LOSS AND RESTORATION
Prospero's attempt to recover his lost dukedom of Milan drives the plot of The Tempest. But
Prospero isn't the only character in the play to experience loss. Ariel lost his freedom to
Sycorax and now serves Prospero. Caliban, who considers himself the rightful ruler of the
island, was overthrown and enslaved by Prospero. By creating the tempest that shipwrecks
Alonso and his courtiers on the island, Prospero strips them of their position and power, and
also causes Alonso to believe that he has lost his son to the sea.
Through their reactions to these losses, the play's characters reveal their true natures.
Reduced to desperation and despair, Alonso recognises his error in helping to overthrow
Prospero and gives up his claim to Milan, returning Prospero to power and restoring order
between Milan and Naples. Though he desperately wants to be free, Ariel loyally serves his
master, Prospero. Prospero, meanwhile, gives up his magic rather than seeking revenge and
frees Ariel before returning to Milan. In contrast to Alonso, Antonio and Sebastian never
show remorse for overthrowing Prospero and prove to be traitors in their plot to murder and
overthrow Alonso. Stephano and Trinculo, in their comedic way, likewise seek power over
Caliban. Caliban, as opposed to Ariel, hates Prospero, and gives himself as a slave to
Stephano in an effort to betray and kill Prospero.
POWER
From the opening scene of The Tempest, during the storm, when the ruling courtiers on the
ship must take orders from their subjects, the sailors and the boatswain, the play examines
the notion of power. The play is full of examples of power taken by force, and in each
case these actions lead to political instability and further attempts to gain power through
violence.
Antonio and Alonso's overthrow of Prospero leads to Antonio and Sebastian's plot to
overthrow Alonso, just as Prospero's overthrow and enslavement of Caliban leads Caliban to
seek revenge.
, Ultimately, it is only when Prospero breaks the cycle of violence by refusing to take revenge
on Alonso, Antonio, Sebastian, or Caliban that the political tensions in the play are calmed
and reconciled. After Prospero's merciful refusal to seek revenge, Alonso and Prospero
quickly come to an understanding and unite their once warring cities through the marriage of
their children. The Tempest suggests that compromise and compassion are more effective
political tools than violence, imprisonment, or even magic.
MAGIC, ILLUSION, THE SUPERNATURAL & PROSPERO AS PLAYWRIGHT
The existence, power and use of supernatural powers and supernatural entities are seen in
the play. The first sign of the power of the supernatural emerges when Prospero is exiled
to the island, and he finds magic. He uses magic to enslave a sprite, Ariel, and then the son
of a witch, Caliban. Ariel's presence is entirely supernatural: he creates the storm at sea
and he causes Ferdinand to fall in love with Miranda, at the request of Prospero,
The Tempest is full of magic and illusions prompted by Prospero. Although Prospero uses
magic to. control the natural and the supernatural worlds, the play also suggests his art is
distinct from the kind of black magic practiced by the witch Sycorax.
The play begins with Prospero using Ariel to create the storm, and ends with his command
that Ariel send the ship safely back to Italy. In between, the audience watches as Prospero
(sometimes via Ariel and sometimes of his own accord) uses visual and aural illusions to
manipulate his enemies and expose their true selves. At one point, Prospero even goes so
far as to suggest that all of life is actually an illusion that vanishes with death: "We are
such stuff as dreams are made on, and our little life is rounded with a sleep" (4.1.156-158).
Many critics see Prospero's magical powers as a metaphor for a playwright's literary
techniques. Just as Prospero uses magic to create illusions, control situations, and resolve
conflicts, the playwright does the same using words. Throughout the play, Prospero often
lurks in the shadows behind a scene, like a director monitoring the action as it unfolds.
Prospero refers to his magic as "art." In Act IV Scene I, Prospero literally steps into the role
of playwright when he puts on a masque/play for Miranda and Ferdinand. In fact, many
critics take an additional step, and argue that Prospero should actually be seen as a stand-
in for Shakespeare himself.
The Tempest was one of the last plays Shakespeare wrote before he retired from the
theatre, and many critics interpret the play's epilogue, in which Prospero asks the audience
for applause that will set him free, as Shakespeare's farewell to theatre.
Prospero's attempt to recover his lost dukedom of Milan drives the plot of The Tempest. But
Prospero isn't the only character in the play to experience loss. Ariel lost his freedom to
Sycorax and now serves Prospero. Caliban, who considers himself the rightful ruler of the
island, was overthrown and enslaved by Prospero. By creating the tempest that shipwrecks
Alonso and his courtiers on the island, Prospero strips them of their position and power, and
also causes Alonso to believe that he has lost his son to the sea.
Through their reactions to these losses, the play's characters reveal their true natures.
Reduced to desperation and despair, Alonso recognises his error in helping to overthrow
Prospero and gives up his claim to Milan, returning Prospero to power and restoring order
between Milan and Naples. Though he desperately wants to be free, Ariel loyally serves his
master, Prospero. Prospero, meanwhile, gives up his magic rather than seeking revenge and
frees Ariel before returning to Milan. In contrast to Alonso, Antonio and Sebastian never
show remorse for overthrowing Prospero and prove to be traitors in their plot to murder and
overthrow Alonso. Stephano and Trinculo, in their comedic way, likewise seek power over
Caliban. Caliban, as opposed to Ariel, hates Prospero, and gives himself as a slave to
Stephano in an effort to betray and kill Prospero.
POWER
From the opening scene of The Tempest, during the storm, when the ruling courtiers on the
ship must take orders from their subjects, the sailors and the boatswain, the play examines
the notion of power. The play is full of examples of power taken by force, and in each
case these actions lead to political instability and further attempts to gain power through
violence.
Antonio and Alonso's overthrow of Prospero leads to Antonio and Sebastian's plot to
overthrow Alonso, just as Prospero's overthrow and enslavement of Caliban leads Caliban to
seek revenge.
, Ultimately, it is only when Prospero breaks the cycle of violence by refusing to take revenge
on Alonso, Antonio, Sebastian, or Caliban that the political tensions in the play are calmed
and reconciled. After Prospero's merciful refusal to seek revenge, Alonso and Prospero
quickly come to an understanding and unite their once warring cities through the marriage of
their children. The Tempest suggests that compromise and compassion are more effective
political tools than violence, imprisonment, or even magic.
MAGIC, ILLUSION, THE SUPERNATURAL & PROSPERO AS PLAYWRIGHT
The existence, power and use of supernatural powers and supernatural entities are seen in
the play. The first sign of the power of the supernatural emerges when Prospero is exiled
to the island, and he finds magic. He uses magic to enslave a sprite, Ariel, and then the son
of a witch, Caliban. Ariel's presence is entirely supernatural: he creates the storm at sea
and he causes Ferdinand to fall in love with Miranda, at the request of Prospero,
The Tempest is full of magic and illusions prompted by Prospero. Although Prospero uses
magic to. control the natural and the supernatural worlds, the play also suggests his art is
distinct from the kind of black magic practiced by the witch Sycorax.
The play begins with Prospero using Ariel to create the storm, and ends with his command
that Ariel send the ship safely back to Italy. In between, the audience watches as Prospero
(sometimes via Ariel and sometimes of his own accord) uses visual and aural illusions to
manipulate his enemies and expose their true selves. At one point, Prospero even goes so
far as to suggest that all of life is actually an illusion that vanishes with death: "We are
such stuff as dreams are made on, and our little life is rounded with a sleep" (4.1.156-158).
Many critics see Prospero's magical powers as a metaphor for a playwright's literary
techniques. Just as Prospero uses magic to create illusions, control situations, and resolve
conflicts, the playwright does the same using words. Throughout the play, Prospero often
lurks in the shadows behind a scene, like a director monitoring the action as it unfolds.
Prospero refers to his magic as "art." In Act IV Scene I, Prospero literally steps into the role
of playwright when he puts on a masque/play for Miranda and Ferdinand. In fact, many
critics take an additional step, and argue that Prospero should actually be seen as a stand-
in for Shakespeare himself.
The Tempest was one of the last plays Shakespeare wrote before he retired from the
theatre, and many critics interpret the play's epilogue, in which Prospero asks the audience
for applause that will set him free, as Shakespeare's farewell to theatre.
