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The Tempest - ADDITIONAL NOTES
Please note that the information given on this play is not meant to replace any material given in the classroom. The opinions expressed in this article represents the opinions of one individual, and opinions vary.
Characterization
PROSPERO
Good father
To a large extent, Prospero can be considered to be a good father. This is seen in his righteous anger at Caliban, for attempting to procreate with Miranda, 'Thou most lying slave ... I have used thee, Filth as thou art, with humane care, and lodged thee In mine own cell, till thou didst seek to violate The honour of my child.' (Shakespeare, 31). He transforms into an angry father who is willing to become a tyrant, in order to protect his child. The reader sees Prospero punishing Caliban for daring to overstep the bounds of discretion (www.bulbsoup.com)with his only child. Prospero also tries to get the best match for Miranda, in the form of Ferdinand, a prince. He even goes as far as to make the road to love tough for the lovers, 'They are both in either's powers; but this swift business I must uneasy make, lest too light winning Make the prize light.' (Shakespeare, 37) in order to ensure that the love was true. His protectiveness towards Miranda, as well as his desire to see her make a good marriage match highlights the love that is evident for his only child.
This picture of a perfect father, however, is tainted by the fact that his motivation for pairing Miranda with Ferdinand is not purely for Miranda's sake. It would appear as if he was also motivated by vengeance towards King Alonso, Ferdinand's father. King Alonso had supported Antonio in his usurpation of Prospero's title of Duke of Milan. Therefore, one could surmise the anger that would be the result of this union, on Alonso's part. It would be sweet revenge for Prospero to witness. Therefore, to a small extent, he can be considered a bad father for using his child in this way. Fathers should protect and love their children, as he so obviously does, but this is shrouded by his need for revenge.
Manipulative and Controlling
Prospero can also be classified to be manipulative. This is the case because he controls situations, and people, and twists them to his advantage. His control of his child, Miranda, is made clear by the fact that he controls her physically, by putting her to sleep at will, and also emotionally, by manipulating the circumstances that facilitate her falling in love with Ferdinand. He sees the spark of attraction between both parties, and lights the fuse by introducing the element of hardship. He places a problem in their midst, one that prevents them (www.bulbsoup.com)from being together, yet, ironically, pulls them together. People are often drawn to what they cannot get, and appreciate what was hard won, which is the premise that Prospero operates from when he places an obstacle in the lovers' path. This is an act of manipulation because he seeks to control the lovers, as well as their circumstance, to achieve his own ends.
His manipulation extends to his servants as well. He manipulates Ariel into submission through guilt. He holds the fact that he rescued Ariel from a tree, that he was trapped in for twelve years, over his head. This is seen when Ariel tries to claim his right to freedom, and Prospero responds with a reminder that he had saved Ariel's life 'Dost thou forget from what torment I did free thee?' (Shakespeare, 25). In this, Prospero is like a friend who will never let you forget a favour that they had performed for you. He also controls Caliban, the original inhabitant of the island. Unlike Ariel, who he controls mentally - which then leads to his physical capitulation - he controls Caliban physically, only. Caliban, unlike Ariel, is still mentally free to curse Prospero and spew hate, he just cannot act on it for fear of being tortured. This tremendous control that he enacts over Caliban is seen in Caliban's fear, of reprisal, when he plots Prospero's murder with Trinculo and Stephano. This fear is seen even before this, at the beginning of the play during their only exchange, when Caliban reveals that he must obey Prospero because 'his art is of such power'. (Shakespeare, 31).
Prospero even controls the fairies on the island, as seen in how quickly they flee when he bids them to do so, as seen during the masque. Prospero also controls the king and his court. This control occurred at the very beginning of the play with Ariel's tempest. It placed Alonso and his crew in Prospero's hands. At this point, he became the puppet master that literally, through Ariel and his music, led them to wherever he wanted. This control allowed him to manipulate their circumstances, as seen when, through Ariel, he prevents the murder of Alonso. It is this same level of manipulation that facilitates him leading the crew, through Ariel, to his cave, where he could enact his revenge.
MIRANDA
Traditional
Miranda is a traditional woman. She is seen in terms of what she does not do in the play. Miranda does not stand up to her father, but, instead, acknowledges his power by asking him to ensure that the shipwrecked crew is safe. She does not try to prevent her father from turning the man that she loves into a common labourer, but, instead, she tries to help him to bear the load by volunteering to carry the logs for him. In a modern context, she appears to be submissive, but , she can be considerate a woman of her time. Elizabeathan women were not supposed to be rebels who think (www.bulbsoup.com) outside the box, they were supposed to be women who were ruled, and allowed themselves to be ruled, by their fathers, then their husbands. The only point at which Miranda departs from her role as traditional woman, by standing up for herself, is when she curses Caliban 'I pitied thee, Took pains to make thee speak, taught thee each hour One thing or other ... I endowed thy purposes With words that made them known. But thy vile race ... had that in't which good natures Could not abide to be with' (Shakespeare, 31). She was upset that the time that she had spent trying to civilize him was in vain. Essentially, Miranda's life is controlled by her father, and she willingly places her life in the hands of Ferdinand. In fact, men who don't even know Miranda are seen planning her life. Stephano, for example, planned to marry her and make her his queen, 'Monster, I will kill this man. His daughter and I will be king and queen'. (Shakespeare, 91)
FERDINAND
Loving
Ferdinand is a minor character who, essentially, exists to highlight Prospero's power and develop the plot of the play. Prospero uses this young prince to take revenge on his father, Alonso. He isolates him on the island, then uses Ariel to direct him to Miranda, which leads to a love match. The only trait that could apply to Ferdinand is loving. This trait is seen in how he treats Miranda. He does not want her to help him to carry the logs and he declares his love for her very quickly.
ARIEL
Patient
Ariel is a very cooperative and patient character. It is clear, from the beginning of the play, that he is unhappy in Prospero's employ. He actually reminds Prospero of a previous promise to set him free, 'I prithee, Remember I have done thee worthy service ... Thou did promise to bate me a full year.' (Shakespeare, 23). Prospero does not react well to this reminder, but Ariel's patient and cooperative nature is seen in the fact that he was able to, again, bide his time and carry out Prospero's commands, based on the promise that he would be freed within a day. This level of patient acquiescence is notable because Prospero broke his promise once before, so it would have been reasonable for Ariel to have been suspicious, resulting in impatience, at Prospero's second promise. This impatience did not occur, however, which speaks volumes about Ariel's level of patience.
Powerful
Ariel is a powerful character. This is seen because the significant magic in the play lies with Ariel. He is responsible for the tempest that is the foundation of the play, it is his music that leads and directs the shipwrecked crew, his role as the harpy that frightens said crew and his invisibility that confuses and confounds Trinculo, Stephano and Caliban. Without him, it is safe to assume that Prospero would be left to his book, the one that seems to be the source of his power because Caliban fears it so. In fact, the only visible magic that Prospero performs is becoming invisible and putting Miranda to sleep, at will. However, Ariel, despite being powerful, does not seem to know, or acknowledge it. He is totally under Prospero's thumb throughout the play.
CALIBAN
Angry
Caliban is an angry and bitter character. His anger is directed towards Prospero, and it stems from the fact that he has been usurped by him. When he tells Stephano and Trinculo about how he showed his island to Prospero, and was then punished because he naturally sought to populate said island with the only female that was present, the reader can almost hear his righteous anger and resentment.
Caliban functions on three levels in the play. He offers comic relief, as seen in his attempts to convince the drunkard, Stephano, and the wise clown, Trinculo, to kill Prospero. He also highlights, Prospero's character because he becomes a symbol of Prospero's immense power. This is the case because we, the audience, are forcefully introduced to Prospero's power by what he is able to do to Caliban. Caliban was once the owner of his island, and, with little show of force, he is able to not only usurp, but also to enslave Caliban. This type of usurpation, and control, can be likened the colonialist asserting power over the indigenous populous. They too simply came in, took over and enslaved at will. Therefore, though a detestable creature, physically, Caliban is the character that the reader most sympathizes with. This is the case because his plight is a relatable one, he is the victim that we, the reader, witnesses being victimized. We are even more sympathetic (www.bulbsoup.com) because of his futile attempts at regaining his island and his freedom. He, unknowingly, puts his hopes for freedom in a drunkard butler and a powerless jester. At this point, the audience cannot help feeling sorry for Caliban, for even the jester, Trinculo, recognizes his stupidity, ''Lord', quoth he? That a monster should be such a natural!' (Shakespeare, 87).
GONZALO
Loyal
Loyalty is the trait that defines Gonzalo. He did not allow Miranda and Prospero to die, as they were supposed to, but saved their lives by providing them with tools to survive at sea. He is also loyal to his king because he defends Alonso, when his own brother sought to critique him. He also saves Alonso's life, with the help of Ariel, when Sebastian was about to kill him. His role, therefore, is that of a good Samaritan. He is a pure spirit, at heart, because he is the only character that re-imagines the island as a utopia. Everyone else, including the drunkard Stephano, sees it as a place to plunder and reap.
SEBASTIAN & ALONSO
This sibling pair highlights the theme of love and family relationship, and betrayal. This is the case because they emphasize exactly the opposite of what we, the reader, expect to happen between siblings, based on the assumptions that we make about blood bonds. Brothers are suppose to literally 'have each others back', be a support to each other in good times and in bad. This is the very opposite for these two characters. We see Sebastian being critical of Alonso for grieving over the loss of his children, one to marriage and one to the sea. It is Gonzalo, instead, who becomes the understanding shoulder in Alonso's time of emotional weakness. This is the first level of betrayal, on Sebastian's part, because he comes across as callous. He graduates to ruthlessness when he is too quickly persuaded, by Antonio, to kill his brother, King Alonso. He should have hesitated on two levels. The first is that it should have been very difficult to convince him to kill his brother, due to the bonds of blood, and secondly, it should have also been even more difficult to convince him to kill his king. This man represents God and nation, it is treasonous to even think about taking his life, much less to be involved in hatching the plan to kill him, as well as the attempted execution of said plan.
When isolated, Sebastian and Alonso become flat characters that exist to literally develop the plot and highlight the theme of power and authority. Sebastian's motivation for killing his brother is to gain power by taking the throne from Alonso. Alonso then becomes the sympathetic figure, much like Miranda, who is unaware of the plans and plots that involve his life. He too, seemingly bumbles through the play with little to no control over his life, as well as the actions of others.
PROSPERO & ANTONIO
This sibling pair symbolizes the struggle for power and authority. The reader is introduced to Antonio through Prospero's bitter musings about how he was usurped by him. Therefore, immediately, Antonio is set in the role of the antagonist. The audience starts to question his moral make-up because he callously cast not only his brother, but his three year old niece, literally out to sea to die. What kind of person could this be? Our question is answered when he initiates the plot to kill King Alonso. Antonio is a morally repugnant individual who comes across as not only power hungry, but one who delights in spreading bad seeds. This flat character's importance lies in the fact that he is important to the development of the plot of the play. His role of 'stirrer of trouble' is vital to the plot moving forward. There is not much exploration of his relationship with Prospero, but the fact that he could so coldly leave him out at sea tells the reader that it could not have been a healthy one.
PROSPERO & MIRANDA
This father/ daughter relationship is a traditional one, for time in which the play is set. Daughters are suppose to be subservient, and fathers are suppose to be controllers of their daughters fate. Miranda is a daughter who is awed by her father's power. So much so that she automatically attributes the tempest to him, and begs him to save the lives of the passengers on the ship. Prospero controls his daughter's life, in every way, as well. When he wants her to sleep, he simply uses magic to facilitate it, when he wants to use her in his plot for revenge against Antonio and Alonso, he simply treats her like a pawn that he moves in the most advantageous direction. In this case, the most advantageous direction is in the arms of Ferdinand.
ALONSO, CLARIBEL & FERDINAND
The relationship between this family unit is implied by Alonso's response to his children's circumstance. He is very sad because he believes that he has lost his daughter, Claribel, because she is all the way in Afric, with her new husband. He is also sad because he believes that his son, Ferdinand, has drowned. These reactions imply that his relationship with his children is a strong one.
TRINCULO & STEPHANO
These two characters offer comic relief in the text. Whenever, and wherever, these two characters are found, there is always a hilarious situation ensuing. Their first encounter with Caliban settles the heavy atmosphere left by the attempt on Alonso's life.
Good father
To a large extent, Prospero can be considered to be a good father. This is seen in his righteous anger at Caliban, for attempting to procreate with Miranda, 'Thou most lying slave ... I have used thee, Filth as thou art, with humane care, and lodged thee In mine own cell, till thou didst seek to violate The honour of my child.' (Shakespeare, 31). He transforms into an angry father who is willing to become a tyrant, in order to protect his child. The reader sees Prospero punishing Caliban for daring to overstep the bounds of discretion (www.bulbsoup.com)with his only child. Prospero also tries to get the best match for Miranda, in the form of Ferdinand, a prince. He even goes as far as to make the road to love tough for the lovers, 'They are both in either's powers; but this swift business I must uneasy make, lest too light winning Make the prize light.' (Shakespeare, 37) in order to ensure that the love was true. His protectiveness towards Miranda, as well as his desire to see her make a good marriage match highlights the love that is evident for his only child.
This picture of a perfect father, however, is tainted by the fact that his motivation for pairing Miranda with Ferdinand is not purely for Miranda's sake. It would appear as if he was also motivated by vengeance towards King Alonso, Ferdinand's father. King Alonso had supported Antonio in his usurpation of Prospero's title of Duke of Milan. Therefore, one could surmise the anger that would be the result of this union, on Alonso's part. It would be sweet revenge for Prospero to witness. Therefore, to a small extent, he can be considered a bad father for using his child in this way. Fathers should protect and love their children, as he so obviously does, but this is shrouded by his need for revenge.
Manipulative and Controlling
Prospero can also be classified to be manipulative. This is the case because he controls situations, and people, and twists them to his advantage. His control of his child, Miranda, is made clear by the fact that he controls her physically, by putting her to sleep at will, and also emotionally, by manipulating the circumstances that facilitate her falling in love with Ferdinand. He sees the spark of attraction between both parties, and lights the fuse by introducing the element of hardship. He places a problem in their midst, one that prevents them (www.bulbsoup.com)from being together, yet, ironically, pulls them together. People are often drawn to what they cannot get, and appreciate what was hard won, which is the premise that Prospero operates from when he places an obstacle in the lovers' path. This is an act of manipulation because he seeks to control the lovers, as well as their circumstance, to achieve his own ends.
His manipulation extends to his servants as well. He manipulates Ariel into submission through guilt. He holds the fact that he rescued Ariel from a tree, that he was trapped in for twelve years, over his head. This is seen when Ariel tries to claim his right to freedom, and Prospero responds with a reminder that he had saved Ariel's life 'Dost thou forget from what torment I did free thee?' (Shakespeare, 25). In this, Prospero is like a friend who will never let you forget a favour that they had performed for you. He also controls Caliban, the original inhabitant of the island. Unlike Ariel, who he controls mentally - which then leads to his physical capitulation - he controls Caliban physically, only. Caliban, unlike Ariel, is still mentally free to curse Prospero and spew hate, he just cannot act on it for fear of being tortured. This tremendous control that he enacts over Caliban is seen in Caliban's fear, of reprisal, when he plots Prospero's murder with Trinculo and Stephano. This fear is seen even before this, at the beginning of the play during their only exchange, when Caliban reveals that he must obey Prospero because 'his art is of such power'. (Shakespeare, 31).
Prospero even controls the fairies on the island, as seen in how quickly they flee when he bids them to do so, as seen during the masque. Prospero also controls the king and his court. This control occurred at the very beginning of the play with Ariel's tempest. It placed Alonso and his crew in Prospero's hands. At this point, he became the puppet master that literally, through Ariel and his music, led them to wherever he wanted. This control allowed him to manipulate their circumstances, as seen when, through Ariel, he prevents the murder of Alonso. It is this same level of manipulation that facilitates him leading the crew, through Ariel, to his cave, where he could enact his revenge.
MIRANDA
Traditional
Miranda is a traditional woman. She is seen in terms of what she does not do in the play. Miranda does not stand up to her father, but, instead, acknowledges his power by asking him to ensure that the shipwrecked crew is safe. She does not try to prevent her father from turning the man that she loves into a common labourer, but, instead, she tries to help him to bear the load by volunteering to carry the logs for him. In a modern context, she appears to be submissive, but , she can be considerate a woman of her time. Elizabeathan women were not supposed to be rebels who think (www.bulbsoup.com) outside the box, they were supposed to be women who were ruled, and allowed themselves to be ruled, by their fathers, then their husbands. The only point at which Miranda departs from her role as traditional woman, by standing up for herself, is when she curses Caliban 'I pitied thee, Took pains to make thee speak, taught thee each hour One thing or other ... I endowed thy purposes With words that made them known. But thy vile race ... had that in't which good natures Could not abide to be with' (Shakespeare, 31). She was upset that the time that she had spent trying to civilize him was in vain. Essentially, Miranda's life is controlled by her father, and she willingly places her life in the hands of Ferdinand. In fact, men who don't even know Miranda are seen planning her life. Stephano, for example, planned to marry her and make her his queen, 'Monster, I will kill this man. His daughter and I will be king and queen'. (Shakespeare, 91)
FERDINAND
Loving
Ferdinand is a minor character who, essentially, exists to highlight Prospero's power and develop the plot of the play. Prospero uses this young prince to take revenge on his father, Alonso. He isolates him on the island, then uses Ariel to direct him to Miranda, which leads to a love match. The only trait that could apply to Ferdinand is loving. This trait is seen in how he treats Miranda. He does not want her to help him to carry the logs and he declares his love for her very quickly.
ARIEL
Patient
Ariel is a very cooperative and patient character. It is clear, from the beginning of the play, that he is unhappy in Prospero's employ. He actually reminds Prospero of a previous promise to set him free, 'I prithee, Remember I have done thee worthy service ... Thou did promise to bate me a full year.' (Shakespeare, 23). Prospero does not react well to this reminder, but Ariel's patient and cooperative nature is seen in the fact that he was able to, again, bide his time and carry out Prospero's commands, based on the promise that he would be freed within a day. This level of patient acquiescence is notable because Prospero broke his promise once before, so it would have been reasonable for Ariel to have been suspicious, resulting in impatience, at Prospero's second promise. This impatience did not occur, however, which speaks volumes about Ariel's level of patience.
Powerful
Ariel is a powerful character. This is seen because the significant magic in the play lies with Ariel. He is responsible for the tempest that is the foundation of the play, it is his music that leads and directs the shipwrecked crew, his role as the harpy that frightens said crew and his invisibility that confuses and confounds Trinculo, Stephano and Caliban. Without him, it is safe to assume that Prospero would be left to his book, the one that seems to be the source of his power because Caliban fears it so. In fact, the only visible magic that Prospero performs is becoming invisible and putting Miranda to sleep, at will. However, Ariel, despite being powerful, does not seem to know, or acknowledge it. He is totally under Prospero's thumb throughout the play.
CALIBAN
Angry
Caliban is an angry and bitter character. His anger is directed towards Prospero, and it stems from the fact that he has been usurped by him. When he tells Stephano and Trinculo about how he showed his island to Prospero, and was then punished because he naturally sought to populate said island with the only female that was present, the reader can almost hear his righteous anger and resentment.
Caliban functions on three levels in the play. He offers comic relief, as seen in his attempts to convince the drunkard, Stephano, and the wise clown, Trinculo, to kill Prospero. He also highlights, Prospero's character because he becomes a symbol of Prospero's immense power. This is the case because we, the audience, are forcefully introduced to Prospero's power by what he is able to do to Caliban. Caliban was once the owner of his island, and, with little show of force, he is able to not only usurp, but also to enslave Caliban. This type of usurpation, and control, can be likened the colonialist asserting power over the indigenous populous. They too simply came in, took over and enslaved at will. Therefore, though a detestable creature, physically, Caliban is the character that the reader most sympathizes with. This is the case because his plight is a relatable one, he is the victim that we, the reader, witnesses being victimized. We are even more sympathetic (www.bulbsoup.com) because of his futile attempts at regaining his island and his freedom. He, unknowingly, puts his hopes for freedom in a drunkard butler and a powerless jester. At this point, the audience cannot help feeling sorry for Caliban, for even the jester, Trinculo, recognizes his stupidity, ''Lord', quoth he? That a monster should be such a natural!' (Shakespeare, 87).
GONZALO
Loyal
Loyalty is the trait that defines Gonzalo. He did not allow Miranda and Prospero to die, as they were supposed to, but saved their lives by providing them with tools to survive at sea. He is also loyal to his king because he defends Alonso, when his own brother sought to critique him. He also saves Alonso's life, with the help of Ariel, when Sebastian was about to kill him. His role, therefore, is that of a good Samaritan. He is a pure spirit, at heart, because he is the only character that re-imagines the island as a utopia. Everyone else, including the drunkard Stephano, sees it as a place to plunder and reap.
SEBASTIAN & ALONSO
This sibling pair highlights the theme of love and family relationship, and betrayal. This is the case because they emphasize exactly the opposite of what we, the reader, expect to happen between siblings, based on the assumptions that we make about blood bonds. Brothers are suppose to literally 'have each others back', be a support to each other in good times and in bad. This is the very opposite for these two characters. We see Sebastian being critical of Alonso for grieving over the loss of his children, one to marriage and one to the sea. It is Gonzalo, instead, who becomes the understanding shoulder in Alonso's time of emotional weakness. This is the first level of betrayal, on Sebastian's part, because he comes across as callous. He graduates to ruthlessness when he is too quickly persuaded, by Antonio, to kill his brother, King Alonso. He should have hesitated on two levels. The first is that it should have been very difficult to convince him to kill his brother, due to the bonds of blood, and secondly, it should have also been even more difficult to convince him to kill his king. This man represents God and nation, it is treasonous to even think about taking his life, much less to be involved in hatching the plan to kill him, as well as the attempted execution of said plan.
When isolated, Sebastian and Alonso become flat characters that exist to literally develop the plot and highlight the theme of power and authority. Sebastian's motivation for killing his brother is to gain power by taking the throne from Alonso. Alonso then becomes the sympathetic figure, much like Miranda, who is unaware of the plans and plots that involve his life. He too, seemingly bumbles through the play with little to no control over his life, as well as the actions of others.
PROSPERO & ANTONIO
This sibling pair symbolizes the struggle for power and authority. The reader is introduced to Antonio through Prospero's bitter musings about how he was usurped by him. Therefore, immediately, Antonio is set in the role of the antagonist. The audience starts to question his moral make-up because he callously cast not only his brother, but his three year old niece, literally out to sea to die. What kind of person could this be? Our question is answered when he initiates the plot to kill King Alonso. Antonio is a morally repugnant individual who comes across as not only power hungry, but one who delights in spreading bad seeds. This flat character's importance lies in the fact that he is important to the development of the plot of the play. His role of 'stirrer of trouble' is vital to the plot moving forward. There is not much exploration of his relationship with Prospero, but the fact that he could so coldly leave him out at sea tells the reader that it could not have been a healthy one.
PROSPERO & MIRANDA
This father/ daughter relationship is a traditional one, for time in which the play is set. Daughters are suppose to be subservient, and fathers are suppose to be controllers of their daughters fate. Miranda is a daughter who is awed by her father's power. So much so that she automatically attributes the tempest to him, and begs him to save the lives of the passengers on the ship. Prospero controls his daughter's life, in every way, as well. When he wants her to sleep, he simply uses magic to facilitate it, when he wants to use her in his plot for revenge against Antonio and Alonso, he simply treats her like a pawn that he moves in the most advantageous direction. In this case, the most advantageous direction is in the arms of Ferdinand.
ALONSO, CLARIBEL & FERDINAND
The relationship between this family unit is implied by Alonso's response to his children's circumstance. He is very sad because he believes that he has lost his daughter, Claribel, because she is all the way in Afric, with her new husband. He is also sad because he believes that his son, Ferdinand, has drowned. These reactions imply that his relationship with his children is a strong one.
TRINCULO & STEPHANO
These two characters offer comic relief in the text. Whenever, and wherever, these two characters are found, there is always a hilarious situation ensuing. Their first encounter with Caliban settles the heavy atmosphere left by the attempt on Alonso's life.
Themes
SUPERNATURAL
This word can be defined as an event, or manifestation, that is attributed to some force beyond scientific understanding, or the laws of nature. Based on this definition, there are many instances of supernatural events in this play:
The tempest
The play opens with a phenomenal supernatural event, the tempest. It can be defined as such because it defied scientific, or natural explanation in its intensity. The crew and passengers' reaction to the storm is utter fear, with chaos and hopelessness - regarding their survival - being the result. The supernatural genesis of the storm is confirmed when Miranda asks her father about the tempest and he tells her that 'there is no soul, No, not so much perdition as an hair Betid to any creature in the vessel Which thou heard'st cry, which thou saw'st sink.', (Shakespeare, 11)., thereby implying that he is responsible for the tempest/storm. The audience later learns that it is Ariel who 'builds' the storm, under the directive of Prospero, but the fact that it is NOT a natural storm, but one constructed by magical means, places it in the realm of the supernatural.
Music
Music, in this play, becomes a supernatural tool. This is the case because Ariel uses it to control the members of the shipwrecked crew. The audience first becomes aware of its use in guiding Ferdinand to Miranda, under the directive of Prospero. Its effect on Fedinand is seen when he states 'This music crept by me upon the waters. Allaying both their fury and my passion With its sweet air. Thence I have followed it - Or it hath drawn me rather' (Shakespeare, 33). This implies that he felt compelled to follow the music, and was, therefore, powerless against it. Ariel also uses music to guide the shipwrecked crew to Prospero's cave, and, just like Ferdinand, they too appear to be under a spell, powerless to go only where the music led.
Music is not just used to guide the crew's physical movements, but also to awaken characters from their slumber. Ariel, for example, uses music to awaken Gonzalo, before Sebastian and Antonio could carry out their plan to kill Alonso and Gonzalo himself. This is seen in the following stage directions: 'Enter Ariel [invisible] with music ... Sings in Gonzalo's ear' (Shakespeare, 61). Music is also used to lull the characters into feeling safe, and accepting the strange. This is seen when music is used as a precursor to the strange banquet, which heralded the introduction of the harpy. The purpose of the music, at this point, was to lull the shipwrecked crew into accepting the strangeness of the banquet by shifting their focus to the sweetness of the music. In this dazed state, the strange banquet will seem like nothing:
ALONSO: What harmony is this? my good friends, hark!
GONZALO: Marvellous sweet music. (Shakespeare, p. 61)
The shipwrecked crew is clearly enthralled by the music, which puts them in a frame of mind to accept the unbelievable, which they quickly do.
The Harpy
Ariel literally transforms, and therefore becomes the harpy. This can be seen as supernatural on two levels. The first level is the physical transformation itself, because it is unnatural for one to be able to transform from one state of being to another, it has no scientific grounding. Secondly, a harpy, in Greek mythology, is a female monster that takes the form of a bird with a human face, which literally does not exist in reality. The harpy does, however, serve the purpose of acting as judge, jury and prosecutor of the characters that were disloyal, or harmed, Prospero in any way. A contemporary definition identifies the harpy as a scolding, bad tempered woman, a shrew. The harp, in this context, literally becomes the scolding 'woman' who highlights the vices of the characters in the play.
Ariel
Ariel is a creature that has no grounding in reality, or science. He, therefore, belongs in the realm of the supernatural. He is described as an airy spirit, who, despite my designation as a 'he', appears to be androgenous. Prospero first encounters Ariel when frees him from a tree that he was imprisoned in, by the witch Sycorax, for twelve years 'she did confine thee ... Into a cloven pine, within which rift Imprisoned thou didst painfully remain A dozen years ... And left thee there; where thou didst vent thy groans' (Shakespeare, 25). The position in which he was discovered, as well as what he is, a spirit, places him in the realm of the supernatural.
Invisibility
Both Ariel and Prospero make themselves invisible in different parts of the play. The purpose of this magical power is to allow the characters to observe each other, as seen when Prospero observes the lovers, and to create mayhem and chaos, as seen when Ariel disrupts the conversation among Caliban, Trinculo and Stephano. This 'gift' is placed within the realm of the supernatural because it is not grounded in reality or science.
LOVE
Romantic love is displayed between Ferdinand and Miranda. Their meeting can be described as 'love at first sight' because, as observed by Prospero, they were enthralled by each other on their first meeting 'They are both in either's powers' (Shakespeare, 37). The lovers plan to marry within mere hours of meeting:
MIRANDA: At mine ... I am your wife, if you will marry me; If not, I'll die your maid. To be your
fellow You may deny me, but I'll be your servant Whether you will or no.
FERDINAND: [Kneeling] My mistress, dearest, And I thus humble ever.
MIRANDA: My husband then?
FERDINAND: Aye, with a heart as willing As bondage e'er of freedom.
Here's my hand. (Shakespeare, 85)
The end of the play sees them betrothed/ engaged, with the blessing of both fathers.
LOVE & FAMILY RELATIONSHIP
This theme is highlighted by the family units in the play. These units include Prospero, Antonio and Miranda, and Alonso, Sebastian and Ferdinand. Before we embark on a discussion of how each of these family units relate to each other, here is graphic representation of how each character relates to Prospero, the major character in the play:
This word can be defined as an event, or manifestation, that is attributed to some force beyond scientific understanding, or the laws of nature. Based on this definition, there are many instances of supernatural events in this play:
The tempest
The play opens with a phenomenal supernatural event, the tempest. It can be defined as such because it defied scientific, or natural explanation in its intensity. The crew and passengers' reaction to the storm is utter fear, with chaos and hopelessness - regarding their survival - being the result. The supernatural genesis of the storm is confirmed when Miranda asks her father about the tempest and he tells her that 'there is no soul, No, not so much perdition as an hair Betid to any creature in the vessel Which thou heard'st cry, which thou saw'st sink.', (Shakespeare, 11)., thereby implying that he is responsible for the tempest/storm. The audience later learns that it is Ariel who 'builds' the storm, under the directive of Prospero, but the fact that it is NOT a natural storm, but one constructed by magical means, places it in the realm of the supernatural.
Music
Music, in this play, becomes a supernatural tool. This is the case because Ariel uses it to control the members of the shipwrecked crew. The audience first becomes aware of its use in guiding Ferdinand to Miranda, under the directive of Prospero. Its effect on Fedinand is seen when he states 'This music crept by me upon the waters. Allaying both their fury and my passion With its sweet air. Thence I have followed it - Or it hath drawn me rather' (Shakespeare, 33). This implies that he felt compelled to follow the music, and was, therefore, powerless against it. Ariel also uses music to guide the shipwrecked crew to Prospero's cave, and, just like Ferdinand, they too appear to be under a spell, powerless to go only where the music led.
Music is not just used to guide the crew's physical movements, but also to awaken characters from their slumber. Ariel, for example, uses music to awaken Gonzalo, before Sebastian and Antonio could carry out their plan to kill Alonso and Gonzalo himself. This is seen in the following stage directions: 'Enter Ariel [invisible] with music ... Sings in Gonzalo's ear' (Shakespeare, 61). Music is also used to lull the characters into feeling safe, and accepting the strange. This is seen when music is used as a precursor to the strange banquet, which heralded the introduction of the harpy. The purpose of the music, at this point, was to lull the shipwrecked crew into accepting the strangeness of the banquet by shifting their focus to the sweetness of the music. In this dazed state, the strange banquet will seem like nothing:
ALONSO: What harmony is this? my good friends, hark!
GONZALO: Marvellous sweet music. (Shakespeare, p. 61)
The shipwrecked crew is clearly enthralled by the music, which puts them in a frame of mind to accept the unbelievable, which they quickly do.
The Harpy
Ariel literally transforms, and therefore becomes the harpy. This can be seen as supernatural on two levels. The first level is the physical transformation itself, because it is unnatural for one to be able to transform from one state of being to another, it has no scientific grounding. Secondly, a harpy, in Greek mythology, is a female monster that takes the form of a bird with a human face, which literally does not exist in reality. The harpy does, however, serve the purpose of acting as judge, jury and prosecutor of the characters that were disloyal, or harmed, Prospero in any way. A contemporary definition identifies the harpy as a scolding, bad tempered woman, a shrew. The harp, in this context, literally becomes the scolding 'woman' who highlights the vices of the characters in the play.
Ariel
Ariel is a creature that has no grounding in reality, or science. He, therefore, belongs in the realm of the supernatural. He is described as an airy spirit, who, despite my designation as a 'he', appears to be androgenous. Prospero first encounters Ariel when frees him from a tree that he was imprisoned in, by the witch Sycorax, for twelve years 'she did confine thee ... Into a cloven pine, within which rift Imprisoned thou didst painfully remain A dozen years ... And left thee there; where thou didst vent thy groans' (Shakespeare, 25). The position in which he was discovered, as well as what he is, a spirit, places him in the realm of the supernatural.
Invisibility
Both Ariel and Prospero make themselves invisible in different parts of the play. The purpose of this magical power is to allow the characters to observe each other, as seen when Prospero observes the lovers, and to create mayhem and chaos, as seen when Ariel disrupts the conversation among Caliban, Trinculo and Stephano. This 'gift' is placed within the realm of the supernatural because it is not grounded in reality or science.
LOVE
Romantic love is displayed between Ferdinand and Miranda. Their meeting can be described as 'love at first sight' because, as observed by Prospero, they were enthralled by each other on their first meeting 'They are both in either's powers' (Shakespeare, 37). The lovers plan to marry within mere hours of meeting:
MIRANDA: At mine ... I am your wife, if you will marry me; If not, I'll die your maid. To be your
fellow You may deny me, but I'll be your servant Whether you will or no.
FERDINAND: [Kneeling] My mistress, dearest, And I thus humble ever.
MIRANDA: My husband then?
FERDINAND: Aye, with a heart as willing As bondage e'er of freedom.
Here's my hand. (Shakespeare, 85)
The end of the play sees them betrothed/ engaged, with the blessing of both fathers.
LOVE & FAMILY RELATIONSHIP
This theme is highlighted by the family units in the play. These units include Prospero, Antonio and Miranda, and Alonso, Sebastian and Ferdinand. Before we embark on a discussion of how each of these family units relate to each other, here is graphic representation of how each character relates to Prospero, the major character in the play:
This character map is the property of www.cliffnotes.com
Antonio - Prospero - Miranda
Observe Antonio [third character down, on the right], he is Prospero's brother. Antonio's main act toward his brother, Prospero, is when he usurps his title, Duke of Milan. This action strongly implies that he did not have a strong familial bond with his brother. This is the case because if one loves and respects their sibling, it would not cross their mind to take something so valuable and important from them. One can even go so far as to surmise that there must have been a great strain in the relationship, because he not only usurped his brother's title, but he sought to kill Prospero and his infant daughter by placing them on a small boat, without provisions, to die on the seas, 'they hurried us aboard a barque, Bore us some leagues to sea, where they prepared A rotten carcass of a butt, not rigged, Nor tackle, sail, nor mast - the very rats Instinctively have quit it. There they hoist us To cry to th'sea' (Shakespeare, 17). These actions do not suggest that he had a good relationship with his brother, or had any love for his infant niece.
Prospero [the middle], however, appears to have, initially, had a strong familial bond with his brother Antonio. This is the case because he trusted him with his title. Prospero was busy studying magic, and so he left the execution of his duties to his brother. The level of trust that he had in Antonio must have been great because this is akin to the Prime Minister of a country trusting his brother to do his duties while his attention is elsewhere. Prospero hints at this trust when he tells Miranda that 'My brother and thy uncle, called Antonio ... he, whom next thyself Of all the world I loved, and to him put The manage of my state' (Shakespeare, 13). When Antonio breaks this trust, by betraying Prospero, the relationship is severely weakened. The two brothers were now on equal footing in how they viewed each other; both saw each other as threats to the power that they could have, threats that needed to be eliminated.
Miranda [last character, on the left] has a warm and trusting relationship with her father. She trusts him to do what is right and does not question his actions. She does not ask him why he treats the man that she loves so harshly, neither does she seek to persuade him to alter his behaviour, or perception, of Ferdinand. Miranda is a dutiful daughter. On the other hand, she has no relationship with her uncle, Antonio, because she was not even aware of his existence until her father told her about him in act 1.
Sebastian - Alonso - Ferdinand
There is no concrete indication of the type of relationship that Sebastian [top, left] had with his brother, Prospero, while in Milan. It is, however, characterized by impatience and a lack of compassion on the island. This is seen when Gonzalo, a simple old councillor, had to speak to Sebastian about the unsympathetic manner in which he was treating Alonso, by blaming him for the loss of Claribel and declaring Ferdinand dead, 'My lord Sebastian, The truth you speak doth lack some gentleness, And time to speak it in; you rub the sore, When you should bring the plaster.' (Shakespeare, 51). Gonzalo, with his censure, highlights the fact that the relationship between the brothers is not a healthy one. This is the case because brothers should help each other, not 'rub salt into each other's wounds', as Sebastian does to Alonso. It is, therefore, not surprising to the reader when Sebastian is easily influenced, by Antonio, to betray his brother by attempting to kill him and take his title.
Alonso spends a lot of his time being melancholy about the loss of his two children, so the reader is not given any depiction of how he particularly relates to his brother. He does not respond when Antonio blames him for the disasters that they encounter, and they do not speak to each other throughout the play. The same can be said for Alonso and Ferdinand. They do not communicate because they do not share any scenes together, however, Alonso's reaction to Ferdinand's presumed death speaks volumes about the relationship that he has with his son, it says that he loves him. Ferdinand, also, does not share a scene with Sebastian, so there is no true barometer for that relationship.
POWER AND AUTHORITY
Power struggles, or usurpations and attempted usurpations, forms a major part of this this theme. The reader/ audience witnesses this struggle between Prospero and Antonio when Prospero tells Miranda the tale of how they got on the island. Antonio had stealthily usurped his brother's power and authority, in Milan, by taking his title. The title, Duke of Milan, granted the owner of the title influence over others, which translates to power, as well as authority, by the state, to wield that power over the people. Therefore, it can be stated that this is an enviable title to hold. The power and authority that it contained was strong and enticing that it was enough to tear a family apart.
The struggle for power continues within the master slave relationship between Prospero and Caliban. Caliban, like Prospero, was usurped. Caliban was the original ruler of the island, but Prospero reversed the position of power by enslaving Caliban because of his attempt to have a sexual relationship with Miranda. The result of this is bitterness, on Caliban's part, which prompts him to try to take back his lost power and position of legitimate authority. This is manifested in the plan that he hatches with Stephano and Trinculo, to overthrow, or reverse Prospero's position of power, and the authority that comes with it. It is interesting to note that Caliban does not seek to regain his position of power, but to replace Prospero with someone of his choosing. The implication is that he does not seek power for himself, but his focus is on taking power away from Prospero. This is the difference between the power struggle between Prospero and Antonio and Prospero and Caliban. Antonio wanted Prospero's power, and the authority that came with it, while Caliban wanted to strip Prospero of power and authority. It can be posited that Caliban feels empowered by the act of simple stripping Prospero of his power, while Antonio wanted Prospero's power.
The theme of power also extends to minor characters such as Stephano and Gonzalo. Sephano had ambitions to marry Miranda and usurp the island from Prospero, which indicates that he wanted power. He gladly agreed to Caliban's plan to steal Prospero's book, thereby robbing him of power, and then killing him. Gonzalo falls prey, to an extent, to this pursuit of power because he too desired control of the island so that he could turn it into a utopia. Therefore, even though he did not plot to kill or usurp anyone, he still desired power.
BETRAYAL
This word can be defined as being disloyal to an individual that one shares strong emotional ties with. This theme, therefore, is displayed in the relationship between Prospero and Antonio. It can be posited that Antonio betrayed his brother, Prospero, by usurping his position as Duke of Milan. The betrayal is evident in the fact that Prospero trusted his brother to perform his duties for him, while he was preoccupied with his books, and his brother betrayed that trust by giving favours, then calling these favours in, at the opportune time, thereby facilitating the loss of Prospero's title. This is an act of betrayal because Prospero trusted his brother with something very important, his position of power and authority, and Antonio betrayed that trust. This act of betrayal was then compounded by the fact that Antonio did not stop at usurping his brother's position, but escalated to fratricide. He attempted to kill his brother, and his infant daughter, by placing them in a boat and leaving them at sea to die. This is disloyalty at the highest level because the family blood bond dictates that family members should protect and support each other at all cost. Antonio does the very opposite.
Betrayal, to a less intense extent, can be seen in the relationships between Caliban and Prospero and Caliban and Miranda. Betrayal is displayed between Caliban and Prospero because Caliban trusted Prospero when he showed him his island. He expected him to marvel at its wonders, but he did not expect him to usurp it. Therein lies the betrayal. It is akin to getting to know someone and offering a tentative trust, by sharing something that is valuable to you, and then that person steals it. Though the level of trust was not concrete, it was a fragile thing that might have grown into a beautiful friendship, and then the other party chose to shatter it. Prospero chose to shatter the tentative trust that was building between himself and Caliban.
Miranda also felt betrayed by Caliban because she invested in him by teaching him, in essence, attempting to 'civilize' him, and he attempted to change the dynamic of that relationship - student teacher - to a more intimate one, without her consent. Inherent in her feeling of betrayal, is the idea that, as the teacher, she is more intelligent, and therefore better than him. Caliban had the role of the student, which implied that he had less knowledge, which made him inferior to her. Therefore, his attempt to change their relationship to a sexual one is abhorrent to her, especially when he attempted this change without her consent. Evidence of this can be seen in the anger that is present when she confronted him about it.
FORGIVENESS AND REDEMPTION
This theme is highlighted at the end of the play, when Prospero confronts his enemies and forgives them. This is a big deal, not to be underestimated, because Prospero went to great lengths to get them on the island - the tempest - and used Ariel to taunt them and confuse them, all in an attempt to enact revenge on the king and the members of his court who contributed to his usurpation. Therefore, the fact that he recants, in the face of all that effort, implies that he is a man with a conscience who believes that people deserve second chances. Despite the fact that this consideration was not extended to Caliban, the fact that it is given to other characters in the play makes it a relevant theme.
Observe Antonio [third character down, on the right], he is Prospero's brother. Antonio's main act toward his brother, Prospero, is when he usurps his title, Duke of Milan. This action strongly implies that he did not have a strong familial bond with his brother. This is the case because if one loves and respects their sibling, it would not cross their mind to take something so valuable and important from them. One can even go so far as to surmise that there must have been a great strain in the relationship, because he not only usurped his brother's title, but he sought to kill Prospero and his infant daughter by placing them on a small boat, without provisions, to die on the seas, 'they hurried us aboard a barque, Bore us some leagues to sea, where they prepared A rotten carcass of a butt, not rigged, Nor tackle, sail, nor mast - the very rats Instinctively have quit it. There they hoist us To cry to th'sea' (Shakespeare, 17). These actions do not suggest that he had a good relationship with his brother, or had any love for his infant niece.
Prospero [the middle], however, appears to have, initially, had a strong familial bond with his brother Antonio. This is the case because he trusted him with his title. Prospero was busy studying magic, and so he left the execution of his duties to his brother. The level of trust that he had in Antonio must have been great because this is akin to the Prime Minister of a country trusting his brother to do his duties while his attention is elsewhere. Prospero hints at this trust when he tells Miranda that 'My brother and thy uncle, called Antonio ... he, whom next thyself Of all the world I loved, and to him put The manage of my state' (Shakespeare, 13). When Antonio breaks this trust, by betraying Prospero, the relationship is severely weakened. The two brothers were now on equal footing in how they viewed each other; both saw each other as threats to the power that they could have, threats that needed to be eliminated.
Miranda [last character, on the left] has a warm and trusting relationship with her father. She trusts him to do what is right and does not question his actions. She does not ask him why he treats the man that she loves so harshly, neither does she seek to persuade him to alter his behaviour, or perception, of Ferdinand. Miranda is a dutiful daughter. On the other hand, she has no relationship with her uncle, Antonio, because she was not even aware of his existence until her father told her about him in act 1.
Sebastian - Alonso - Ferdinand
There is no concrete indication of the type of relationship that Sebastian [top, left] had with his brother, Prospero, while in Milan. It is, however, characterized by impatience and a lack of compassion on the island. This is seen when Gonzalo, a simple old councillor, had to speak to Sebastian about the unsympathetic manner in which he was treating Alonso, by blaming him for the loss of Claribel and declaring Ferdinand dead, 'My lord Sebastian, The truth you speak doth lack some gentleness, And time to speak it in; you rub the sore, When you should bring the plaster.' (Shakespeare, 51). Gonzalo, with his censure, highlights the fact that the relationship between the brothers is not a healthy one. This is the case because brothers should help each other, not 'rub salt into each other's wounds', as Sebastian does to Alonso. It is, therefore, not surprising to the reader when Sebastian is easily influenced, by Antonio, to betray his brother by attempting to kill him and take his title.
Alonso spends a lot of his time being melancholy about the loss of his two children, so the reader is not given any depiction of how he particularly relates to his brother. He does not respond when Antonio blames him for the disasters that they encounter, and they do not speak to each other throughout the play. The same can be said for Alonso and Ferdinand. They do not communicate because they do not share any scenes together, however, Alonso's reaction to Ferdinand's presumed death speaks volumes about the relationship that he has with his son, it says that he loves him. Ferdinand, also, does not share a scene with Sebastian, so there is no true barometer for that relationship.
POWER AND AUTHORITY
Power struggles, or usurpations and attempted usurpations, forms a major part of this this theme. The reader/ audience witnesses this struggle between Prospero and Antonio when Prospero tells Miranda the tale of how they got on the island. Antonio had stealthily usurped his brother's power and authority, in Milan, by taking his title. The title, Duke of Milan, granted the owner of the title influence over others, which translates to power, as well as authority, by the state, to wield that power over the people. Therefore, it can be stated that this is an enviable title to hold. The power and authority that it contained was strong and enticing that it was enough to tear a family apart.
The struggle for power continues within the master slave relationship between Prospero and Caliban. Caliban, like Prospero, was usurped. Caliban was the original ruler of the island, but Prospero reversed the position of power by enslaving Caliban because of his attempt to have a sexual relationship with Miranda. The result of this is bitterness, on Caliban's part, which prompts him to try to take back his lost power and position of legitimate authority. This is manifested in the plan that he hatches with Stephano and Trinculo, to overthrow, or reverse Prospero's position of power, and the authority that comes with it. It is interesting to note that Caliban does not seek to regain his position of power, but to replace Prospero with someone of his choosing. The implication is that he does not seek power for himself, but his focus is on taking power away from Prospero. This is the difference between the power struggle between Prospero and Antonio and Prospero and Caliban. Antonio wanted Prospero's power, and the authority that came with it, while Caliban wanted to strip Prospero of power and authority. It can be posited that Caliban feels empowered by the act of simple stripping Prospero of his power, while Antonio wanted Prospero's power.
The theme of power also extends to minor characters such as Stephano and Gonzalo. Sephano had ambitions to marry Miranda and usurp the island from Prospero, which indicates that he wanted power. He gladly agreed to Caliban's plan to steal Prospero's book, thereby robbing him of power, and then killing him. Gonzalo falls prey, to an extent, to this pursuit of power because he too desired control of the island so that he could turn it into a utopia. Therefore, even though he did not plot to kill or usurp anyone, he still desired power.
BETRAYAL
This word can be defined as being disloyal to an individual that one shares strong emotional ties with. This theme, therefore, is displayed in the relationship between Prospero and Antonio. It can be posited that Antonio betrayed his brother, Prospero, by usurping his position as Duke of Milan. The betrayal is evident in the fact that Prospero trusted his brother to perform his duties for him, while he was preoccupied with his books, and his brother betrayed that trust by giving favours, then calling these favours in, at the opportune time, thereby facilitating the loss of Prospero's title. This is an act of betrayal because Prospero trusted his brother with something very important, his position of power and authority, and Antonio betrayed that trust. This act of betrayal was then compounded by the fact that Antonio did not stop at usurping his brother's position, but escalated to fratricide. He attempted to kill his brother, and his infant daughter, by placing them in a boat and leaving them at sea to die. This is disloyalty at the highest level because the family blood bond dictates that family members should protect and support each other at all cost. Antonio does the very opposite.
Betrayal, to a less intense extent, can be seen in the relationships between Caliban and Prospero and Caliban and Miranda. Betrayal is displayed between Caliban and Prospero because Caliban trusted Prospero when he showed him his island. He expected him to marvel at its wonders, but he did not expect him to usurp it. Therein lies the betrayal. It is akin to getting to know someone and offering a tentative trust, by sharing something that is valuable to you, and then that person steals it. Though the level of trust was not concrete, it was a fragile thing that might have grown into a beautiful friendship, and then the other party chose to shatter it. Prospero chose to shatter the tentative trust that was building between himself and Caliban.
Miranda also felt betrayed by Caliban because she invested in him by teaching him, in essence, attempting to 'civilize' him, and he attempted to change the dynamic of that relationship - student teacher - to a more intimate one, without her consent. Inherent in her feeling of betrayal, is the idea that, as the teacher, she is more intelligent, and therefore better than him. Caliban had the role of the student, which implied that he had less knowledge, which made him inferior to her. Therefore, his attempt to change their relationship to a sexual one is abhorrent to her, especially when he attempted this change without her consent. Evidence of this can be seen in the anger that is present when she confronted him about it.
FORGIVENESS AND REDEMPTION
This theme is highlighted at the end of the play, when Prospero confronts his enemies and forgives them. This is a big deal, not to be underestimated, because Prospero went to great lengths to get them on the island - the tempest - and used Ariel to taunt them and confuse them, all in an attempt to enact revenge on the king and the members of his court who contributed to his usurpation. Therefore, the fact that he recants, in the face of all that effort, implies that he is a man with a conscience who believes that people deserve second chances. Despite the fact that this consideration was not extended to Caliban, the fact that it is given to other characters in the play makes it a relevant theme.
Symbol
THE TEMPEST
The tempest, or storm, that opens the play is a symbol of unification in the play. This is the case because it unites the characters in the play, through the forgiveness and redemption that occurs by the end of the play. Prospero initially commands Ariel to conjure the storm in order to wreak revenge on all who contributed to his confinement on the island, but by the last act of the play, this storm, that was born out of the desire for revenge, becomes the catalyst for redemption, unification and change.
The tempest, or storm, is also a symbol of Ptospero's power to manipulate. This is the case because Prospero commanded, through manipulation, a very powerful being, Ariel, to create the storm. Prospero was not the one to create the storm. The fact that he could get such a powerful creature to bend to his whim is a testament to his skill at manipulation. The reader realizes, in act one, that the only thing that Prospero had over Ariel was the fact that he had saved him from his twelve year confinement in a tree. It takes skill to convince someone that they owe their lives to you, so much so, that they must serve you in exchange for that life. That individual must first see themselves as powerless, in relation to you, to choose to be your servant. This is what Prospero had to do to Ariel, to have him guilt ridden enough to believe that he must serve Prospero.
THE CHESS GAME
The game of chess that occurs between Ferdinand and Miranda provides a panoramic view of what Prospero does on the island. The two lovers joyfully play their game and it is with this same joy that Prospero plays a game, joyfully, with people's lives. He literally controlled all the inhabitants of the island, just like Miranda and Ferdinand move their pieces across the chess board. Even the two lovers, themselves, were brought together by Prospero. The chess game, therefore, represents Prospero's manipulation of the inhabitants and visitors to the island. The most important person that Prospero manipulates is the king. This is the case because the purpose of chess, the game, is to catch the king, and Prospero has caught the king. He has, without Alonso's input, ensured that his daughter is to become queen, thereby securing his position of power in Alonso's court. In fact, it can be posited that Prospero's staging of the lovers, in their hidden position, for the court to see is to reveal to the king that he has literally been caught, chess mate.
PROSPERO'S BOOKS
Prospero's books literally represent his power. The reader sees Caliban insisting that Prospero's books must be taken away in order for him to vulnerable, thereby allowing the plotters to defeat him. This implies that it is the source of his power, which is highlighted by the fact that it is the knowledge in his books that allowed him to take control of the inhabitants of the island.
The tempest, or storm, that opens the play is a symbol of unification in the play. This is the case because it unites the characters in the play, through the forgiveness and redemption that occurs by the end of the play. Prospero initially commands Ariel to conjure the storm in order to wreak revenge on all who contributed to his confinement on the island, but by the last act of the play, this storm, that was born out of the desire for revenge, becomes the catalyst for redemption, unification and change.
The tempest, or storm, is also a symbol of Ptospero's power to manipulate. This is the case because Prospero commanded, through manipulation, a very powerful being, Ariel, to create the storm. Prospero was not the one to create the storm. The fact that he could get such a powerful creature to bend to his whim is a testament to his skill at manipulation. The reader realizes, in act one, that the only thing that Prospero had over Ariel was the fact that he had saved him from his twelve year confinement in a tree. It takes skill to convince someone that they owe their lives to you, so much so, that they must serve you in exchange for that life. That individual must first see themselves as powerless, in relation to you, to choose to be your servant. This is what Prospero had to do to Ariel, to have him guilt ridden enough to believe that he must serve Prospero.
THE CHESS GAME
The game of chess that occurs between Ferdinand and Miranda provides a panoramic view of what Prospero does on the island. The two lovers joyfully play their game and it is with this same joy that Prospero plays a game, joyfully, with people's lives. He literally controlled all the inhabitants of the island, just like Miranda and Ferdinand move their pieces across the chess board. Even the two lovers, themselves, were brought together by Prospero. The chess game, therefore, represents Prospero's manipulation of the inhabitants and visitors to the island. The most important person that Prospero manipulates is the king. This is the case because the purpose of chess, the game, is to catch the king, and Prospero has caught the king. He has, without Alonso's input, ensured that his daughter is to become queen, thereby securing his position of power in Alonso's court. In fact, it can be posited that Prospero's staging of the lovers, in their hidden position, for the court to see is to reveal to the king that he has literally been caught, chess mate.
PROSPERO'S BOOKS
Prospero's books literally represent his power. The reader sees Caliban insisting that Prospero's books must be taken away in order for him to vulnerable, thereby allowing the plotters to defeat him. This implies that it is the source of his power, which is highlighted by the fact that it is the knowledge in his books that allowed him to take control of the inhabitants of the island.
Contributor: Leisa Samuels-Thomas
References
[Editors]. The Tempest. United Kingdom: Cambridge University Press Ltd, 1995, 2014.
https://www.cliffsnotes.com/literature/t/the-tempest/character-map
