Analysis of Shakespeares The Tempest - The Epilogue :: Shakespeare The Tempest

The Epilogue of the Tempest   The Epilogue of the Tempest by William Shakespeare is an fine -- if not the best -- example of Shakespeares brilliance.   In 20 lines Shakespeare is able to write an excellent ending to his play, while speaking through his characters about Shakespeares own action and career.  Even more amazingly, he seemlessly ties the two together.             In the context of the story Prosperos monologue makes perfect sense.  He has lost his magical power, so his charms are oerthrown, and what dominance Prospero haves his own, which is most faint.  He is now confined on the Island, for his other choice would be to go to Naples and reclaim his dukedom, but he doesnt want to do that because he has already pardoned the deceiver who took his position many years ago.  Prospero then says something a little strange, but it makes sense in the context of the story, he ask us to release him from hi s bands with the help of your good hands.  In other words, clap so that the sails of the boats his friends are riding in will be safely returned and Prospero can be relieved by prayer of the listening.             All of what Prospero has said is very nice cute, but the most interesting part of this monologue is what Shakespeare himself is saying.  Now that my charms are either oerthrown, and what strength I haves mine own means, now  my plays are over, and its no longer my characters speaking.  The Island or stage Shakespeare is on is now bare and it is time for you the audience to release Shakespeare and his actors from this play with the help of your good hands.  Shakespeare was not only being released for the performance of the play, he was being release from his career as a playwright.  unless there are more reasons to clap besides the obvious reason that the play is over, Shakespeare could not allow his fin al play to be bad, his project was to please.  He reiterates this point by saying and my ending is despair unless I be relieved by prayer, or the clapping of the audience and it frees all faults and allows Shakespeare to bobble the clapping and joy of the audience.             Finally, after we seperate the two different perspectives, we can step back and see how Shakespeare magically works them together.