The Tempest

Significance of the title:

 There is a literal storm/tempest in the opening scene, which is often described as the central
conflict upon which the play is based.
 The play is characterized by many tempestuous relationships.
 Many characters have tempestuous temperaments.
 The tempestuous relationship between Prospero and Antonio sets the whole play in motion.

Characters:

 Prospero: exiled Duke of Milan; sorcerer; father of Miranda; brother of Antonio

 Antonio: Duke of Milan (by usurpation); Prospero’s bother
 Ferdinand: Alonso’s son; Prince of Naples; Miranda’s love interest
 Alonso: King of Naples; Sebastian’s brother; Ferdinand’s father
 Ariel: Prospero’s spirit servant
 Gonzalo: a loyal courtier/an old honest councillor; Prospero’s friend
 Miranda: Prospero’s daughter, Ferdinand’s special lady (wife)
 Sebastian: Alonso’s brother; Antonio’s partner-in-crime
 Caliban: Prospero’s slave monster, Sycorax’s son

Miranda’s Character:

 empathetic
 naïve
 good-hearted
 optimistic
 imaginative
 sheltered

Prospero and Miranda’s Relationship:

 There are strange power dynamics in this relationship.

 Their relationship is very open. Miranda feels comfortable confronting Prospero about the
storm.
 They are very close.
 He is very reassuring to her.
 Prospero is protective of Miranda. He shields her from the evils of the world.
 Prospero wants the best for Miranda; everything he does is in Miranda’s best interest.
 Prospero does keep some secrets from her, like stories of her early life, his situation in Milan
and the nature of the passengers on the shipwrecked vessel. He also shields his ultimate
plan for the passengers on the text.
 Miranda is very sheltered and naïve because of Prospero’s somewhat tyrannical
protectiveness.
  Miranda is respectful, loving and submissive to her father, even taking off his cloak for him.

Act 1, Scene 2

 Prospero reveals that no harm was done to anyone in the shipwreck.

 Prospero causes the storm to get revenge, to protect Miranda and to find her a husband.
 Miranda does not know who she is or who Prospero really is.

 Prospero’s Exile Story

o Prospero’s younger brother, Antonio, exiled him from Milan.
o Besides Miranda, Antonio was the one Prospero loved the most in the world.
o Prospero left the dukedom in the care of Antonio when he went off to study liberal arts
and magic.
o Antonio led himself to believe that he really was the Duke of Milan. He got Alonso, the
King of Naples on his side. He paid tribute to Naples and led Milan into a subordinate
position in relation to Naples. In exchange, Alonso gave Antonio the resources and
manpower to exile his brother and usurp the throne.
o Only Gonzalo was good to Prospero in this time. He gave him food, books and clothes
to take with him in the boat, showing him extraordinary consideration.

Quotes from the exile story explained:

 “…thy father/ Was Duke of Milan… has only heir/ And Princess."
 Prospero was the Duke of Milan and Miranda is his only daughter and his only child.

 “The government I cast upon my brother, [Antonio]/ being transported and rapt in secret
studies."
 Prospero went away to study government, sorcery and liberal arts and left the dukedom
in his brother’s care.

 “I, thus neglecting worldly ends all dedicated…/ To… bettering of my mind…He did believe/
He was indeed the duke."
 Prospero neglected his dukedom for studying and while Antonio was filling in, he
actually started to believe he was the Duke of Milan.

 “So dry he was for sway- wi’th' King of Naples/ To give him annual tribute, do him homage."
 Antonio was power-hungry and sought support from the King of Naples to usurp
Prospero.

 “He thinks me now incapable."

 Because Prospero was so caught up in his studies, Antonio thought he was unfit to be
Duke.
  “This king of Naples, being one enemy/ To me inveterate… Should presently extirpate me and
mine/ Out of the dukedom…/ did Antonio open/ The gates of Milan, and i’th’ dead of darkness
hurried thence/ Me, and thy crying self.”
 The King of Naples (Prospero's long time enemy) allied with Antonio and one night, he
threw Prospero and Miranda out of Milan.

Gonzalo Antonio
wise * treacherous/ perfidious
kind greedy
compassionate traitorous
thoughtful # power-hungry
false
stupid/ short-sighted ^

* Gonzalo is called “wise old councillor.”

#
Gonzalo gives Prospero and Miranda food, clothing and books. The books are especially important because
even though Prospero does not need books to survive, Gonzalo knows how important studying is to Prospero
and so this is a kind gesture that goes beyond just keeping Prospero and Miranda alive but really making
Prospero comfortable, filling his emotional needs and helping him to continue nourishing his mind.

^
Antonio basically sells Milan to Naples by paying tribute to Alonso and making Milan a sort of colony to
Naples in exchange for power that was not rightfully his.

PROSPERO’S SLAVES:

Ariel Caliban
loyal defiant/disrespectful
subservient bitter
humble callous
obedient violent

Prospero Treats …
Ariel Caliban
… well enough … like rubbish
… as more of a servant … as more of a slave
… unfairly (he does not give him freedom when he … harshly and with disrespect
promised him)
… like a beloved servant and as more of a free spirit … like a slave (he gives him more menial and
(he rewards him for his labour) tedious tasks to do and forces him into labour)
… like a child/pet … like a wild animal (he actually refers to Caliban as
a dog)

 Prospero congratulates Ariel.

 Prospero expresses affection and appreciation for Ariel when he does his job.
 Prospero purposely tries to pester and provoke Caliban, such as when he goes to visit him for firewood.

Ferdinand Reaction Versus Caliban’s Reaction:

— Ferdinand and Caliban were imprisoned under similar circumstances and got much of the same
work to do. However, they respond differently.
 Ferdinand

 Ferdinand’s love for Miranda keeps him motivated.

 He knows that he is not really a slave but rather he is royalty.

Caliban

 Caliban is resentful because Prospero came and destroyed his mother.

 He has been enslaved for a very long time with no hope of release.

Prospero’s Groups:

— Having shipwrecked the people on the vessel, he separates them into groups as follows:

1. Ferdinand: Prospero attempts to set up a love connection with Miranda. He wants to

torture Alonso by making him think his son and only heir was dead.
2. The nobles (Alonso, Gonzalo, Sebastian, Antonio): Prospero wants to get revenge for their
usurpation plot and he wants them to turn against each other; he wants to build tension.
Prospero also wishes to reveal their true intensions.
3. The mariners: He wants to isolate the nobles so he puts the mariners to sleep under the
ship on some isolated part of the island.
4. The jesters (Trinculo, Stephano): He maybe just does this to distract Caliban and he
maybe underestimated them.

Parallels between colonialism and The Tempest:

The Tempest Colonialism

Prospero is cast out of Milan and discovers an Most people who became planters and
island and takes over. overseers in the West were somewhat outcasts
in their own European nations but they came
and made big names for themselves in the
Americas.

Stephano believes that he can dominate the Europeans only saw the natives as profit not
island because he feels that the native (Caliban) people. Some Europeans also took natives back
is a monster and that he is a superior being. He to Europe to be jesters or spectacles
plans to make money off of Caliban.

Prospero usurped Caliban and Sycorax’s The colonizers usurped the authority of the
authority over the island. Amerindians over their lands.

Prospero enslaves Ariel, Caliban and all the The Europeans enslaved the Amerindians and
other spirits on the island. the Africans.

Stephano comes after Prospero and names Various groups of Europeans succeeded each
himself ruler of the island. other by war or other methods of conquest.

Caliban views Stephano as a god and chooses The Amerindians viewed the Europeans as
to worship him. gods.

Prospero treats Caliban well at first but then The Europeans (Spanish) treated the
enslaves him. Amerindians well at first but then began to
mistreat and enslave them.

Caliban shows Prospero and Stephano the The Amerindians shared their resources with
treasures of his island. the Europeans (Spanish).

Caliban is treated less humanely then Ariel. There was a hierarchy of mistreatment in
colonialism. e.g. house slaves were treated
better the field slaves.

Caliban resists Prospero and tries to taunt him The enslaved Amerindians and later the
by not doing his work as he should. enslaved Africans put up various forms of
resistance to the Europeans.

Prospero causes Caliban pain. The Europeans whipped the slaves.

Prospero ends up on the island by chance. The Europeans ended up in the New World by
chance and conquered the territory mostly
comprised of islands.

Persuasive Devices in Act 2, Scene 1:

DEVICE EFFECT

“methinks I can see it in thy face,/ What thou  arouses a dire for power and gives
shouldst be. Th’occasion speaks thee, and / My Sebastian a sense of entitlement
strong imagination sees a crown/ Dropping  motivates him
upon thy head.”  gives him a goal to work towards
(personal appeal to desire & imagery)  helps Sebastian to concretely visualize
the idea of being King

“Thou let’st thy fortune sleep – die rather"  makes Sebastian feel that he’s missing
(metaphor & play on words) out on something
 used as a means of “guilt-tripping”
Sebastian

“The Kings son’s alive/ ’Tis as impossible that  shows Sebastian that he has a beautiful
he’s undrowned.” opportunity before him; he has nothing
(rhetoric, reasoning, logic) to lose

“Out of that 'no hope’/ What great hope have  reinforces the idea in the mind; forces
you! No hope that way…. so high a hope” Sebastian to think about it
 (repetition, alliteration)

“Who’s the net heir of Naples?”  meant to have sudden realization dawn
(rhetorical question) on Sebastian

“She that dwells/ Ten leagues belong man’s life;  helps poor Sebastian realize that he is
she that from Naples/ Can have no note, unless the only eligible heir of Naples’ throne
the sun were post."
(hyperbole, personification)

“How shall that Claribel/ Measure use back to  helps poor Sebastian realize that he is
Naples?” the only eligible heir of Naples’ throne.
(rhetorical question, metaphor)

“And look how well my garments sit upon me, /  provides concrete proof to Sebastian that
Much feater than before. My brother’s servants the plan will be beneficial to him
were then my fellows now they are my men.”
(comparison; personal experience; real-life
example)
DEVICE REFERENCE EXAMPLES EFFECTS
prose vs. verse (contrast) Act 2.2 All of Trinculo and Prose is a reflection of
Stephano’s lines are an ignoble,
in prose while only a unintelligent,
few of Caliban’s lines uneducated or sub-
are in prose and all human character or a
the others are in character who is
verse. viewed or treated as
such.

soliloquy Act 1.2 Caliban complains It evokes some pity

about the tedious from the audience. It
tasks Prospero reveals the deep
assigns him and how feelings and thought
he used his spirit processes of this
servants to torment somewhat obscure
him for every little creature.
thing.

aside Act 1.2 Prospero reveals that Asides reveal

his plan with regards important secrets and
to Ferdinand and characters’ hidden
Miranda is working. thoughts.

Caliban has many These show deep-

asides in which he seated resentment and
condemns Prospero. contempt and help the
audience to
understand who
Caliban truly is.

"It goes on, I see, /As This creates dramatic

my should prompts.” irony as the audience
“It works.” (Prospero) knows Prospero’s
scheme with regards
to Miranda and
Ferdinand but they do
not know.

Act 2 Caliban has a lot of This creates tension

(throughout) asides where he and helps to develop
shows resentment character
and contempt (mostly relationships.
towards Prospero).

Act 2.1 Antonio’s asides to These create humour

Sebastian where he and sarcasm.
Act 2.2 mocks Gonzalo
(throughout the
Trinculo has asides
end)
which he mocks
 Caliban. (“By this
good light, this is a
shallow monster… A
very weak monster.”)

song and music Act 2.1 Ariel sings in Music guides and
Gonzalo’s ear: “While confuses various
you here do snoring characters.
lie/ open-eyed
conspiracy/ His time Music prevents bad
doth take” things from
happening.
Act 2.2 Stephano enters,
drunk and singing.
Music adds to the
comedic value of the
play

Singing emphasizes
the drunken nature of
particular characters.

dramatic irony Act 3.2 Ariel ventriloquizes This creates confusion

Trinculo. Trinculo and comedy/humour.
gets in trouble with
Stephano (Ariel It stirs conflict.
accuses Caliban of
lying through These events cause
Trinculo.) the relationship
between Caliban and
Trinculo to deteriorate
further.
Act 3.3 Prospero and the This creates tension in
spirit servants are the the scene.
ones putting on the
banquet for the Dramatic irony here
nobles, but they do maintains an element
not know this. of comedy as the
audience is aware that
Prospero is invisible the nobles are not in
above everyone and any real danger.

Ariel is disguised as a
harpy
irony Act 2.2 Caliban sings a song This creates humour.
of freedom but he is
not really free; he has
just left one master
for another.
prose vs. verse Act 3.2 Caliban’s lines are Shakespeare
changed to verse in challenges what it
 Act 3.2 (compared to means to be civilized
Act 2.2) while and challenges the
Stephano and idea that it is being
Trinculo’s lines are White and European
still in prose. Caliban that make one
also speaks some of civilized.
the most beautiful,
poignant, memorable
poetry at the end of
Act 3.2. (lines 127-
135)
diction Trinculo and This shows disdain for
Stephano only ever Caliban.
call Caliban ‘monster’
or ‘servant monster.’ This creates irony
since Caliban is more
intelligent and
complex than they are.

spectacle Act 3.3 Prospero is above Prospero’s positioning

everyone else. in this scene
Appearing and
establishes him as a
disappearing banquet
kind of God figure or
puppeteer.
Prospero’s spirit
servants make
This creates a sense of
mischief.
Ariel appears as a awe and mystery.
harpy, a mythical
creature with a body It highlights the
that is half-bird, half- themes of magic,
woman. power, illusion and
deception.

This shows Prospero’s

manipulative power.
Act 4.1 Prospero’s spirits, This shows Prospero’s
disguised as gods, flair and his immense
put on a play. love for his daughter

*** Aside, Soliloquy and Monologue ***

Aside Soliloquy Monologue

A somewhat whispered A relatively long expression A relatively long speech by one

expression on stage from one character speaking to character on stage
 himself, to the audience or,
seemingly, to no one in
particular

An aside can be a private It is longer than an aside and, If monologue is not addressed
expression between two unlike an aside, there is never a to at least one other character
characters on stage out of the case in which another it becomes a soliloquy.
hearing of other characters or it character on stage hears a
can be a direct expression to soliloquy. Once another
the audience which other character is being addressed, it
characters do not hear. is no longer a soliloquy.

The character making the aside Technically, all soliloquies are a

will often actually step aside form of aside and a form of
from the other characters or monologue.
turn to the side.

The main point is that

somebody says something brief
on stage, which other
characters do not hear, but the
audience does.

POWER VS POWERLESSNESS: THE ROLE OF WOMEN

 Miranda tells Ferdinand her name against the wishes of her father – one small act of
defiance.
 Miranda means “admired.” Thus, when Ferdinand says, “Admired Miranda”, it is a play on
words. (Spanish: “mirar”- to look at; to admire)
 Miranda offers to help Ferdinand carry his logs.
 Miranda proposes marriage to Ferdinand.
 Miranda knows no other women. Ferdinand has had other love interests but has never met a
woman as pure as Miranda. Miranda has also never seen another man besides her father.
 Her modesty (her virginity) is her most precious possession (“the jewel in [her] dower”).
 Even her name, “Miranda” highlights that women are only valued for their beauty. They are
objects to be looked at; they don’t do anything.
 Miranda knows no other men. She is the only woman seen in the play and all the women
mentioned in the play (Claribel, Sycorax, etc.) seem to be somehow overlooked, isolated and
dominated in a world of men.
 Ferdinand kneels before Miranda, putting her in a position of power if she is standing or
aligning them as equals if she is also kneeling or sitting.

Act 4, Scene 1

Significance of the masque

 Typical engagement celebration

  Prospero uses what means he has (his magical powers) to show his love for Miranda and give
her as traditional an engagement party as possible.

 This scene depicts metadrama – drama within drama.

Act 5, Scene 1: Plot Summary

Prospero foresees the success of his scheme. Ariel reports the troubled state of the king and
courtiers, and expresses compassion for them. Moved by Ariel’s feelings, Prospero says that he,
too, will pity them. Prospero decides on mercy rather than vengeance. He appeals to the spirits
who have helped him to perform miracles and declared that he will give up his magic powers. The
court party enters. Prospero praises and weeps with Gonzalo, criticizes Alonso and Sebastian and,
though recognizing Antonio’s evil nature, forgives him. Prospero decides to dress as the duke of
Milan. Ariel sings about a future of everlasting summer and is sent by Prospero to fetch the
sailors. Prospero presents himself to the amazed court. Alonso asks for Prospero’s forgiveness and
resigns all claim to Milan. Prospero embraces Gonzalo. He reminds Antonio and Sebastian that he
knows of their treachery to the king, but forgives them. Alonso regrets the loss of his son. Prospero
says he has recently lost his daughter. Alonso wishes that Ferdinand and Miranda were married
and that he were dead. Prospero comments on the courtiers’ amazement then reveals Miranda and
Ferdinand playing chess. Ferdinand expresses gratitude to the sea. Miranda marvels at the sight of
the king and courtiers. Ferdinand tells his story and Prospero urges that sorrows be forgotten.
Gonzalo rejoices at the happy outcome of the voyage for everyone. Alonso blesses Ferdinand and
Miranda. Gonzalo jokingly greets the boatswain who, though dazed, announces that the ship is
seaworthy and that the crew is safe. Alonso is amazed by everything he sees and hears. Prospero
promises to explain everything to everyone. He sends Ariel to fetch Caliban, Stephano and
Trinculo. They arrive. Caliban admires the courtiers. Prospero describes the drunkards and admits
responsibility for Caliban. Trinculo staggers about and Stephano has severe cramps. Ordered by
Prospero to behave, Caliban hopes for wisdom and forgiveness. He rejects Stephano. Prospero
invites Alonso and the others to hear his story. Prospero promises a favourable voyage to Naples
and sets Ariel free. Alone on stage, Prospero admits that all his magical powers have gone. He asks
the audience for applause and for forgiveness to set him free.