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apologies for wronging him. The best Prospero can do is couch a rather lackluster pardon inside a command: Go, sirrah, to my cell; Take with you your companions; as you look. One can perceive that Ariel would like a relationship with Prospero, when Ariel asks Prospero if he loves him. Fortune has brought his enemies within his grasp and Prospero seizes the opportunity for revenge. Sample, essay, the center of conflict of The Tempest finally settles, yet there remains a certain void between them and a certain sense of discomfort and unease which reaches its peak as the play ends and the audience is left provoked in thought about the. Later in the drama Ariel tells Prospero that "The good old lord, Gonzalo/His tears run down his beard" (5.1.15-6 and it is Ariel's plea that convinces Prospero to end their misery: "if you now beheld them / Your affections would become tender" (5.1.19-20).
Cambridge: Harvard UP, 1958. Further evidence to support the claim that Prospero's quality of mercy is strained, and that a truly sincere reconciliation fails to develop, comes when Prospero finally confronts King Alonso, Sebastian, and Antonio and announces that he is the right Duke of Milan. In The Tempest: A Casebook. But love your enemies, and do good, and lend, hoping for nothing again. For if ye love them which love you, what thank have ye? Moreover, there is clearly no reconciliation amongst Prospero, Sebastian, and Antonio.