely to the play, evaluate Prospero as a father and as a magician.
51:23So, you've got your answer.
51:25You've got the first part of the mask where you can see Prospero as a father.
51:30And you've got the mask itself, the whole spectacle as a magician.
51:35Which presents Prospero as a magician.
51:38Remember, everything is being done by him.
51:41So, the points that you should be using.
51:44His true love from his daughter.
51:46And you must not, or you can refer.
51:48Remember, the question says, referring closely to the play.
51:51So, you can start with Act 1, Scene 2.
51:54Where he says, I've done nothing but a concern for you, my dearest one.
51:59Alright?
51:59Trace the whole, his love for his daughter.
52:02Where do you get references?
52:04This is where you must read your play thoroughly.
52:08And I'm repeating myself.
52:10And I ad nauseum, I say this.
52:12That you must read every page of your play.
52:16Not a guide.
52:17And not a, you know, a paraphrase.
52:20Because the paraphrase does not give you the details.
52:23So, underline with your highlighter.
52:25All those exchanges between Prospero and his daughter.
52:28Or wherever he is referring to his daughter.
52:31And see his attitude to her.
52:34Early examples will be given of his deep love for Miranda.
52:38And also, it's a very fatherly thing that he does.
52:42When he puts Ferdinand through the test.
52:44So, all through you will have to.
52:46Because he tells her that I had raised the tempest.
52:49But I have not harmed anyone in concern for thee.
52:53Because he knew about his daughter's compassionate heart.
52:57His concern for the sanctity.
52:59For the chastity and purity of his daughter.
53:03And then, you go on to talk about the mask itself.
53:08So, there's a bigger plan.
53:10He, of course, gives his daughter to Ferdinand.
53:13But one wonders.
53:14Would he have given his daughter.
53:16And this is open for debate.
53:18Would he have given his daughter to Prospero.
53:20If he, to Ferdinand, sorry.
53:23If he had found Ferdinand wanting in some way.
53:27Alright.
53:27So, it's just that Divine Providence brought Alonso here.
53:31And he got the chance of Ferdinand.
53:34And he puts his plan of revenge into action.
53:36And this particular aspect of his revenge also.
53:40Now, Prospero as a magician.
53:41You've got to talk about the mask.
53:43As an example of Prospero's magical powers.
53:48Alright.
53:49And the example of.
53:51Also, it refers to his magical powers.
53:54In the course of the play.
53:56Starting with the tempest itself.
53:58Alright.
53:59He raises the tempest.
54:01It is an illusion.
54:02But you and I as the audience.
54:04You know, when you go to watch a magic show.
54:06Children don't watch magic shows nowadays.
54:08But even as children, if you watch little ones.
54:10You know, you completely believe in what the magician is doing.
54:13He's pulling a rabbit out of a hat.
54:15He's making things appear and disappear.
54:18You completely enter the world of the illusion.
54:21So, you and also.
54:22When we experience a tempest.
54:25Remember, we are the audience.
54:26We're not readers actually.
54:28Alright.
54:29We are the audience.
54:29We also feel.
54:30What is going to happen to the ship?
54:32It's breaking.
54:32Everybody is dying.
54:34And then we come to the figure of Prospero.
54:37Standing on a promontory.
54:39Raising the tempest.
54:40And we realize that it was a magical act.
54:44So, subsequently the things that he does.
54:47The way he punishes Caliban.
54:50Alright.
54:50The idea that as a magician.
54:52His powers were superior to Sycorax.
54:55And therefore he could release Ariel.
54:57Something Sycorax herself could not do.
54:59All these are things that you must put in.
55:02The entire banquet.
55:04Which appears and disappears.
55:05The harpies words.
55:07And finally you come to your mask.
55:10That is why you must.
55:12And I always say this ma'am.
55:13Again and again and again.
55:14That you must read your plate thoroughly.
55:17To get a comprehensive answer.
55:19Which will ensure you all your points.
55:21Okay.
55:22Another phone call is here.
55:23Shomili Hajra is calling from Hara.
55:25Hello.
55:26Hello ma'am.
55:27I am Shomili Mondal from Hara.
55:30Okay.
55:30Yes.
55:31Good afternoon.
55:32Good afternoon ma'am.
55:33I have a question that.
55:35What is the significance of Ariel's song in this scene?
55:40You know the song.
55:41I know many of his songs have a significance.
55:44You probably just think of it as an action.
55:47You know.
55:47As a dramatic action.
55:49His song perhaps gives the actors the time.
55:53Alright.
55:53To dress themselves and to get ready.
55:56Before the mask was to be presented.
56:00There is no other significance.
56:01And Ariel and the whole thing that it can be done in the blink of an eye.
56:05And can be done fast.
56:06That is the power of magic.
56:08If you ask me to suddenly change from being a teacher here.
56:11And becoming the anchor.
56:13It will take me a lot of time.
56:14Isn't it?
56:15So you need to be occupied by something else.
56:19So this was just a dramatic device on Shakespeare's part.
56:23Ma'am at that time.
56:24What kind of audience he here?
56:27This is very interesting.
56:28By the time this play has come.
56:30Of course the audience has got a little sophisticated.
56:33But the globe was.
56:35And I always say this.
56:36That think of any of your master entertainers.
56:39Shakespeare was one like that.
56:41And he is true for all times.
56:43We have just celebrated the birthday of a master bard.
56:51An international bard.
56:52Rubin and Attaqur yesterday.
56:54Shakespeare was also one person like that.
56:56That you know whatever he said.
56:58We said okay.
56:59We thought the same way.
57:00Alright.
57:01With Rubin and Attaqur also.
57:02Sometimes I feel everything that I wanted to say.
57:05He has already said it.
57:06Alright.
57:06And so also with Shakespeare.
57:08His audience was a merry mix.
57:11So you had the groundlings.
57:13Who are people who would be shouting and yelling.
57:17You know.
57:17If you had any of your locality cinema halls.
57:20Now you don't have any of those.
57:21The standalones.
57:22The ordinary people would go in.
57:24They'd make comments at what is happening on stage.
57:27You'd also have the young gallants.
57:29Who'd often sit on the stage.
57:31In the globe.
57:31They'd come and sit on the stage.
57:33He had an apron stage.
57:34And then you had nobility and even royalty.
57:38Sometimes coming to visit him.
57:41Okay ma'am.
57:41If there is any homework for them.
57:43Yes.
57:44Trace the Ferdinand.
57:45Because you have.
57:46This is the culmination of the Ferdinand Miranda relationship.
57:49So trace the Ferdinand Miranda relationship.
57:52In the acts studied.
57:54Okay so this is the homework.
57:56And what is the process to.
57:59The process as I have told you earlier.
58:01As they have done it earlier.
58:03In the earlier assignment.
58:05You have to trace it right from the beginning.
58:07Which requires a close and detailed study of the text.
58:12Underline all the acts and scenes.
58:15Where right from the beginning.
58:16When they see each other.
58:18To Ferdinand's test.
58:19To Miranda's plead.
58:21Pleadings to her father.
58:22For Ferdinand.
58:23The fact that they stay too true to their love.
58:26In spite of all the tests.
58:28And finally.
58:29Prospero's acceptance.
58:31Remember quotations.
58:33Are highly appreciated.
58:34And you also get very high marks.
58:36For close adherence to the text.
58:39And there must be an introduction.
58:42And a conclusion.
58:43Okay ma'am.
58:43Thank you so much for such elaborate discussion.
58:46On the context.
58:47My pleasure.
58:48Now we have to give.
58:50Tomorrow is coming up.
58:51And tomorrow.
58:52In the same time.
58:53You will have another class.
58:54Of English.
58:55But this class is for.
58:57The ICC students.
58:58So we have to do it.
59:08And now we have to start.
59:08And now we have to start.
59:09Should I try to be a little bit?