THE TEMPEST in Prospero.

Furthermore, there is also the

notion that he feels somehow isolated and in
The Tempest is generally regarded as need of reconciliation, as he bids adieu to
Shakespeare’s last play, first performed in the theatre. If the play is studied
1611. Its rich themes and ambiguities are meticulously with a key attention to these
often attributed to the seventeenth century details then the parallels are certainly
age of exploration, the circumstances of its underscored. This interpretation of the play
performance at court (first performed for is also evident in the thematic concerns for
King James I as well as for the marriage example power, reconciliation, illusion,
festivities of Elizabeth), and the context of change/transformation.
the playwright’s tumultuous writing career.
Allegorical reading of The Tempest
LANGUAGE
1. The play can be read as Shakespeare’s
commentary on European exploration of Soliloquy
new lands. Prospero lands on an island with A soliloquy is where a character, onstage
a native inhabitant, Caliban, a being he and alone, reveals their thoughts to the
considers savage and uncivilized. He teaches
audience. The Tempest does not use
this “native” his language and customs, but
this nurturing does not affect the creature’s many soliloquy's, as the dramatic scenes
nature, at least from Prospero’s point of in the play are enough to give accurate
view. But Prospero does not drive Caliban information to the audience. However,
away, rather he enslaves him, forcing him to Shakespeare does use a few soliloquys,
do work he considers beneath himself and most notably through Prospero, for
his noble daughter. As modern readers,
example, in Act 5, Scene 1 where he
sensitive to the legacy of colonialism, we
need to ask if Shakespeare sees this as the ends the play by telling the audience that
right order and assess his views of Prospero is giving up his magic.
imperialism and colonialism. Furthermore, Aside
we must explore the depiction of the master/
slave dynamic shown in this play. An aside is a stage direction which
playwrights use to allow characters to
address the audience, without the other
2. Because it was performed at court, there characters noticing. Asides usually
is a lot of stage business: music, dance,
suggest that there is some form of
masque-like shows. The role of the artist is
explored through Prospero’s use of his conspiracy, deceit, or mocking in the
magic, and parallels can be drawn to scene. For example, in Act 3, Scene 1,
Shakespeare’s own sense of his artistry. Prospero frequently uses the aside:
With the knowledge that this is
'[Aside] Poor worm, thou art infected'
Shakespeare’s last play, some critics have
chosen to explore the autobiographical to show the audience that he has
connections, indicating that he sees himself
orchestrated the union and interaction circumstances that surround his
between Miranda and Ferdinand. usurpation from his position as Duke of
Milan. He contrasts his popularity as a
leader—“the love my people bore me”
Prospero’s manipulation of language (I.II.141)—with his brother’s “evil
Prospero’s rhetoric nature” (I.II.).
(persuasive/eloquent way of speaking) Additionally, through the playwright’s
is particularly important to observe in use of dramatic monologue, the
the play, especially in his confrontation audience is informed that initially,
with Ariel. Of all the characters, Prospero had taken Caliban under his
Prospero alone seems to understand that wing, taught him to speak, and fed him.
controlling history enables one to control In exchange, Caliban had shown him all
the present—that is, that one can control the tricks and treasures of the island.
others by controlling how they Sadly, the arrangement ended when
understand the past. Prospero therefore according to Prospero, Caliban tried to
tells his story with emphasis on his own rape Miranda. Consequently, Prospero
good deeds, the bad deeds of others confined Caliban to servitude. Language
toward him, and the ingratitude of those in the play serves as a tool for spreading
he has protected from the evils of others. knowledge. It is important to note that
For example, when he speaks to Prospero however, has sole autonomy on
Miranda, he calls his brother how the past is presented.
“perfidious,” (treacherous) then
immediately says that he loves his
brother better than anyone in the world SETTING
except Miranda. He repeatedly asks The characters on the boat are divided
Miranda, “Dost thou attend me?” into nobles, for example Antonio and
Through his questioning, he commands Gonzalo, and servants or professionals,
her attention almost hypnotically as he such as the Boatswain. The potential
tells her his one-sided version of the lethality of the storm upsets the usual
events which unfolded in Milan. It is balance between these two groups, and
important to note that Prospero himself the Boatswain, in an attempt to save the
is not blameless. While his brother did ship, comes into direct conflict with the
betray him, he also failed in his nobles, who, despite their helplessness,
responsibilities as a leader by giving up are extremely irritated at being rudely
control of the government, so that he spoken to by a commoner. The
could study and experiment with magic. characters in Act 1 Scene 1 are never
As a result, he equally contributed to the named outright; they are only referred to
in terms that indicate their social Indirect characterization: consists of
stations: “Boatswain,” “Master,” “King,” the author showing the audience what
and “Prince.” The conflict between kind of person a character is through the
masters and servants which is a thematic character’s thoughts, words, and deeds.
concern in the play, and the angst that This requires the audience to make
exists between the various social inferences about the character.
divisions is introduced on board the ship.
Therefore, the ship becomes an
important symbol as it operates as a CHARACTERS
social leveller. PROSPERO
He is deified and imbued with supreme
Furthermore, the setting of The Tempest magical powers. He is cunning and
in an unnamed/ unspecific location manipulates all the other characters.
allows Shakespeare and the reader to Prospero is the rightful Duke of Milan
create endless possibilities for the who was usurped by his brother. He has
activity on the island. The ambivalent an obsessive interest in magic and the
setting of the play, makes it susceptible supernatural, and because of this, his
to a variety of interpretations brother believed that Prospero would not
be an effective Duke of Milan and
plotted, with the help of the other
CHARACTERIZATION members of the royal entourage to
banish him. Shakespeare uses this to
Characterization is the method used by a
create sympathy for Prospero, but
playwright to develop a character. The
his self-importance and control of the
method includes: (1) showing the
other characters make him a character
character's appearance (for e.g.
who the audience remains unsure of, as
costume), (2) displaying the character's
he is manipulative and deceitful.
actions (stage directions), (3) revealing
However, it can be argued that he only
the character's thoughts
acts in this way to create positive results
(soliloquy/monologue), (4) letting the
- such as Miranda's wedding to
character speak, and (5) getting the
Ferdinand which create the play's happy
reactions of others
ending.

Direct characterization: also known as

Prospero symbolizes British colonizers
explicit characterization, consists of the
playwright telling the audience what a in foreign countries as he, despite
Caliban's claims that the island is
character is like.
his, enslaves the natives of the and this may be symbolic of
island to carry out his desires. He Shakespeare being central to the
also treats Caliban harshly, writing of the play. For example,
threatening him with painful it can be posited that Prospero is
punishments and threatening an artist in the way that he
Ariel with imprisonment. orchestrates and arranges the
Prospero is also an autocratic events of the play, controls others
character who demands attention on the island and studies their
from the other characters. At the reactions. This is similar to
start of the play, while telling Shakespeare’s writing as he
Miranda a story, he is eager for creates the play, the plot and the
her to listen, and give her full characters. Some critics even
attention to him. His imperative suggest that Prospero is a
language towards may suggest representation of Shakespeare,
that he is patriarchal, and in the allowing the audience to explore
time the play was written, this the importance of art in society.
would not have been unusual. This is supported by some of
Prospero might have left Prospero's speeches, near the end
civilisation and surrounded of the play, where he likens
himself with magic and himself to a playwright, and
supernatural beings, but he has makes references to the theatre.
still replicated a hierarchal
human system of moral
judgments and rules, despite the MIRANDA
possibility that he, Miranda and Miranda is one of the principal
the spirits already on the island, characters in The Tempest, and is the
could live with total freedom. daughter of Prospero, who was exiled to
This may suggest that humans the island when she was very young. She
are in need of rules to govern cannot remember much about
themselves effectively, yet ‘mainstream civilisation’ and this has
Prospero abuses these rules, and allowed her to become extremely
makes himself superior which sheltered, innocent and somewhat naïve
may be a comment by as she has no experience with other
Shakespeare to criticise the humans - all she knows she has learnt
nature of human beings. from her father. She is gentle and
Prospero's plans and plots are extremely compassionate. For example,
central to the events of the play during the storm she tries to convince
Prospero not to hurt the men 'I have of the island, Caliban is insolent and
suffered with those I saw suffer' (Act 1, rebellious, often complaining about
Scene 1). Oreover, she is devoted to her Prospero's control. However, he fulfills
father. For example, when she his orders because he is afraid of the
unintentionally disobeys her father's pain that Prospero unleash through his
command that she must not tell magic. Although Caliban is a native, and
Ferdinand her name, she is dismayed and this may mean that he is justified in his
upset. Yet, she asserts herself and tells claims for power, he is yet another
her father what to do sometimes, such as character who wishes to control the
'Sir, have pity', which may suggest that island. On the other hand, his more
Miranda is not controlled by her father sensitive side is elicited through his
and that she has an innate sense of language. Caliban speaks some of the
morality. Her naivety is shown through most beautiful and eloquent poetry of the
her “love at first sight” reaction upon play, and this may be used by
seeing Ferdinand. Some critics have Shakespeare to critique Prospero's and
suggested that her feelings for Ferdinand Stephano's attempt to control and
are unreasonable and foolish, because suppress the autonomy and individuality
she may not know what love is, as she of the native. For example, many critics
has never met another young male. The believe that the character of Caliban is a
only male acquaintances she has are her tool for Shakespeare to criticise Western
father and the “monstrous” Caliban. On colonisation which suppressed native
the other hand, others believe that this is cultures, as Prospero 'teaches' Caliban
true love, because she does not want to how to speak English and both Prospero
meet any other man, and she is and Stephano enslave him.
extremely happy marrying Ferdinand
immediately.
ARIEL
CALIBAN
Ariel is a source of mystery
The character of Caliban is a complex throughout The Tempest. The audience
character and functions as one of the is never quite sure about what the spirit
main protagonists of the play. He is the is exactly. The character has no gender
son of the evil witch Sycorax, and is the and may be presented from an ethereal,
only known native of the island. He is feminine spirit, to a mischievous male
portrayed as a dark creature, associated character. Shakespeare calls the
with nature, and who is enslaved by character an “airy spirit” and Ariel is
Prospero initially, and secondly by presented through a variety of forms in
Stephano. As a result of his enslavement, the play, for example: a flaming light
and his belief that he is the rightful ruler
during the storm, a harpy during the GONZALO
banquet and as Ceres in the Masque Gonzalo is referred to as an elderly
scene. counsellor to the King of Naples who is
We do not learn how Ariel came to be on known to be trustworthy and honest. He
the island, but we do discover that Ariel helped Prospero to survive, and provided
was previously imprisoned by the ruler him with his magical books, when
of the island; the evil witch Sycorax. He Prospero was banished from Milan. This
was punished by her when he refused to suggests that Gonzalo, unlike the villains
do her cruel biddings, and was trapped of the play; Antonio and Sebastian, has
inside a tree. When Prospero takes over integrity and is sincere. The character of
the island, he discovers and frees Ariel Gonzalo introduces the idea of a utopia
temporarily, and then re-enslaves the society which is juxtaposed against the
spirit. Ariel fulfills Prospero's every hierarchal structure of Prospero's island.
demand in the hope that Prospero will He talks of an island 'For no kind of
one day free him, and throughout the traffic/ would I admit; no name of
play Ariel yearns for freedom. For magistrate/ Letters should not be
example, Ariel is the one to cause the known; riches, poverty/ and use of
storm which brings the royal entourage service, none;' (Act 2, Scene 1), where
to the island, as the spirit believes that people do not need to work, and the
this event will allow Prospero to provide concept of money does not exist.
him with the freedom he has asked for. Everyone works in harmony to help each
other.
The relationship between Ariel and
Prospero is a difficult one to term.
ANTONIO
Prospero seems to have an ambivalent
attitude towards his spirit-servant - he is The character of Antonio can be read as
sometimes abrupt and dismissive, a symbol of Western civilisation as
referring to Ariel as a 'moody' and foolish and hungry for power. He allows
'malignant thing', and in other Prospero to be usurped in order to
circumstances he is affectionate towards become Duke of Milan himself. His
Ariel, calling the spirit 'bird', 'chick' and actions are governed by envy as he
'my fine spirit' which creates an desires to further his own social position
uncertain atmosphere regarding their in the society. For example, he plans to
relationship. Ariel is the character who is kill Alonso, convincing Sebastian to
able to teach Prospero about forgiveness assist him, in order to take control and
and pity through his childlike power from the King.
willingness to serve- 'What shall I do?
Antonio, shows no sign of remorse, even ALONSO
at the end of the play when he has been Alonso is the King of Naples and is a
terrified by Prospero's spirits and character that the audience remains
when the other members of the royal ambivalent about for the entire play.
entourage make amends with Prospero. Although he is an enemy of Prospero, he
He does not attempt to reconcile the does not take any real vindictive action
relationship with his brother, and this himself - he is easily persuaded into
may be a message from Shakespeare to plots by others, for example Antonio, but
suggest that Western ideals of he can also be persuaded into good
colonisation and superiority are actions by his counsellor Gonzalo.
irrational and unreasonable ideas which
divide society, and promote selfishness. Alonso experiences intense, divisive
emotions, for example when he cries
FERDINAND over the death of his son, as well as the
Ferdinand is the son and heir of the King fact that he has maintained a relationship
of Naples, Alonso, who through with traitors such as Sebastian and
Prospero's plan, is isolated on the island Antonio. However, Alonso is able to
after the storm, until he meets Miranda- redeem himself by admitting his flaws
Prospero's daughter. Prospero has and mistakes and showing sincere
planned this in order to make the couple remorse. For example, when the harpy in
“fall in love”, so he that he can get Act 3, Scene 3 reminds him how he had
revenge on Ferdinand's father. Ferdinand wronged Prospero by banishing him. He
experiences love at first sight with is genuine in his regret and sorrow, and
Miranda and even agrees to servitude in he returns Prospero's dukedom to him at
order to win Prospero's approval to be the end of the play. Yet, we can still
with her. This may suggest that argue that Alonso is reluctant to confront
Ferdinand is naïve and innocent. his mistakes, as he does not account for
However, he makes several comments them until he is confronted by another
about women he had previously been person.
with. In this instance, he seems arrogant.
SEBASTIAN
Yet, he does respect Prospero's rules
regarding Miranda and promises not the Sebastian is Alonso's brother, who is
break Miranda's 'virgin-knot' (Act 4, willing to attempt murdering the King.
Scene 1) before their wedding night He is simultaneously an aggressive and
which may suggest that he is honourable cowardly character. He also presents
and earnest. Western civilisation as foolish and
thoughtless, as he mocks Gonzalo's
dreams of a utopian society of harmony logs]. He states that: “The very instant that
and peace. I saw you did / My heart fly to your service;
there resides, / To make me slave to it” (Act
STEPHANO 3 Scene 1). The words “slavery” and “slave”
Stephano is another of The Tempest's underscore the parallel as well as the
difference between Ferdinand and Caliban.
antagonists, but he is a comedic, drunken
Prospero repeatedly calls Caliban a slave,
fool. He is the butler of the royal
and we see Caliban as a slave both to
entourage, and his petty and greedy Prospero and to his own anger. Ferdinand,
nature encourages him to create a plan to on the other hand, is a willing slave to his
kill the King and rule the island. He is love, and is happy in a servitude that makes
yet another character used by him rejoice rather than curse.
Shakespeare to criticise the Western
ideal of colonisation as Stephano's aims
At the end of Act 3 Scene 1, Miranda takes
are purely selfish. For example, when he up the theme of servitude. Proposing
first discovers the native Caliban, his marriage to Ferdinand, she says that “I am
first instinct is to capture him to sell your wife, if you will marry me; / If not, I’ll
when he returns to Naples. He also die your maid. . . . / You may deny me; but
imprisons Caliban to be his 'foot-licker'. I’ll be your servant.
The play attempts to overcome the
implausibility of this courtship—to make
TRINCULO Miranda look like something more than
Prospero’s puppet and a fool for the first
Trinculo acts as a jester in The
man she sees. Shakespeare accomplishes
Tempest and he also aids Stephano’s and
this by showing Ferdinand in one kind of
Caliban’s evil scheme to kill servitude—in which he must literally and
Prospero. He and Stephano act as physically humble himself—as he talks
comedic counterparts to the true villains- earnestly about another kind of servitude, in
Antonio and Sebastian, through their which he gives himself wholly to Miranda.
ridiculous, drunken attempt to kill The fact that Miranda speaks of a similar
servitude of her own accord, that she
Prospero and take control of the island.
remembers her father’s “precepts” and then
disregards them, and that Prospero remains
in the background without interfering helps
LITERARY TECHNIQUES the audience to trust this meeting between
the lovers more than their first meeting in
Act 1, scene 2.
Imagery of servitude: Ferdinand sees his
love for Miranda, as a form of servitude. He
assures her that he is worthy of her love Doubling: In Act 3 Scene 2, Caliban,
although he is royalty and “would no more Trinculo, and Stephano wander aimlessly
endure / This wooden slavery [carrying
about the island, and Stephano muses about impression in advancing his argument
the kind of island it would be if he ruled it— than he himself. If he simply appeared
“I will kill this man [Prospero]. His before the table and stated his case, it
daughter and I will be King and Queen . . . would seem tainted with selfish desire.
and Trinculo and thyself [Caliban] shall be However, for Ariel to present Prospero’s
viceroys”, just as Gonzalo had done while case in this spectacular fashion, it makes
wandering with Antonio and Sebastian in it seem like the inevitable natural order
Act 2, Scene 1. At the end of Act 3, scene 2, of the universe—even though Prospero
Ariel enters, invisible, and causes strife himself stages everything Ariel says.
among the group, first with his voice and
then with music, leading the men astray in
order to thwart Antonio and Sebastian’s plot 2. Miranda is the only female presented on
against Alonso. The power-hungry servants stage, in a play filled with male
Stephano and Trinculo thus become rough characters who either vie to control her
parodies of the power-hungry courtiers view of the world or for her hand in
Antonio and Sebastian. All four men are marriage.
now essentially equated with Caliban, who
is, as Alonso and Antonio once were, simply
another usurper. 3. The shipwreck which opens the play is a
Spectacle spectacle as it destabilizes everything
before the audience/reader has
1. Ariel’s appearance as an avenging harpy encountered the plot and the characters.
represents the climax of Prospero’s
revenge, as Antonio, Alonso, and the
other lords are confronted with their 4. Act 3 Scene 3: The Masque (a masque
crimes and threatened with punishment. is a form of festive courtly
From Prospero’s perspective, the entertainment).Act 4 Scene 1 plays an
disguised Ariel represents justice and the integral role in the play. Up until this
powers of nature. He has arrived to right point in the play, Prospero has been
the wrongs that have been done to exacting towards Ferdinand, and this
Prospero, and to punish the wicked for masque allows for kind of reconciliation.
their sins. However, the audience knows It finally allows the audience to see
that Ariel is not an angel or Prospero’s real ambitions towards
representative of a higher moral power, Ferdinand. Therefore, the masque is a
but merely mouths the script that ceremony very similar to marriage.
Prospero has taught him (Dramatic Ferdinand and Miranda are amazed, and
Irony). Ariel’s only true concern, of Prospero says these are spirits he has
course, is to win his freedom from called upon behalf of the young lovers.
Prospero. Thus, the vision of justice Nymphs and land reapers are then
presented in this scene is artificial and summoned, and they perform a beautiful
staged. Prospero knows that a dance. This scene can also be argued as
supernatural creature claiming to important as it heralds the final scene of
represent nature will make a greater the play (the reconciliation). We see this
 because Iris was the goddess of the clothing immediately distracts them and
rainbow in Greek mythology; acting as they want to steal it, despite the protests
the rainbow to the storm at the start of of Caliban, who wants to stick to the
the play and so this metaphorically plan to kill Prospero. The sight of these
signifies the change of mood, preparing “commoners” parading on stage in
us for Prospero’s final action. The courtly attire is a spectacle since it is
theatricalities can be seen as very visibly appealing and striking, since their
necessary in creating the spectacular and rank in the society does not make them
intense atmosphere. This makes the synonymous with the power/affluence
magic look as grand and important as it that these clothes represent. The pack of
is in this play. spirits in the shape of hounds, set on by
Ariel and Prospero is also a spectacle.
5. Another part in the play that we can
recognise, where theatricality is used to
SYMBOLISM
highlight the importance of magic, is
where we see the banquet disappear. It is 1. The Tempest: the tempest is a
a spectacle that astonishes the audience, significant symbol in the play since it
and this event helps to create the magical is the event that starts the action and
feel that is needed to facilitate Ariel’s allows Prospero to carry out his plan
role in the play. When Alonso, Gonzalo, to trap his usurpers. Initially, the
Sebastian and Francisco (a lord in tempest symbolises the suffering that
Alonso’s court) witness this event they Prospero experienced after his
are utterly stupefied: usurpation, and his desire to punish
the men who wronged him.
A living drollery. Now I will believe
Prospero uses the storm to put the
That there are unicorns; that in Arabia
royal entourage at his mercy, as he
There is one tree, the phoenix’ throne; one
wants them to be in a similar
phoenix
position of distress that he and his
At this hour reigning there.
daughter Miranda experienced when
they were banished from their home.
Importantly, it can be posited that The tempest shows that Prospero
Shakespeare uses the theatricality of magic wants to seek revenge and make his
in the play to highlight the enemies suffer for what they did to
significant/powerful characters and to him, and the storm creates the image
underscore the effect they have over other of Prospero as extremely powerful,
characters. For example: malevolent and God-like.

Thunder and lightning. Enter Ariel like a 2. Prospero's Books: similar to the
harpy; claps his wings upon the table; and, tempest, Prospero's books are a
with a quaint device, the banquet vanishes. symbol of his power. It is his books
that have taught him the magic
which allows him to control nature
6. Act 4: Stephano, Caliban and Trinculo’s and other people to fulfill his desires.
discovery of the courtly attire. The For example Caliban tells Stephano
 that 'For without them [the books] them unknowingly confined to slumber. All
/He's but a sot' (Act 3, Scene 2). of these characters yearn for freedom in
Prospero's books also show his some way but through a variety of forms.
isolation from civilisation as magic Prospero wants to be freed through
is what causes him to neglect his regaining his rightful status, Miranda
duties as Duke of Milan. We can see, achieves freedom, although through
from the ending of the play that the marriage, from her father's control, Caliban
only way Prospero can return to believes that he can gain freedom by
civilisation is by ridding himself of exchanging one master for another, Ariel
his magic and by destroying his demands freedom from Prospero's control
books. This suggests that magic or and Gonzalo dreams of freedom from the
the supernatural does not function in restraints of a civilisation controlled by
society. social conventions and hierarchy. This idea
of freedom is also emphasised at the end of
the play when Prospero's character asks the
THEMES audience to “set me free” through
forgiveness of his actions. (Act 5, Scene 1)
Usurpation
Usurpation is the overthrow of a rightful Forgiveness and Reconciliation
leader or ruler. This is used in a variety of
forms throughout The Tempest. The play is It seems, at the beginning of the play, that
full of rebellions - the Boatswain orders Prospero's aims are not to reconcile, but to
the king and courtiers from the deck during seek revenge. However, the audience is
the storm; political treachery - Antonio never quite sure, and by the end of the play
expels Prospero and steals his dukedom; Prospero, with help from Ariel, has learnt
mutinies - Caliban attempts to rape how to forgive and reconcile with the royal
Miranda; and conspiracies - Antonio entourage and regains his position as the
and Sebastian plot to kill Alonso and Duke of Milan - he says: 'The rarer action
Gonzalo and Caliban; Stephano and is/n virtue, than in vengeance' (Act 5,
Trinculo plot to kill Prospero. Scene 1). This idea of forgiveness is
introduced slightly earlier in the play, during
Imprisonment and Freedom Act 4, Scene 1, through the appearance of
Many characters within this play experience the Goddess Iris. Iris is the Goddess of the
some form of imprisonment or confinement, Rainbow which provides the audience with
yet this is not always overt. Prospero and the image of the storm ending, and provides
Miranda are banished from Milan and are the promise of a new beginning. This also
exiled to the island, Caliban is enslaved by symbolizes Prospero's transition to harmony
both Prospero and Stephano, Ariel is and peace, rather than revenge as he allows
imprisoned by Sycorax and is then forced to the blessing of his daughter's marriage to
serve Prospero, Ferdinand is kept as Ferdinand, the king's son.
Prospero's prisoner after the initial
shipwreck, and the sailors of the ship are
confined to a magical sleep which keeps
Colonialism divine right to “save” natives from their
“degenerate” nature. Some critics have
The Tempest is preoccupied with the theme
argued that Shakespeare gives a Eurocentric
of colonialism. Shakespeare presents
view in The Tempest and that he fails to
colonialism as a form of exploitation which
explore Caliban's point of view, instead
Western societies use to control 'inferior'
focusing only on Prospero.
beings. The conflict between Prospero and
Caliban, represents the conflict between the Illusion and Magic
Old World (Europe) and the challenges to
The play begins with an illusion - the
their culture and beliefs from the New
shipwreck is not a result of a tempest, but of
World (Americas, Africa and other
Ariel's and Prospero's magic, and this
colonized areas), as Prospero can be seen as
creates the idea that the island is full of
the colonist and Caliban as the native
magic and illusions. For example, Ariel and
inhabitant. There is much support
the other spirits may be seen as an illusion to
within The Tempest for the idea that
the royals as they are unused to such
colonisation was a form of economic
supernatural beings and the island itself is
exploitation. Firstly, Prospero takes control
seen to be magical. Even Caliban - a
of Caliban and uses him as a slave, and
supernatural creature himself - says that the
secondly and perhaps most obviously, when
island “is full of noises” (Act 3, Scene
Stephano and Trinculo discover Caliban
2) which suggests that it is a place of magic
their first thought is to wonder how much
and the supernatural.
money they could gain by selling him.
Colonisation links closely to the idea of
social class as Europeans believed that Prospero is also representative of magic
social hierarchy was a fixed element of through his learning of spells and his
society and was ordained by God. possession of magic books. He is able to
Europeans justified their inhumane actions make himself invisible, control others and
against natives through the suggestion that the elements, bring torment and pain, and
natives and their actions were full of command the spirits of the island, which
debauchery and depravity. For example, show that his magic is extremely powerful.
Caliban's “attempted rape” of Miranda is It is this magic that allows Prospero to
used as evidence of his evil nature, perform all his tasks, regarding the royal
especially as he does not realise how entourage, which makes magic central to the
horrible his actions are. In comparison, success of the play.
Prospero's control of Miranda's sexuality
suggests that Western society is a “higher It is also suggested that illusion within The
state of civilisation”, characterised by Tempest appears through the illusion of
restraint, abstinence and self- justice. The act that initiates the play, is the
discipline. These beliefs were often related unjust usurpation of Prospero by his brother
and encouraged by the Christian religion, Antonio. This is the first violation of justice
which Europeans felt needed to be enforced the audience encounters, and Prospero uses
all over the world. Native Americans for this to present himself as a victim. Yet it can
example were seen as barbaric and ungodly. be argued that he abuses this status as he
Colonists used this idea to justify their
takes power from other characters - Ariel suggest that Western civilisation thought
and Caliban. Thus, Prospero also creates an themselves to be somewhat god-like.
illusion of justice as he should not enslave
the other characters of the play.
Master/Servant
Sleep and dreams recur throughout the play.
The relationship between servants and their
At the beginning, Prospero sends Miranda to
masters is one that Shakespeare explores in
sleep so that he can plot with Ariel, then
several ways. The first instance we
Ariel enchants Alonso and Gonzalo into a
encounter of servants and masters is in Act
sleep, the sailors of the ship are kept in a
1, Scene 1, through the Boatswain and the
magical slumber for the entire play, Caliban
royal entourages accepting and equal
has dreams so wonderful that he longs to
treatment (Gonzalo and Alonso) and their
sleep again and the Masque scene also has
demanding and belittling treatment of the
dream-like qualities due to their supernatural
Boatswain (Antonio and Sebastian). This is
elements.
used by Shakespeare to critique society’s
treatment of lower class people and to
criticise those who believe themselves to be
Metamorphosis - change and superior to others.
transformation Ariel’s slave status to the master of Prospero
poses several interesting questions to the
The play begins with a turbulent storm
audience. Initially, Ariel seems keen to serve
which creates a change in the life of all the
Prospero, and even acts with some level of
characters and by the close of the play there
affection towards the master, yet this may
has been a huge transformation as Prospero
only be because Ariel craves freedom. We
and the royal entourage have now made
can see that Prospero, as the master wielding
amends and Prospero no longer intends to
power, manipulates Ariel by promising and
seek revenge and instead shows forgiveness.
then taking away freedom. This eventually
.
forces the spirit to obey him which creates
God and Humanity sympathy for Ariel. Prospero's feelings
towards Ariel are ambivalent throughout the
This is an interesting theme of The play, he sometimes addresses the spirit with
Tempest as religion is not clearly affecting, and other times condemning it
mentioned, yet Prospero often acts as if he is “malignant thing!” which may suggest that
God of the island. He demands total respect masters feel some level of emotional
and recognition, even from his daughter, and connection with their servants. (Act 1, Scene
he is outraged that Antonio has stolen his 2)
position. His enslavement of the spirits and
Ariel and Caliban suggests that he believes However, this is not the case with another of
that he is superior to all other beings, as they Prospero's slaves, Caliban. Prospero treats
must do his bidding. This supports the idea Caliban poorly and with contempt because
that Western nations believed that they were Caliban does not willingly accept the rule of
better than other contries - which may also Prospero on the island. This suggests that
'masters' should not have any power over
others because all are equal and men cannot
control each other. The main idea from the
theme of colonisation also makes an
appearance here; that Western nations see
themselves as masters of all other races. For
example, Prospero makes himself master of
the island, and then Stephano and Trinculo
also enslave Caliban which suggests that
civilisation will always try to create a social
hierarchy.

PLEASE NOTE THAT SOME OF THIS

INFORMATION WAS TAKEN FROM
THE SOURCES LISTED BELOW AND
WERE MODIFIED AND EDITED

Resource List

1. https://www.thoughtco.com/what-is-
literature-740531
2. A Teacher’s Guide to the Signet
Classic Edition of William
Shakespeare’s The Tempest.
3. Pittsburgh Public Theatre’s Study
Guide to The Tempest
4. http://thetempestscrapbook.blogspot.
com/p/themes.html