EVERYMAN SUMMARY Everyman is a one-act play that begins with a Messenger announcing the plays purpose: Everyman will be called before God, and thus every man should look to the end of his life even as he begins it. The sin that initially looks sweet will eventually cause the soul to weep. Then God appears and tells the audience that man has forgotten the sacrifice that God made for them at the crucifixion. God is angry and disappointed with man, who has embraced the seven deadly sins. Since man has turned to sin, God is demanding a reckoning. He calls for Death and instructs him to seek out every man who has lived outside Gods law. Death is to bring forth these men for a final reckoning. Death promises to do so and seeing Everyman, Death asks him if he has forgotten his God. Everyman is unprepared for Death and is frightened at the journey Death proposes. After warning Everyman that his judgment is at hand, Everyman asks for time to find someone to accompany him in his pilgrimage. Everyman first sees his friend, Fellowship, with whom he has spent so much time. Initially, Fellowship says he will accompany his friend wherever he is going, but when he hears of the destination, Fellowship declines. He will offer women and good times, but he will not go on a journey to face Gods judgment. Everyman is disappointed in Fellowships response but decides that family and blood ties might make stronger companions. With this thought in mind, he approaches Kindred. It initially seems that Kindred will accompany Everyman. But when Kindred learns of the destination, he also refuses to go. Everyman is feeling increasingly isolated. Next, Everyman turns to Goods, for whom he committed so many of the sins that weigh heavily upon him. But Goods cannot leave earths bounds; what man acquires on earth must be left behind when he dies. Goodss role is to tempt man to sin, and so Goods will go on to the next victim, since Everyman has no further use of Goods. The betrayal of these three Fellowship, Kindred, and Goods makes Everyman aware that he has trusted in the wrong things. Everyman next asks Good Deeds for help, but Good Deeds is collapsed at Everymans feet. He is shackled by Everymans sins and cannot help. But Good Deeds suggests that Knowledge can be of help. Knowledge takes Everyman to visit Confession, where Everyman learns that knowledge of his sins and his repentance of them is the means to find salvation. The recognition of Everymans sins lifts the burden from Good Deeds, who can now help Everyman prepare for his journey. As he sets out on the final leg of his journey, Everyman has several additional companions to go with him. Discretion, Beauty, Strength, and the Five Wits are coming along with him, but they can only accompany Everyman for part of the distance. Everyman receives last rites from a priest and prepares to meet Death. The audience is reminded that the priest is Gods representative on earth and that man must turn to priests to help him prepare for death. As the journey continues, each of his companions leaves Everyman. Beauty is the first to go, since beauty fades quickly as man approaches death. Next Strength departs, for as mans health fades, physical strength is also lost. Next Discretion leaves, and then Five Wits abandons Everyman. Finally, Knowledge departs, and only Good Deeds remains for the final journey. An Angel greets Everyman to escort him the remainder of the way, where only Good Deeds can speak for him. At the plays conclusion a Doctor of Theology appears to remind the audience that all men must make this journey and that only their good deeds will speak for them at Gods final reckoning. DR FAUSTUS SUMMARY

Doctor Faustus, a talented German scholar at Wittenburg, rails against the limits of human knowledge. He has learned everything he can learn, or so he thinks, from the conventional academic disciplines. All of these things have left him unsatisfied, so now he turns to magic. A Good Angle and an Evil Angel arrive, representing Faustus' choice between Christian conscience and the path to damnation. The former advises him to leave off this pursuit of magic, and the latter tempts him. From two fellow scholars, Valdes and Cornelius, Faustus learns the fundamentals of the black arts. He thrills at the power he will have, and the great feats he'll perform. He summons the devil Mephostophilis. They flesh out the terms of their agreement, with Mephostophilis representing Lucifer. Faustus will sell his soul, in exchange for twenty-four years of power, with Mephostophilis as servant to his every whim. In a comic relief scene, we learn that Faustus' servant Wagner has gleaned some magic learning. He uses it to convince Robin the Clown to be his servant. Before the time comes to sign the contract, Faustus has misgivings, but he puts them aside. Mephostophilis returns, and Faustus signs away his soul, writing with his own blood. The words "Homo fuge" ("Fly, man) appear on his arm, and Faustus is seized by fear. Mephostophilis distracts him with a dance of devils. Faustus requests a wife, a demand Mephostophilis denies, but he does give Faustus books full of knowledge. Some time has passed. Faustus curses Mephostophilis for depriving him of heaven, although he has seen many wonders. He manages to torment Mephostophilis, he can't stomach mention of God, and the devil flees. The Good Angel and Evil Angel arrive again. The Good Angel tells him to repent, and the Evil Angel tells him to stick to his wicked ways. Lucifer, Belzebub, and Mephostophilis return, to intimidate Faustus. He is cowed by them, and agrees to speak and think no more of God. They delight him with a pageant of the Seven Deadly Sins, and then Lucifer promises to show Faustus hell. Meanwhile, Robin the Clown has gotten one of Faustus' magic books. Faustus has explored the heavens and the earth from a chariot drawn by dragons, and is now flying to Rome, where the feast honoring St. Peter is about to be celebrated. Mephostophilis and Faustus wait for the Pope, depicted as an arrogant, decidedly unholy man. They play a series of tricks, by using magic to disguise themselves and make themselves invisible, before leaving. The Chorus returns to tell us that Faustus returns home, where his vast knowledge of astronomy and his abilities earn him wide renown. Meanwhile, Robin the Clown has also learned magic, and uses it to impress his friend Rafe and summon Mephostophilis, who doesn't seem too happy to be called. At the court of Charles V, Faustus performs illusions that delight the Emperor. He also humiliates a knight named Benvolio. When Benvolio and his friends try to avenge the humiliation, Faustus has his devils hurt them and cruelly transform them, so that horns grow on their heads. Faustus swindles a Horse-courser, and when the Horse-courser returns, Faustus plays a frightening trick on him. Faustus then goes off to serve the Duke of Vanholt. Robin the Clown, his friend Dick, the Horse-courser, and a Carter all meet. They all have been swindled or hurt by Faustus' magic. They go off to the court of the Duke to settle scores with Faustus. Faustus entertains the Duke and Duchess with petty illusions, before Robin the Clown and his band of ruffians arrives. Faustus toys with them, besting them with magic, to the delight of the Duke and Duchess.

Faustus' twenty-four years are running out. Wagner tells the audience that he thinks Faustus prepares for death. He has made his will, leaving all to Wagner. But even as death approaches, Faustus spends his days feasting and drinking with the other students. For the delight of his fellow scholars, Faustus summons a spirit to take the shape of Helen of Troy. Later, an Old Man enters, warning Faustus to repent. Faustus opts for pleasure instead, and asks Mephostophilis to bring Helen of Troy to him, to be his love and comfort during these last days. Mephostophilis readily agrees. Later, Faustus tells his scholar friends that he is damned, and that his power came at the price of his soul. Concerned, the Scholars exit, leaving Faustus to meet his fate. As the hour approaches, Mephostophilis taunts Faustus. Faustus blames Mephostophilis for his damnation, and the devil proudly takes credit for it. The Good and Evil Angel arrive, and the Good Angel abandons Faustus. The gates of Hell open. The Evil Angel taunts Faustus, naming the horrible tortures seen there. The Clock strikes eleven. Faustus gives a final, frenzied monologue, regretting his choices. At midnight the devils enter. As Faustus begs God and the devil for mercy, the devils drag him away. Later, the Scholar friends find Faustus' body, torn to pieces. Epilogue. The Chorus emphasizes that Faustus is gone, his once-great potential wasted. The Chorus warns the audience to remember his fall, and the lessons it offers.

Sir Gawain and the Green Knight establishes the setting firmly in Arthurian Britain by means of a lengthy description of the legendary history of Britain. Britain is a land of great wonders and strife, but King Arthur has established a court of utmost nobility and chivalry, peopled with the bravest knights and fairest ladies. This story begins at a lavish New Year's celebration in Camelot, King Arthur's court. A rich description of the celebration follows, where the poet carefully conveys luxurious details of decoration and attire. There is the incomparably beautiful Queen Guinevere, Arthur himself, and seated in honor around them, various noble knights and relatives of Arthur, including Sir Gawain . We learn that Arthur does not like to begin his feasts until he has heard a great tale or witnessed a great marvel. Indeed, in the midst of the feasting, a wondrous stranger bursts into the hall. The giant-like stranger is most remarkable because he is entirely green, but he nevertheless carries an air of handsome civility, wearing sumptuous green and gold clothes and armor. His horse is equally decked in ornate green, and the knight himself holds a branch of holly in one hand and a formidable battle-axe in the other. He demands, somewhat arrogantly, to speak to the ruler of the company, while the court stares on in stunned silence. When Arthur finally speaks, the stranger explains that he has come to this famously valiant court to play a Christmas game. Whoever agrees to play this game will be allowed to strike the Green Knight on the spot, in the middle of the court; in exchange, the Green Knight will strike a return blow upon the volunteer a year and a day hence. None of the court volunteers as the game seems to imply certain death for whomever plays; the stranger ridicules them all for Camelot's supposed bravery. Eventually Arthur agrees to play the game, but as he is about to wield the great battle-axe, Gawain speaks. In polite and self-effacing language, Gawain begs to

take up the boon instead, so the life of the king can be spared in place of a knight as weak and lowly as he. The court agrees to let Gawain play, and after restating the terms of the agreement to each other, the stranger gives the battleaxe to Gawain, who cleaves off the stranger's head in one blow. But miraculously enough, the stranger does not die, and the body of the Green Knight picks up the severed head, which even speaks to Gawain. The stranger charges Gawain to meet him at the Green Chapel next New Year's morning, so that he may receive his exchange blow. After the stranger leaves, the New Year's feast continues unaffected, but the poet ends the fitt by foreshadowing the dangerous adventures Gawain must face. The second part of Sir Gawain and the Green Knight opens with a lush, detailed description of Nature and the passing of the year. After the Christmas feast and the Green Knight's challenge, the winter passes into a springtime and summer. But eventually harvest season approaches, the leaves fall, and as winter begins, Gawain remembers his agreement with the Green Knight. So, at a Michaelmas feast, he sadly bids farewell to Arthur's court. All the lords and ladies are silently sorrowful that a knight as worthy as Gawain must go to his doom by receiving the exchange blow from the Green Knight. The poet then gives a meticulous description of Gawain as he dons his ornate armor the next morning. Both he and his horse Gringolet are richly attired, but Gawain's most important piece of armor of all is his shield, which bears the emblem of the Pentangle, the five-pointed star. The Pentangle, the emblem of truth, is particularly suitable for Gawain because the five points of the star represent the five different ways in which Gawain, like purified gold, embodies faultless virtue. He is perfect in the five senses; his five fingers are unfailing; his faith is fixed firmly on the five wounds which Christ received on the cross; he draws his strength from the five joys Mary had through Jesus; and he embodies, better than any other living man, the five virtues: Franchise, Fellowship, Cleanness, Courtesy, and above all, Charity. On the inside of his shield is an image of the Virgin Mary, often the source of Gawain's courage. Once armed with his shield, Gawain rides away from Camelot, the court mourning that such a young, faultless knight should sacrifice his life as a result of a silly Christmas game. Gawain rides for months, alone, with no friends but his horse and no one to talk to but God. On the way, he battles beasts and giants and struggles through a harsh, cold country which would have killed a weaker or more faithless man. On Christmas Eve, after toiling through a daunting wood, Gawain beseeches the Lord and Mary to guide him to some haven where he may attend mass and properly pray on Christmas morning. Almost immediately, Gawain stumbles upon a moated fortress, a beautiful castle with strong defences and intricate architectural flourishes. Awed and grateful, Gawain asks the porter of the castle for entrance and is greeted by a great, joyful, and eager company. He is welcomed by the lord of the castle, a massive, civilized, capable-looking man who sees to it that Gawain receives the best of care. After a great feast, his company learns that he is none other than Sir Gawain of Arthur's court, and they are delighted to have such an honored personage in their presence, the embodiment of good breeding and chivalry himself. After dinner, the company attends the Christmastide mass, where Gawain meets the lady of the castle. She is incomparably beautiful, and she is accompanied by an ancient noble lady, whose utter ugliness enhances her own beauty. Gawain is pleased to meet her, and their companionship deepens over the next few days of feasting. After the third day, Gawain thanks the lord and declares himself his servant, but regrets that he must leave the next morning to continue his quest. The lord, however, reveals that the Green Chapel is but two miles away, so Gawain

must stay for the remaining three days and relax in bed. Jubilant, Gawain again declares himself the servant of the lord, ready to do his bidding. The lord decides that the next day, Gawain will stay in bed until attending high mass and dinner with the lady of the castle; in the meantime, the lord himself will rise at dawn to go hunting. He suggests one more thing: whatever he wins in the forest tomorrow will be given to Gawain, and in exchange, whatever Gawain wins in the castle during the day he must give to the lord. Gawain agrees to this bargain, and the lord calls for more wine and revelry to celebrate their game. Part Three covers the three days before Gawain must leave the lord's castle to meet the Green Knight on New Year's Day. On the first day, as planned, the lord arises early to go hunting. The poet describes in detail the hunting party as it moves through the winter forest, hounds and blaring horns in hot pursuit of deer. Then, almost drastically, the scene switches to the interior of the castle, to Gawain's bedroom where the slumbering knight is approached by the lovely lady of the castle. A careful dialogue follows between Gawain and the lady, where he delicately and diplomatically evades and parries her sexual advances. As she is about to leave him, she asks for a kiss, and Gawain, as befits the chivalrous knight, grants her that. The rest of the day Gawain spends at mass and then in the company of the two ladies of the castle. In the meantime, the lord's hunting party has slaughtered a great number of deer by sunset, and they then begin the meticulous process of cutting and dividing the bodies of the game. Once this is done, they return home and Gawain commends the lord for his fine hunting. As promised, the lord gives the game to Gawain and Gawain, in exchange, gives the lord a sweet kiss he received that day, but refuses to reveal who it was won from, claiming that it was not part of the agreement. The two men revel for the rest of the evening and agree to continue their contract, by exchanging their winnings of the next day. The second day begins with the hunting party on the trail of an huge and vicious boar. Meanwhile, Gawain welcomes the lady as she enters his bedchamber, as dogged as ever in her pursuit of him. More flirtatious conversation ensues: she reprimands him for forgetting to kiss her and alludes to his reputation in Courtly Love and asks to be taught. In the end, Gawain evades the lady's amorous intentions, with only two kisses being exchanged. Outside, the hunt of the boar continues viciously, and the lord wins the battle by thrusting his sword into the boar's heart. Another complicated process divides the body of the boar, and the triumphant hunting party returns to the castle. Again, Gawain and the lord are joyously reunited; just as the lord gives the boar to Gawain, the younger knight bestows two kisses on him. The lady continues to dote adoringly on Gawain, and the lord convinces Gawain to stay a third day, with the same contract of exchanging winnings. The final day of the game dawns with a description of its brilliant, wintry beauty, and the hunting dogs fall on the trail of a cunning fox. Inside the castle, the lady enters Gawain's bedchamber while wearing a lovely and very revealing gown. She wakes him from his sorrowful slumber, as he dreads the impending day of doom at the Green Chapel. Gawain again escapes her advances but the lady offers a token of remembrance: a valuable ring of gold, which he kindly refuses. The lady then offers him a green silk tunic which can protect the wearer from death. Aware of his impending meeting with the Green Knight, Gawain accepts the girdle, which the lady begs him to keep secret. After receiving a third kiss from her that morning, Gawain dresses, confesses his sins to a priest in preparation for his challenge the next day, and then spends the rest of the day in utter merriment. Meanwhile, after much dogged pursuit, the lord triumphantly

captures the sly fox, and gives it to Gawain that night in the castle, in exchange for three kisses. Gawain does not reveal anything about the green girdle, and the lord assigns a servant to guide Gawain to the Green Chapel the next morning. Heavy-hearted, Gawain bids farewell to the people of the castle, all of whom are sad to see him go. That night, Gawain has trouble sleeping for fear of the next day's events. The final, dreaded day opens ominously with a fierce winter storm that keeps Gawain up at night. Before dawn on New Year's Day, the knight is awake and getting dressed, garbing himself in rich, bejeweled clothes -- most importantly the green girdle which the lady had given him. With the servant accompanying him, Gawain leaves the castle and travels through a somber, snow-covered landscape. The servant begs Gawain to reconsider his mission and run from the Green Knight, who is a horrible, cruel monster: huge, merciless, someone who kills for pure joy. But Gawain refuses to run, as that would prove himself a cowardly knight. Resigned, the servant leaves Gawain, and the knight continues alone to the Green Chapel. Gawain marvels at the deserted ugliness of the place, fearing that he might encounter the Devil himself in such a place. Suddenly, Gawain hears the sound of a blade being sharpened on a grindstone, and meets the terrifying Green Knight, who bears a monstrous axe. He welcomes Gawain, praising him for maintaining his part of the agreement and the horrified Gawain exposes his neck to receive the exchange blow. But at the last moment, he flinches from the axe, and the Green Knight stops to yell at the cowardly Gawain. The second attempt stops short as well, enraging Gawain. On the third stroke, the Green Knight splits the skin on Gawain's neck but that is all the injury done. The Green Knight explains to the wondrous Gawain what has just happened: the Green Knight is the lord of the castle, and the two feinted ax strokes represent the first two days of the game, when Gawain faithfully gave everything he won that day to the King. But that third day, Gawain did conceal the green sash from the King and as a result is punished by the slight scrape on his neck. The lord reveals that he arranged his wife's advances upon Gawain, but having seen the result, he is convinced that Gawain is the finest man alive, his only failure stemming understandably from his love of life. But Gawain is harsher on himself, cursing his cowardice and covetousness and rejecting the green sash which made him guilty. The Green Knight urges Gawain to keep the sash as a token of their struggle and invites him back to the castle to celebrate the New Year. Gawain declines and considers the dangerous wiles of women . He agrees to keep the girdle to remind himself of the "fault and frailty of the foolish flesh." The Green Knight reveals himself to be Bertilak de Hautdesert, servant to the sorceress Morgan le Fay. It was Morgan who engineered the entire game, sending Bertilak down to Camelot so that Guinevere would be shocked to death by the staged beheading. In fact, Morgan was the ancient noble lady at Hautdesert castle and is the scheming half-sister to Arthur, the king's traditional nemesis. A disillusioned Gawain returns to Camelot, where is greeted with much cheering and joy from Arthur, Guinevere, and the others. He recounts his entire adventure, but is ashamed when he tells of his ultimate failing as a result of the green girdle. Nevertheless, Arthur and the courtiers, unaware of Gawain's shame, adopt the green girdle as a heraldic token in honor of Gawain. From there, the poet concludes in much the same way he opened the poem, praising Arthur, moving back through Brutus to the siege of Troy. The final two lines implore Jesus Christ for bliss. HAMLET SYMMARY Hamlet is the son of the late King Hamlet (of Denmark), who died two months before

the start of the play. After King Hamlet's death, his brother, Claudius, becomes king, and marries King Hamlet's widow, Gertrude (Queen of Denmark). Young Hamlet fears that Claudius killed his own brother (Hamlet's father) to become king of Denmark, greatly angering Hamlet. Two officers, Marcellus and Barnardo, summon Hamlet's friend Horatio, and later Hamlet himself to see the late King Hamlet's ghost appear at midnight. The ghost tells Hamlet privately that Claudius had indeed murdered King Hamlet by pouring poison in his ear. Hamlet is further enraged and plots of how to revenge his father's death. In his anger, Hamlet seems to act like a madman, prompting King Claudius, his wife Gertrude, and his advisor Polonius to send Rosencrantz and Guildenstern to spy on Hamlet and figure out why he is acting mad. Hamlet even treats Polonius' daughter Ophelia rudely, prompting Polonius to believe Hamlet is madly in love with her, though Claudius expects otherwise. Polonius, a man who talks too long- windedly, had allowed his son Laertes to go to France (then sent Reynaldo to spy on Laertes) and had ordered Ophelia not to associate with Hamlet. Claudius, fearing Hamlet may try to kill him, sends Hamlet to England. Before leaving, however, Hamlet convinces an acting company to reenact King Hamlet's death before Claudius, in the hopes of causing Claudius to break down and admit to murdering King Hamlet. Though Claudius is enraged, he does not admit to murder. Hamlet's mother tries to reason with Hamlet after the play, while Polonius spied on them from behind a curtain. Hamlet hears Polonius, and kills him through the curtain, thinking the person is Claudius. When finding out the truth, Hamlet regrets the death, yet Claudius still sends him to England, accompanied by Rosencrantz and Guildenstern with orders from Claudius that the English kill Hamlet as soon as her arrives. After Hamlet leaves, Laertes returns from France, enraged over Polonius' death. Ophelia reacts to her father's death with utter madness and eventually falls in a stream and drowns, further angering Laertes. En route to England, Hamlet finds the orders and changes them to order Rosencrantz and Guildenstern killed, as does occur, though Hamlet is kidnapped by pirates one day later. The pirates return Hamlet to Claudius (for a ransom), and Claudius tries one last attempt to eliminate Hamlet: he arranges a sword duel between Laertes and Hamlet. The trick, however, is that the tip of Laertes' sword is poisoned. As a backup precaution, Claudius poisons the victory cup in case Hamlet wins. During the fight, the poisoned drink is offered to Hamlet, he declines, and instead his mother, Gertrude, drinks it (to the objection of Claudius). Laertes, losing to Hamlet, illegally scratches him with the poisoned sword to ensure Hamlet's death. Hamlet (unknowingly), then switches swords with Laertes, and cuts and poisons him. The queen dies, screaming that she has been poisoned and Laertes, dying, admits of Claudius' treachery. Weakening, Hamlet fatally stabs Claudius, Laertes dies, and Hamlet begins his death speech. Though Horatio wants to commit suicide out of sorrow, Hamlet entreats him to tell the story of King Hamlet's death and Rosencrantz and Guildenstern's deaths to all. Fortinbras, the prince of Norway, arrives from conquest of England, and Hamlet's last dying wish is that Fortinbras become the new King of Denmark, as happens. Act I. Shakespeare's longest play and the play responsible for the immortal lines "To be or not to be: that is the question:" and the advise "to thine own self be true," begins in Denmark with the news that King Hamlet of Denmark has recently died. Denmark is now in a state of high alert and preparing for possible war with Young Fortinbras of Norway. A ghost resembling the late King Hamlet is spotted on a platform before Elsinore Castle in Denmark. King Claudius, who now rules Denmark, has taken King Hamlet's wife, Queen Gertrude as his new wife and Queen of Denmark.

King Claudius fearing Young Fortinbras of Norway may invade, has sent ambassadors to Norway to urge the King of Norway to restrain Young Fortinbras. Young Hamlet distrusts King Claudius. The King and Queen do not understand why Hamlet still mourns his father's death over two months ago. In his first soliloquy, Hamlet explains that he does not like his mother marrying the next King of Denmark so quickly within a month of his father's death... Laertes, the son of Lord Chamberlain Polonius, gives his sister Ophelia some brotherly advice. He warns Ophelia not to fall in love with Young Hamlet; she will only be hurt. Polonius tells his daughter Ophelia not to return Hamlet's affections for her since he fears Hamlet is only using her... Hamlet meets the Ghost of his father, King Hamlet and follows it to learn more... Hamlet learns from King Hamlet's Ghost that he was poisoned by King Claudius, the current ruler of Denmark. The Ghost tells Hamlet to avenge his death but not to punish Queen Gertrude for remarrying; it is not Hamlet's place and her conscience and heaven will judge her... Hamlet swears Horatio and Marcellus to silence over Hamlet meeting the Ghost. Act II. Polonius tells Reynaldo to spy on his son Laertes in Paris. Polonius learns from his daughter Ophelia that a badly dressed Hamlet met her, studied her face and promptly left. Polonius believes that Hamlet's odd behavior is because Ophelia has rejected him. Polonius decides to tell King Claudius the reason for Hamlet's recently odd behavior. King Claudius instructs courtiers Rosencrantz and Guildenstern to find out what is causing Hamlet's strange "transformation," or change of character. Queen Gertrude reveals that only King Hamlet's death and her recent remarriage could be upsetting Hamlet. We learn more of Young Fortinbras' movements and Polonius has his own theory about Hamlet's transformation; it is caused by Hamlet's love for his daughter Ophelia. Hamlet makes his famous speech about the greatness of man. Hamlet plans to use a play to test if King Claudius really did kill his father as King Hamlet's Ghost told him... Act III. The King's spies, Rosencrantz and Guildenstern report to King Claudius on Hamlet's behavior. Hamlet is eager for King Claudius and Queen Gertrude to watch a play tonight which Hamlet has added lines to. King Claudius and Polonius listen in on Hamlet's and Ophelia's private conversation. Hamlet suspects Ophelia is spying on him and is increasingly hostile to her before leaving. King Claudius decides to send Hamlet to England, fearing danger in Hamlet since he no longer believes Hamlet is merely lovesick. The King agrees to Polonius' plan to eavesdrop on Hamlet's conversation with his mother after the play to hopefully learn more from Hamlet. The play Hamlet had added lines to is performed. The mime preceding the play which mimics the Ghost's description of King Hamlet's death goes unnoticed. The main play called "The Murder of Gonzago" is performed, causing King Claudius

to react in a way which convinces Hamlet that his uncle did indeed poison his father King Hamlet as the Ghost previously had told him... Hamlet pretends not to know that the play has offended King Claudius. Hamlet agrees to speak with his mother in private... King Claudius admits his growing fear of Hamlet and decides to send him overseas to England with Rosencrantz and Guildenstern in order to protect himself. Alone, King Claudius reveals in soliloquy his own knowledge of the crime he has committed (poisoning King Hamlet) and realizes that he cannot escape divine justice... Queen Gertrude attempts to scold her son but Hamlet instead scolds his mother for her actions. Queen Gertrude cries out in fear, and Polonius echoes it and is stabbed through the arras (subdivision of a room created by a hanging tapestry) where he was listening in. Hamlet continues scolding his mother but the Ghost reappears, telling Hamlet to be gentle with the Queen. For her part, Queen Gertrude agrees to stop living with King Claudius, beginning her redemption.... Act IV. King Claudius speaks with his wife, Queen Gertrude. He learns of Polonius' murder which shocks him; it could easily have been him. Queen Gertrude lies for her son, saying that Hamlet is as mad as a tempestuous sea. King Claudius, now scared of Hamlet, decides to have Hamlet sent away to England immediately... He also sends courtiers and spies Rosencrantz and Guildenstern to speak with Hamlet to find out where Hamlet has hidden Polonius' body so they can take it to the chapel. Hamlet refuses to tell Rosencrantz and Guildenstern where Polonius' dead body is hidden. He calls Rosencrantz and Guildenstern lapdogs revealing his true awareness that they are not his friends. Hamlet agrees to see King Claudius. Hamlet continues to refuse to tell Rosencrantz and Guildenstern where Polonius' body is. Hamlet is brought before the King. The two exchange words, clearly circling each other, each aware that the other is a threat. Hamlet tells King Claudius where Polonius body is. King Claudius ominously tells Hamlet to leave for England supposedly for Hamlet's own safety. With Hamlet gone, King Claudius reveals his plans for Hamlet to be killed in England, freeing King Claudius from further worry from this threat... Young Fortinbras marches his army across Denmark to fight the Polish. Hamlet laments that he does not have in him the strength of Young Fortinbras, who will lead an army into pointless fighting, if only to maintain honor. Hamlet asks himself how he cannot fight for honor when his father has been killed and his mother made a whore in his eyes by becoming King Claudius' wife. The death of Polonius leaves its mark on Ophelia who becomes mad from the grief of losing her father. Laertes storms King Claudius' castle, demanding to see his father and wanting justice when he learns that his father, Polonius has been killed. King Claudius remains calm, telling Laertes that he too mourned his father's loss... Horatio is greeted by sailors who have news from Hamlet. Horatio follows the sailors to learn more... King Claudius explains to Laertes that Hamlet killed his father, Polonius. Deciding they have a common enemy, they plot Hamlet's death at a fencing match to be arranged between Laertes and Hamlet. Laertes learns of his sister Ophelia's death by drowning... Act V.

Hamlet and Horatio speak with a cheerful Clown or gravedigger. Hamlet famously realizes that man's accomplishments are transitory (fleeting) and holding the skull of Yorick, a childhood jester he remembered, creates a famous scene about man's insignificance and inability to control his fate following death. At Ophelia's burial, the Priest reveals a widely held belief that Ophelia committed suicide, angering Laertes. Hamlet fights Laertes over Ophelia's grave, angered by Laertes exaggerated emphasis of his sorrow and because he believes he loved Ophelia much more than her brother. Hamlet explains to Horatio how he avoided the death planned for him in England and had courtiers' Rosencrantz and Guildenstern put to death instead. Hamlet reveals his desire to kill King Claudius. Summoned by Osric to fence against Laertes, Hamlet arrives at a hall in the castle and fights Laertes. Queen Gertrude drinks a poisoned cup meant for Hamlet, dying but not before telling all that she has been poisoned. Hamlet wins the first two rounds against Laertes but is stabbed and poisoned fatally in the third round. Exchanging swords whilst fighting, Hamlet wounds and poisons Laertes who explains that his sword is poison tipped. Now dying, Hamlet stabs King Claudius with this same sword, killing him. Hamlet, dying, tells Horatio to tell his story and not to commit suicide. Hamlet recommends Young Fortinbras as the next King of Denmark. Young Fortinbras arrives, cleaning up the massacre. Horatio promises to tell all the story we have just witnessed, ending the play.

HENRY V T he play is set in England in the early fifteenth century. The political situation in England is tense: King Henry IV has died, and his son, the young King Henry V, has just assumed the throne. Several bitter civil wars have left the people of England restless and dissatisfied. Furthermore, in order to gain the respect of the English people and the court, Henry must live down his wild adolescent past, when he used to consort with thieves and drunkards at the Boars Head Tavern on the seedy side of London. Henry lays claim to certain parts of France, based on his distant roots in the French royal family and on a very technical interpretation of ancient land laws. When the young prince, or Dauphin, of France sends Henry an insulting message in response to these claims, Henry decides to invade France. Supported by the English noblemen and clergy, Henry gathers his troops for war. Henrys decision to invade France trickles down to affect the common people he rules. In the Boars Head Tavern in Eastcheap, some of the kings former friendswhom he rejected when he rose to the throneprepare to leave their homes and families. Bardolph, Pistol, and Nim are common lowlifes and part-time criminals, on the opposite end of the social spectrum from their royal former companion. As they prepare for the war, they remark on the death of Falstaff, an elderly knight who was once King Henrys closest friend. Just before his fleet sets sail, King Henry learns of a conspiracy against his life. The three traitors working for the French beg for mercy, but Henry denies

their request. He orders that the trio, which includes a former friend named Scrope, be executed. The English sail for France, where they fight their way across the country. Against incredible odds, they continue to win after conquering the town of Harfleur, where Henry gives an impassioned speech to motivate his soldiers to victory. Among the officers in King Henrys army are men from all parts of Britain, such as Fluellen, a Welsh captain. As the English advance, Nim and Bardolph are caught looting and are hanged at King Henrys command. The climax of the war comes at the famous Battle of Agincourt, at which the English are outnumbered by the French five to one. The night before the battle, King Henry disguises himself as a common soldier and talks to many of the soldiers in his camp, learning who they are and what they think of the great battle in which they have been swept up. When he is by himself, he laments his ever-present responsibilities as king. In the morning, he prays to God and gives a powerful, inspiring speech to his soldiers. Miraculously, the English win the battle, and the proud French must surrender at last. Some time later, peace negotiations are finally worked out: Henry will marry Catherine, the daughter of the French king. Henrys son will be the king of France, and the marriage will unite the two kingdoms. AS YOU LIKE IT In this play, Duke Frederick (the younger duke) usurps his older brother, Duke Senior, and banishes him to the Forest of Arden. Frederick goes on to banish Duke Senior's daughter Rosalind. Frederick's daughter, Celia (Rosalind's cousin) flees her evil father with Rosalind and they head (along with Touchstone, the clown) to the Forest of Arden. Before leaving, though, Rosalind falls in love with Orlando and he with her after he beats Charles in a wrestling match. Orlando, the younger son of Sir Rowland, had rebelled at being kept a virtual prisoner by his older brother, Oliver. Duke Frederick and Oliver had hoped that Charles would kill or cripple Orlando in the match, but Orlando managed to throw and injure Charles. Soon after, Orlando flees his older brother, Oliver, after their servant Adam warns Orlando of Oliver's plans to kill him. Orlando and Adam also flee to the Forest of Arden. Duke Frederick, upon finding Celia, Rosalind, and Orlando missing, orders Oliver to find them, or face banishment himself. In the Forest, the cousins, disguised as Ganymede (a male) and Aliena, and the clown Touchstone purchase a shepherd's hut, a flock, and a pasture from two shepherds, Corin and Silvius. In another part of the forest, the banished Duke Senior discusses the philosophizing of his melancholy courier Jaques, who is even more mad and morose than usual due to the singing of another courtier, Amiens. When Duke Senior meets him, however, Jaques is now merry, having met the clever fool, Touchstone, in the forest. Meanwhile, Orlando has been desperately searching for food, and, with a drawn sword, he enters Duke Senior's banqueting place and demands food. However, Duke Senior greets Orlando with unexpected kindness and welcomes him and Adam to his camp. Orlando, knowing that Rosalind is somewhere in the forest, wanders through the forest hanging love verses to Rosalind upon the branches of trees. Rosalind finds the verses, and, pretending to be a male (Ganymede), she talks at length with Orlando about his true love, Rosalind. As Ganymede, she offers to pose as Rosalind and to allow Orlando to practice his wooing with her. Meanwhile, Touchstone is planning his own romance with Audrey (a sheepherder), though a commoner named William also seeks Audrey until Touchstone scares him off. "Ganymede" witnesses the love affair of Phebe and Silvius, two shepherds; Phebe treats Silvius coldly and "Ganymede" chides her for it, but Phebe instantly falls in love with "Ganymede", thinking Rosalind is a he. After "Ganymede" leaves, Phebe decides that

she will write a love letter to "him" and have Silvius deliver it. Silvius delivers the letter, and Rosalind decides that she will remedy the situation and help Silvius get Phebe by eventually revealing that "Ganymede" is a she. The exiled Oliver finds "Ganymede" and tells "him" that, while sleeping in the forest, he was saved from the attack of a lioness by his brother Orlando. Orlando was wounded and asked Oliver to bring a bloody napkin as proof of the fight and as explanation for missing his appointment with "Ganymede". "Ganymede" faints, then pretends that she was faking, though Oliver comes to realize that "Ganymede" is really Rosalind. Orlando and Oliver are now reconciled, and Oliver tells his brother that he has fallen in love with "Aliena", the disguised Celia. They will be married the next day. Orlando returns to "Ganymede", still not knowing it is Rosalind because Oliver keeps her secret. He laments that he cannot marry his Rosalind tomorrow, but "Ganymede" promises to make it possible via magic. At the wedding, "Ganymede" reveals that "he" is actually Rosalind, causing Orlando to rejoice. Additionally, Phebe is forced to marry Silvius since she can no longer marry "Ganymede". Now, Hymen, the god of marriage, marries Orlando and Rosalind, Oliver and Celia, Silvius and Phebe, & Touchstone and Audrey. After the wedding, Jaques de Boys (a new Jaques), a long lost brother of Oliver and Orlando arrives with the news that Duke Frederick was converted to good by an old religious man, and has requested that all of the banished people return home and have their estates back. Lastly, Rosalind recites an epilogue, requesting the audience enjoy the play as much as they please, and not more. Note that this play included the famous line "All's the world's a stage", spoken by the Jaques (II,vii,140), in addition to the text for the song "Blow, Blow, Though Winter Wind" (II,vii,174). CHARACTER CARDS THE KNIGHT One of Geoffrey's less believable main characters is the Knight, for reasons of chivalry. The knight displays many traits which make him seem almost too good to be true, and a true gentleman that rarely exists in reality. The narrator sums up the knights character by stating that "Though he were worthy, he was wys,/And of his port as meeke as is a mayde." (pg. 5, The Canterbury Tales) The knight holds four main admirable traits, making him the most liked traveler in "The Canterbury Tales," and also amplying the doubt of his realism. The reader is prepared to learn of each of his noble accomplishments and importance when the narrator remarks that" A knight ther was, and that a worthy man,/That fro the tyme that he first bigan/To ryden out, he loved chivalrye,/Trouthe and honour, fredom and curteisye." (pg. 4, The Canterbury Tales) From the characters impressive introduction, it is clear that this man is the most valued and honorable traveler among the group. This perfect gentleman holds a love of ideals that are often not displayed by people. First and foremost, he believes in the ideals of chivalry, and always stays true to its principles. He also feels that one should be honest, truthful and faithful, which many people are not all of these ideals. The knight thinks one should only do what is right, and what will gain him honor and reputation. This character also believes in freedom and generosity towards all, and displays this ideal repeatedly throughout the novel. And lastly, the knight also strongly feels that any proper person should display courtesy and elegance at all times. Another aspect of this character's life which makes him seem too prestigious to be truthful is his impressive military career. He fought in the holy war, known as the Crusades and was involved in 15 "mortal battles." In the prologue, the narrator informs the reader that "Ful worthy was he in his lordes werre,/And therto hadde he riden, no man ferre,/As wel in Cristendom as

hethenesse,/And ever honoured for his worthinesse." (pg. 4, The Canterbury Tales) The knight obviously held a very respectable reputation, and was treated with much honor and respect. He was a perfect gentleman, showing kindness and understanding to everyone he came in contact with. The knight was extremely well-mannered, always being on his best behavior. His appearance was the "finishing touch," adding honor and integrity to his courageous and gentle spirit. This main character was clothed still in his armor, wearing a tunic of harsh cloth and his coat of mail is rust-stained, clearly showing remaining signs of past battles. "Of fustian he wered a gipoun/Al bismotered with his habergeoun;/For he was late ycome from his viage." (pg. 4, The Canterbury Tales) The qualities of the knight resemble those of very few people in modern society, giving a quality of exaggeration to the perfectness found in the knight. He represents the embodiment of the ideal man as seen by Chaucer. THE SQUIRE The knight's son however, the Squire. does not display the degree of falseness the knight does. The vivacious personality of this young man closely resembles that of a modern man. He is a "lusty bachelor" of twenty, who is ultimately concerned with his appearance. He places more importance on fighting for his lady's honor, unlike his father who fought for abstract ideals or God. He also wore stylish, but very "daring" garments. The squire was dressed in a very short gown, equal in extremity to today's modern mini-skirt, which was looked down upon by the Church. The vain squire made every effort to ensure that he had perfectly curled hair. "With lokkes crulle as they were leyd in presse." (pg. 6, The Canterbury Tales) It seems as though it appeared that this young man purposely curled his hair, just as a woman would do. He is described as being as fresh as the month of May, showing his cleaniless and delightful appearance to which he took so much pride. "He was as fresh as is the month of May." (pg. 6, The Canterbury Tales) This young man is slowly but surely aspiring to knighthood just as his father did, therefore he's courteous, humble, and respects his father because he is an apprentice to his father. The young man did however, hold many social talents, which were important to have when becoming a knight. He has the abilities to sing, dance, write songs and poems, and joust, which were all important social accomplishments. The vain attitude of the Squire, and his selfish outlook, relate closely to the shallow demeanor of people today. However, due to the acuteness of the squire's perfection in the sense of manlihood, he can also be viewed as a sort of a fairytale "Prince Charming." Fairytale heros relate very well to the squire, because both are willing to do whatever they can for the love of a lady. The squire seems to possess all that a lady might dream of: agility, strength, courtesy, a nice family, manners, and good looks. Prince Charming would also possess these ideal traits and follow these lines almost exactly. Both the squire and Prince Charming are meant to be "good guys," and they both are in many aspects. They are well bred and chivalrous, fight well for honor, and have the flaw of falling in love for beauty and passion. This comparison and likeness to the fairytale prince also gives this young squire his own degree of falseness and exaggeration. In certain aspects, the Monk also displays the impression of realism through his personality and actions. THE WIFE OF BATH In her Prologue as part of "The Canterbury Tales" by Geoffrey Chaucer, The Wife of Bath offers readers a complex portrait of a medieval woman. On the one hand, The Wife of Bath is shameless about her sexual exploits and the way she uses sexual power to obtain what she wishes. On the other hand, by doing exactly these things she is confirming negative stereotypes about women and proving that women are manipulative and deceitful. Even though her actions might at first seem to be

rebellion against the male-dominated society in The Canterbury Tales, and more generally, the medieval period for women, there is very little that she does that is truly revolutionary or empowering for women of her time. Based even just on her introduction in The Canterbury Tales via the Prologue to the Wife of Baths Tale, it appears from the onset that The Wife of Bath from The Canterbury Tales simply uses her sexual attributes for personal gain instead of trying to prove her equal status. In general, this female character stereotype is meant to be seen as a parody of sorts since she embodies a number of negative female characteristics including stupidity and arrogance; deceitfulness, and lewdness. Although she is striking back at men it is not for any deeper reason other than personal profit. It appears that in this section of the prologue to the Wife of Bath's tale, Chaucer wants his readers to laugh at this character rather than admire her for her proto-feminist stances on life and marriage.

If the Wife of Bath is a character that is meant to shatter a misogynistic stereotype of women, one could imagine that she would engage in intelligent and informed conversation with some of the members of her party. As it stands, however, the closest she comes to this is by offering her twisted understanding of the Bible. Rather arrogantly she states in one of the important quotes from The Canterbury Tales (and The Wife of Bath's Tale specifically), Men may divine and glosen up and down / But wel woot I express withouten lie / God bad us for to wexe and multiplye / That gentil text can I wel understone (lines 26-30). While it can be found in the Bible that humans should procreate, it is worth noting that she prefaces this statement with a few words about how men sit and interpret the Bible. In her Prologue in the "Canterbury Tales" by Chaucer, the Wife of Bath is claiming that she too is capable of doing this and that the text is not beyond her reach. Still, the problem with this is that she is not proving anything about her intelligence, she is merely trying to confirm or justify her loose behavior with the word of God.

Even more importantly than this, in her prologue, the Wife of Bath from The Canterbury Tales by Chaucer is not trying to present herself as a woman capable of independent thought and action because she is merely using the Bible, a text associated with the male authority, to back up her assertions. In other words, as expressed in the Wife of Baths Prologue within the "Canterbury Tales" by Geoffrey Chaucer, she is simply working within the patriarchy rather than outside of it and thus only confirms negative stereotypes about women, especially since the insights she offers are twisted, misunderstood, or simply wrong. For instance, at one point she talks about the Bible again, saying, Where can ye saye in any manere age / That hye God defended marriage / By expres word? I praye you, telleth me / Or where he commanded virginitee? (lines 65-68). She is simply justifying bad behavior with the Bible and her botched misinterpretations of it and this makes her appear foolish rather than educated. It confirms the stereotype of women in medieval times that women are not as capable at understanding the deep meanings and mysteries of the Bible and that if they are given some education about it, they would only use it to justify lewd or sinful conduct. Throughout her prologue in "Canterbury Tales" by Chaucer, the Wife of Bath confirms misogynistic stereotypes of women since she presents herself as little more than what can quite technically be called a whore. Instead of being a revolutionary female figure with feminist intentions, she merely seeks husbands who will provide for her in exchange for sexual favors. For her, a good husband is, as she states in one of the important quotes from the Wife of Bath's Prologue

in "The Canterbury Tales by Chaucer goode, and riche, and olde (line 203) and is easy prey when she decides to pull tricks such as make them think she is out at night looking for his women while she is having a good time, only to turn this around later for monetary benefit. As she willingly states to her audience, An housbonde wol I have I wol nat lette / Which shal be both my detour and my thrall (lines 160-161). For the Wife of Bath, money, sex, and marriage are all interlinked and none can exist without the other.

Furthermore, to support this idea about the way the Wife of Bath perpetuates negative stereotypes of women during the time of Chaucer, it is important to note that in the Wife of Baths prologue, if she finds that a particular man is not giving her enough money, she simply withholds sexual favors from him. While this may at first seem to be a case of a medieval woman exerting her independence, the only true power she possesses is that of her sexualitysomething that she has realizes is fading with her youth. With her views on money, sex, and marriage, the only thing that seems to separate her from her from a woman of the night is the fact that there is a legally binding contract behind it all. This is far from a feminist ideal of a solid marriage and is much more closely aligned with ages-old misogynistic stereotypes of bad women.

When the Wife of Bath states in her prologue in "The Canterbury Tales" by Chaucer, I would no lenger in bed abide / If that I felte his arm over my side/ Til he hadde made his ransom unto me (lines 415-418) she is not only confirming the stereotype of women as being obsessed with money and using their sexual power to obtain it, she is also proving to her audience (both in the text and to the modern reader) that love is not something that an empowered woman is prone to. However, this impression of her is turned on its head and she shows herself to be a contradiction when she speaks of her last husband. He was a much younger man and beat her, but she loved this and loved this man because of it. This is an even more perplexing image of woman.

Along these lines, it becomes apparent in even a cursory analysis of "The Wife of Bath's Prologue" in "The Canterbury Tales" by Chaucer how, when one On the one hand, the reader understands that this woman has a complex understanding of marriage, but this is not enough to compensate for the fact that she allows herself to be beaten up. Even though she does fight back on occasion, in the end she has proven herself not to be at all revolutionary or proto-feminist, instead she is simply the same version of female that occurs frequently throughout medieval and other literature. She tries to present herself as strong and independent, but in the end she is even more a part of the negative stereotype than a normal woman might be.

While it can be argued that the Wife of Bath could be an early feminist character, there are too many aspects to her that indicate how she is working within the system rather than outside of it. For a medieval woman to be truly feminist or revolutionary, she must find a way to prove herself in a manner both on part with and independent of men. The Wife of Bath chooses to use the patriarchal systems of religion (especially through her discourses on the Bible) and marriage to her own benefit rather than seeking more sweeping or meaningful changes.

THE PRORESS The Prioress is one of the most interesting characters in The Canterbury Tales. Chaucer describes her as trying to convince people that she is charitable to the poor, but is later described pampering her dogs: "And she had little dogs she would be feeding/With roasted flesh, or milk, or fine white bread" (Chaucer 14445). Chaucer also describes the Prioress as being narcissistic when he states: "Her veil was gathered in a seemly way/ Her nose was elegant, her eyes glass grey;/ Her mouth was very small, but soft and red" (Chaucer 149-51). She also tries to seem courtly and noble with her impeccable manners and use of French, when her time would be better spent serving god. Chaucer's description of the Prioress is effective because, without Chaucer saying that there is anything wrong with the prioress's behavior and actions, he instead allows the reader to make their own decision on what a nun should be like and what the Prioress is like. The Prioress represents the church during the time the pilgrimage was taking place. In the General Prologue to the Canterbury Tales, the Prioress is described as "fashionably out of date", and "worldly"(page31). In the Canterbury Tales her appearance was described as anything but nunly. Her smile was simple and coy, her nose was elegant, her eyes glass-grey her mouth was very small but red. The clothing that she wore was very flashy for a nun. She wore a "graceful" cloak trinket on her arm, beads and a golden brooch that read, "Love conquers all"(page6-7).Overall the Prioress does not suggest the modesty of a nun, and all of her attributes come off as a bit sinful. This makes some what a mockery of the church because, everything about the Prioress is contradictory, and this is perceptible by the appearance of the Prioress The Prioresses character traits showed us that even though she was worldly she was a respectable young woman. She had her good manners. She was pleasant and friendly and enjoyable. In the Canterbury Tales it says,: She would weep if she but saw a mouse Caught in a trap, if it were dead or bleeding. And she had little dogs she would be feeding With roasted flesh, or milk, or fine white bread. And bitterly she wept if one were dead(page 7). So she was a charitable woman and very tender hearted and I think that she also shows this in her tale by the way she expresses the mothers emotions along with everyone else's. The Prioresses Tale illustrates the irony of the church and how things essentially were. The was a widow who had a son, seven years old, and all that the widow would teach her son was their faith and especially Mary Mother of Christ. In The Canterbury Tales you see the devotion to the church from the mother and son: THE DOCTOR know astronomy (astrology) and something of nature; but nothing of the Bible. Made a lot of money during the plague; love gold THE OXFORD CLERK The Clerk is a student at Oxford, and his lack of an actual profession leaves him impoverished. Although educated, his intellectual pursuits have left him virtually unemployable. He tells a tale of the humble Griselde, who marries a man of high status who cruelly tests her devotion to him. PROSPERO William Shakespeare's last play The Tempest is a story about Prospero (the

rightful duke of Milan). He is betrayed by his brother Antonio and left on a ship with his daughter Miranda to die. Only things are not going according to plan and Prospero and Miranda arrive on an island. Prospero is seeking his revenge. Coming back from a wedding in Africa a ship containing Prosperos enemies is attacked by the tempest and scatters its passengers about the island. Prospero exhibits three major character traits: forcefulness, protectiveness and forgiveness. Prospero is a very powerful person and using his spell books he is able to conjure up some mighty magic. Possibly the most powerful thing he controls is Ariel (a spirit). An example of this is when Prospero says "Hast thou, spirit, Preformed to point, the tempest I bade thee".(718) Ariel had the power to create a great sea storm and Prospero had the power to control Ariel which gave him great power. Another reason why Prospero is powerful is because of his knowledge of Caliban, Stephano, and Trinculos plot to kill the king. So when Prospero reclaims his place in Milan again he'll have some mighty blackmail just incase he needs any favors or they try any thing stupid. This way they'll think twice before going against Prospero. Especially considering that Miranda will become queen. These are the reasons why Prospero is powerful. Prospero is protective of those who are close to him especially Miranda. Throughout The Tempest Prospero slowly makes sure Ferdinands and Mirandas love wont faid quickly. Prospero even called Ferdinand a traitor just to make Miranda seem harder to get. This way the couple wouldn't become a lost cause. When Prospero says "They are both in either's powers. But this swift business I must uneasy make lest too light winning make the prize light" (726) he is revealing his true plan to Ariel that he wants to make Miranda harder to get. This is because Prospero feels their love will be stronger if it is harder to obtain. Prospero is also protective when he says "the strongest oaths are straw to th' fire I' th' blood"(764) this was said to Ferdinand after Prospero makes him promise not to have sex with Miranda before they are married. He is stunned to see that after his promise Ferdinand is playing around with Miranda. Prospero just wont have any of this. This is how Prospero is protective of Miranda. Prospero is a very forgiving man, because near the end of the story he forgives the two people who hurt him the most Antonio and Caliban. An example of this is when he says to Caliban "As you look to have my pardon trim it handsomely."(781) Prospero forgives Caliban even though he tries to rape Miranda, turns against Prospero, and tries to kill him. This was especially hurtful, because Prospero raises Caliban like a son. This was probably not as hurtful as the betrayal of Prospero's brother, Antonio. Antonio was the one who casts Miranda and Prospero out on a ship to die. Only they end up on an island for twelve years. Still Prospero forgives Antonio when he says "for you most wicked sir, whom to call brother would even infect my mouth I do forgive thy fault all of them."(777) These are the reasons why Prospero is forgiving. Without being powerful, caring, and forgiving Prospero might not have ever gotten off of the island. Even though he must sacrifice his magic his daughters happiness is more important then his revenge. So he forgives his enemies. In the end Ariel is set free, Prospero regains his dukedom, Miranda and Ferdinand are getting married and everyone except Caliban got on the boatswains ship and headed home.