The Tempest
The Tempest
The Tempest
m Themes ...................................................................................................... 24 people were forced to serve new masters. Additionally the
colonists often brought diseases that wiped out native
b Motifs .......................................................................................................... 26 populations and practices that altered the natural world
forever. It is within this context of colonization that William
e Suggested Reading .............................................................................. 27 Shakespeare explores the budding issues of exploitation that
come when one culture dominates another. Prospero's slave
Caliban reflects how Europeans considered the natives they
encountered in their explorations to be "savages" who must be
j Book Basics "educated" and "civilized" in order to be saved.
AUTHOR
William Shakespeare Utopia and Idealism
YEAR WRITTEN
Often the new territories in Africa and the Americas were quite
c. 1611
different from the homelands of the European colonizers.
GENRE Exposure to these exotic locations inspired Europeans to
Drama imagine more idealistic governments and to develop
romanticized notions about the natives of these lands,
ABOUT THE TITLE imagining them as more primitive, "natural" beings living in
The Tempest takes its title from the storm that casts the men innocent harmony with the world around them. Some believed
aboard Alonso's ship onto Prospero's island. that the less developed, less populated locations provided the
opportunity to create a new social order—a utopia—where
The Tempest Study Guide Author Biography 2
humans could establish a heaven on earth. King James I further legitimized the company and changed its
name to the King's Men.
In The Tempest the character Gonzalo reveals his vision for an
idealistic commonwealth in Act 2, Scene 1, in a speech Shakespeare published most of his work from 1594 to 1613. He
recognized by scholars as linked to the Frenchman Michel de wrote The Tempest around 1611, which was also the year of its
Montaigne's description of an indigenous South American first performance—for King James I. The play is considered by
society in his essay "Of Cannibals." In this essay first published most scholars to be the last play that Shakespeare wrote by
in 1580, Montaigne questions the superiority of his own culture himself (he may have contributed to other authors' plays). By
and suggests that in more primitive societies individuals are the time Shakespeare wrote The Tempest, he had written
better able to live in harmony with nature. Also it is likely that dozens of plays of varying types: histories, comedies, and
Shakespeare was influenced by the writing of the British tragedies. In his later years he wrote a number of works that
humanist Sir Thomas More, whose Utopia (1516) uses an contained both tragic and comedic features but didn't fully fall
exploration of life on the fictional island of Utopia, where a into either category, which are now called his "romances," and
European traveler lands after being separated from his party, The Tempest was his final one. Many scholars believe that
to criticize his own culture under the reign of Henry VIII. through the character of the magician Prospero in The
Tempest, Shakespeare gave his own farewell to the theater.
Like Prospero, Shakespeare used the powers of his own art to
Theatrics create other worlds.
eventually deposed him. Exiled to an island, Prospero and his and claim they treated him with respect and kindness at first,
daughter Miranda have lived in near isolation for 12 years. he later tried to rape Miranda. He is now a bitter, frequently
During that time Prospero has become a more powerful punished slave. When Caliban meets some of the castaways
magician. When fate brings the men who conspired against him from the ship, Trinculo and Stephano, he hopes to serve a new
within reach, Prospero uses his powers to elevate his master. He soon realizes that the new master is worse than
daughter's position in society and program revenge against his Prospero.
enemies, including the very brother who took his dukedom
from him. In the end Prospero abandons his plan for
vengeance and forgives his enemies of their offenses. He Alonso
regains his dukedom and plans to return with his newly
engaged daughter to Italy. Alonso, the king of Naples, is onboard a ship returning to Italy
from Africa, where his daughter has married the king of Algiers.
After the shipwreck Alonso despairs over the presumed
Ariel drowning of his son, Ferdinand. When Ariel reveals Alonso's
part in the exile of Prospero, Alonso repents of his past sins.
Prospero's faithful spirit servant, Ariel, helps execute Buoyed by Prospero's forgiveness and overjoyed at his son's
Prospero's plans to gather his enemies on his island in order to reappearance, Alonso celebrates over the coming marriage
repay them for their traitorous crimes against him. Ariel is still between Ferdinand and Miranda.
haunted by his former experience as a slave to the witch
Sycorax but serves Prospero willingly, enticed by the promise
of freedom, which Ariel receives at the end of the play. It is Gonzalo
primarily Ariel's magic Prospero uses to manipulate the other
characters throughout the play. Gonzalo, King Alonso's advisor and Prospero's old and loyal
friend, is the idealist in the play. When he sees the beauty and
purity of the isolated island, he considers the utopia he might
Miranda create there, eliminating poverty and wealth as well as social
classes. Because he helped Prospero escape long ago, he has
Exiled with her father when she was only three years old, earned Prospero's gratitude.
Miranda has grown up on an island with no humans other than
her father and their slave, Caliban. When she meets Ferdinand
she is awed by his beauty and immediately falls in love. As she Antonio
is exposed to more people, she cannot help but be amazed by
all that humanity can be. Engaged to her beloved Ferdinand at Antonio is the current duke of Milan after undermining his
the end of the play, she prepares to travel to Naples for their brother Prospero's power and exiling him from his home 12
wedding. Miranda's name means "to wonder at or be admired," years before. A greedy and unsympathetic character, he
and she generally acts with wonder and admiration to most of blames King Alonso for the shipwreck and the supposed
what she sees, including the ship, Ferdinand, her father's drowning of Ferdinand. He then plots with Sebastian, King
explanation of how she came to live on the island, and the Alonso's brother, to kill Alonso and take power. Though
other nobles. forgiven by his brother Prospero in the end, Antonio shows no
remorse over any of his behavior.
Caliban
Son of the deceased witch, Sycorax, the half-human Caliban
loses control of the island when Prospero and his daughter
Miranda arrive there 12 years earlier. Although Prospero and
his daughter try to educate Caliban in their language and ways
Character Map
Miranda
Meek daughter
Lovers
Ariel Ferdinand
Faithful servant Obliging Prince of Naples
Daughter
Servant
Captive
Son
Prospero
Master of the island;
former Duke of Milan Betrayer
Slave
King's
adviser
Caliban Gonzalo
Half-human, grudging servant Idealistic adviser
Main Character
Minor Character
Caliban, slave of Prospero, is a native Meanwhile on the shore of an island, the magician Prospero
Caliban
inhabitant of the island. and his daughter Miranda watch the ship being tossed and
turned in the storm. The two have been stranded on the island
Alonso Alonso is the king of Naples. for 12 years since their escape from Milan when Prospero was
deposed by his traitorous brother, Antonio, and forced to leave
Gonzalo is an advisor to King Alonso and the city. Prospero reveals that his brother and other enemies
Gonzalo
old friend of Prospero. who exiled him are the very men on board the ship. It becomes
clear Prospero has used his magic to orchestrate the storm
Antonio, the current duke of Milan, is and the events that will follow in order to exact revenge. He
Antonio
Prospero's brother.
has Ariel separate those onboard into three groups: the nobles,
Ferdinand, and the "comics" Trinculo and Stephano.
Adrian Adrian is a lord in King Alonso's court.
Prospero has two servants, the first of whom is a spirit named
The boatswain is the leader of the boat's Ariel, who has been promised freedom in two days. The loyal
Boatswain
crew. Ariel can also perform magic and is sent to spy on the
shipwrecked men. Prospero's other servant, Caliban, is a
Ferdinand is the son of the king of "monsterlike" man, the son of a terrible witch, Sycorax, whom
Ferdinand
Naples.
Prospero defeated when he came to the island. Taught
language by Prospero, Caliban has used none of his
Francisco Francisco is a lord in King Alonso's court.
knowledge for good and perpetually curses his master.
Mariners The mariners are the sailors on the ship. Ferdinand, the son of King Alonso, has been saved from the
storm, but he reaches the island alone. He is certain the rest of
Iris, Ceres, Juno, and the Nymphs are the ship's passengers have drowned. As soon as he and
Other spirits
spirits that appear in the play. Miranda see each other they fall in love. Although this is part of
Prospero's plan, he pretends to be hostile to Ferdinand and
Sebastian Sebastian is the brother of Alonso. orders him to perform hard labor, effectively playing "hard to
get" to ensure that Ferdinand remains interested in Miranda.
The shipmaster is the master of Alonso's
Shipmaster
ship. The rest of the king's party has survived and makes it to shore
on a different part of the island. Alonso is certain his son has
Stephano Stephano is the butler of King Alonso. drowned. Antonio and the king's brother, Sebastian, mock the
king's grief, blaming him for the voyage that brought them to
this fate. His loyal adviser, Gonzalo, admonishes them. Gonzalo execute revenge but wants to extend mercy instead. He vows
is delighted with the beautiful island and considers the utopia to give up his magic after he has brought about restoration.
he might create if he were in charge—a country without wealth, Ariel brings the men, who are under a magic spell, to Prospero,
poverty, work, slavery, or royalty. who declares the various crimes that have been committed
against him. Then he announces his forgiveness of them all.
As the others sleep Antonio and Sebastian come up with a
plan to kill King Alonso so that Sebastian can become king. As Alonso shares his grief over his lost son, Prospero reveals
Antonio reminds his friend that he did the same thing to his that Ferdinand is alive—and engaged to his daughter Miranda.
brother, Prospero. Alonso is overjoyed at his son's survival and the coming
marriage.
Elsewhere on the island Trinculo, the king's jester, stumbles on
Caliban, who is sleeping beneath his cloak. He climbs under the The drunken trio of Caliban, Stephano, and Trinculo arrives;
cloak as well, only to be discovered by Stephano, the king's after naming their sins Prospero forgives them as well, and he
butler, who mistakenly believes he has found a four-legged claims Caliban as his own subject; Caliban fearfully anticipates
monster. Upon hearing Stephano's voice, Caliban wakes and being punished and promises to try to please Prospero in the
believes he is seeing a god. He swears to serve this new god, future, admitting he was foolish to worship Trinculo.
who gives him wine. Together the men get very drunk and Announcing a plan to set sail for Naples the following day,
come up with a plan to kill Prospero so that Stephano can Prospero then frees Ariel.
become the ruler of the island.
Prospero turns to the audience and asks them to free him as
The king and his men search for Ferdinand with no luck. well by clapping to show that they have enjoyed the show.
Exhausted and without hope they are startled when a magical
banquet appears before them. Just as they prepare to eat,
however, everything disappears again. Already vulnerable the
men are further startled when Ariel tells them of their sins
against Prospero. The king quickly expresses both his guilt and
regret. Antonio and Sebastian, however, show no sorrow and
are intent on carrying out their plot against the king.
The king and his men are terrified of what they have seen and
of what might become of them. Realizing he has everyone
under his control, Prospero also realizes he does not want to
Plot Diagram
Climax
7
10 Falling Action
Rising Action
6
11
5
4 12
3 Resolution
2
1
Introduction
Introduction Climax
1. King Alonso's ship encounters a tempest. 9. Prospero throws a masque to celebrate the coming
wedding.
Rising Action
Falling Action
2. Prospero tells Miranda of their exile to the island.
10. Prospero forgives all the offending parties.
3. Ferdinand reaches shore where he and Miranda fall in love.
11. Alonso approves of Ferdinand and Miranda's wedding.
4. The king and his men arrive on shore.
7. Caliban, Stephano, and Trinculo plot to kill Prospero. 12. Prospero asks the audience to release him by applauding.
Timeline of Events
During shipwreck
After shipwreck
At same time
At same time
At same time
Prospero forgives the king and his men first and then
Caliban, Stephano, and Trinculo.
End of Day 1
Act 1, Scene 1 because he knows they will all be dead if the sailors cannot
save the ship—their nobility is useless in this life-or-death
situation. The first scene of Act 1 also introduces readers to
some of the character qualities of Antonio and Sebastian, who
Summary respond to the boatswain with harsh cursing. Both men use
their authoritative power to verbally abuse someone with less
The sailors onboard a ship are caught in a fierce and raging
power. This conflict between ruler and subject begins to
thunderstorm on their journey from the north coast of Africa to
develop the theme of exploitation and power that will weave its
Italy. As they work to take down the sails to save the ship, the
way through the entire play.
noble passengers Alonso, Sebastian, Antonio, Ferdinand, and
Gonzalo come aboveboard. Tensions rise when the boatswain
insists that the noblemen return below deck. The boatswain is
irritated by the appearance of the noblemen because they are
Act 1, Scene 2
loud and they disrupt the work of the sailors: "You mar our
labor," he says, "Keep your cabins. You do assist the storm."
When they remind the boatswain of their importance, he points Summary
out that, while they have authority over men, they have none
On the shore of their island home Prospero and Miranda watch
over nature.
the ship being destroyed in the storm. Miranda suspects that
They return below deck only to have Sebastian, Antonio, and her father's magical powers may have something to do with it,
Gonzalo reappear shortly after. Sebastian and Antonio are so she asks him to show mercy on the ship's inhabitants.
rude to the boatswain, calling him names. Gonzalo responds Acknowledging his role, he promises that none shall come to
that the boatswain should remember the authority of the harm.
passengers they have onboard. More sailors appear, wet and
He then tells her the story of what brought them to the island
weary from trying to save the ship. King Alonso, his son, and
12 years before when she was only three years old. Prospero
others pray desperately because it is clear the ship is destined
was the duke of Milan. In order to spend more time in his study
for destruction. As the ship breaks apart Gonzalo
of books, Prospero put his much-loved brother Antonio in
acknowledges that they are going to drown.
charge of some aspects of his government. But Antonio grew
more powerful and persuaded people to be loyal to him as the
Analysis real leader. Eventually he was able to get the support of the
king of Naples, Alonso, who helped to forcefully drive out
The scene opens in the midst of a chaotic scene—the Prospero. Prospero's people loved him, so the conspirators did
tempest—that hints at the supernatural power of forces not dare to kill him and Miranda, but they put them to sea in a
beyond human control. Soon the characters will face more rotting boat, anticipating they would die at sea. However, the
magic on the magician Prospero's island. For now the kind Gonzalo, a Neapolitan in charge of the plan to usurp
tremendous power of nature is more powerful than any human, Prospero, provided them with water, food, clothing, and some
despite the royal authority onboard the ship. Whether king or of Prospero's books, so they had something to live on when
servant, all are human and powerless before storms that they they landed on the island, where they have been ever since.
cannot control. When it is revealed in the following scene that
Prospero then reveals the very enemies who created this
Prospero controls the tempest, the implication is it is he who
trouble for him were the people onboard the ship he had just
has become the greater ruler.
wrecked in the storm. After he tells her all of this, Miranda falls
The crisis onboard the ship reveals both the conflict between unnaturally to sleep. The sprite Ariel appears, making it clear to
the audience that the spirit has been the one executing the imprisoned, asks only that he might be able to look on Miranda
plan of the storm on the ship. He reports that everyone except once a day from his prison cell. Prospero is pleased with the
the sailors has jumped out of the ship. The sailors are magically outcome of Ariel's work and his own manipulations.
asleep on the ship, which has come safety to shore and is
hidden in a cove. The passengers, too, are all safe and
dispersed in groups around the island. Analysis
When Prospero begins to give Ariel more instructions, the spirit In this scene readers learn that the "natural" tempest is actually
reminds Prospero he has promised freedom. Until now a magical, supernatural event created by Prospero through
Prospero has been complimentary of Ariel, but he becomes Ariel in order to get the ship to the island, where he can
irritated at Ariel because the spirit has not yet finished the execute his plan of revenge. And the motivation for that
agreed time of service. Prospero then recalls the story of how revenge becomes clear to the audience when Prospero tells
he rescued Ariel from imprisonment in a tree by the witch the story of his past to his daughter.
Sycorax. After being reminded of his former misery, Ariel
thanks Prospero, apologizes, and promises to do Prospero's As Prospero tells his story it will also become apparent that in
bidding. Prospero then sends Ariel as an invisible spy to the his office in Milan he did not rule well. He was more interested
shipwrecked men on the island. in his obsession with magic and books than in fulfilling his
responsibilities as a good leader. Now he is "ruling" Miranda,
After Ariel leaves Miranda wakes from sleep. She and her Ariel, and Caliban, and the audience will wonder whether he
father go to visit the slave Caliban, the son of the witch misuses his authority over his small island world, too. The
Sycorax. Caliban comes out of his cave cursing Prospero for scene reveals the following details of those relationships.
taking the island, which had belonged to his mother, from him.
Prospero calls him a liar and says he even tried to take care of
Caliban in his own dwelling until Caliban tried to rape Miranda. Prospero's Relationship with Miranda
After arguing with and cursing Prospero, Caliban leaves to go
get fuel. Prospero loves his daughter dearly, citing her as the motive for
his actions and as the balm that has comforted him in his exile.
Now the first shipwrecked passenger appears, alone. Miranda depends on him because she is still in her youth. And
Ferdinand, the son of Alonso, walks in with the invisible Ariel he sees himself as the authority in that relationship, repeatedly
singing beside him. It's obvious that Ariel is leading Ferdinand asking her "Dost thou attend me?" He believes he is entitled to
to this specific location. Ferdinand remarks on the beauty of control her life, which is revealed in his orchestration of
the song, wondering where it came from. Ariel then sings a bringing Ferdinand to her. Because Miranda does not know her
song that suggests that Ferdinand's father is drowned, which or her father's past, and there are no other humans on the
is what Ferdinand believes. island, Prospero also "controls" what she does and does not
know about him. For example, he marvels that his brother
Prospero and Miranda enter the scene, and Miranda notices
"should/Be so perfidious!—he whom next thyself/Of all the
Ferdinand. She has never seen another man besides her father
world I loved." In their isolation Prospero is free to present
and Caliban, and she is immediately enchanted by his
himself in whatever manner he wants, particularly as the
handsomeness. Likewise when Ferdinand spots Miranda, he is
wronged party in any of his doings in the past. The audience
smitten with her beauty. Prospero questions him, and
may be left wondering if that's too much control on the part of
Ferdinand reveals how he has seen his own father die in a
one person over another.
shipwreck. Prospero suggests that Ferdinand is actually a spy
who has come to take the island from him. Miranda is
distressed by her father's lack of pity. She does not hear Prospero's Relationship with Ariel
Prospero's asides that reveal he is merely testing Ferdinand,
fearing that winning Miranda too easily will cause Ferdinand to In most of his dealings with Ariel, Prospero is complimentary
value her less. When Prospero threatens Ferdinand, Miranda and affectionate. He does not respond well, however, when
pleads with her father for mercy. Ferdinand, ready to be Ariel, a servant, asks for a favor of his ruler. He retells the story
of his imprisonment and uses that as a way to control Ariel's customs, religion, and language. History has revealed the ill
gratitude and behavior. Yet Prospero also continues to effects of such colonization. In the case of Caliban, his
promise to free Ariel in two days. Again the audience will dominion over the island was taken away from him when a
wonder about the nature of power and what defines a good European nobleman landed on his territory, and he points out
ruler-and-subject relationship. It is worth noting that Ariel the island actually is his by rights, as he inherited it from his
seems to do the majority of Prospero's magic for him; he has mother. (However, Sycorax herself is actually not from the
actually created the tempest and manipulated the position of island—she was born in Algiers, and imprisoned Ariel, who was
the ship and its passengers. This suggests that Prospero there first, when she came to the island.)
devotes a lot of his magical energy to enslaving people to do
his bidding for him rather than just doing his own magic; even Toward the end of this scene the audience learns that
magic, it seems, is primarily a tool of power and dominance. Prospero has not only orchestrated the terrible events of the
storm. He has also orchestrated the meeting of Miranda and
Ferdinand but wants there to be some challenge because "too
Prospero's Relationship with Caliban light winning/Make the prize light." Although Prospero wants
revenge on his enemies, it appears he also has good intentions
It is difficult to know exactly how Shakespeare sees Caliban. in bringing these two together, even though Ferdinand is the
On the one hand Caliban attempted to rape Miranda, son of an enemy. Perhaps the ultimate goal of Prospero is
suggesting that his nature really is "brutish"; on the other his restoration rather than revenge?
legitimate claim to the island makes Prospero seem as much
like a usurper as his brother, Antonio. It is thought that Finally the theme of romantic love is introduced in this scene.
Shakespeare included the attempted rape as a justification for Miranda and Ferdinand merely cast their eyes on one another
Prospero's enslavement of Caliban—and thus, by extension, and they are in love. There is a comical element to this, in part
the Europeans' enslavement of Africans and Native Americans. because Miranda has never seen any other young man except
This is complicated, however, by the fact that Caliban is Caliban, who is represented as not being fully human.
treated cruelly and makes a compelling case for why he should
be the owner of the island rather than a slave.
Act 2, Scene 1
From the beginning Caliban is introduced as the embodiment
of exploitation. Prospero controls Caliban through enslavement
and speaks to him in a way he speaks to no one else in the
Summary
story: "Thou poisonous slave, got by the devil himself." Unlike
his treatment of his other subject, Ariel, Prospero's treatment
The scene opens with everyone from the king's party except
of Caliban is harsh, insulting, and demanding. He never
Ferdinand. Gonzalo encourages the nobles to see the good in
promises Caliban his freedom, though Caliban was free before
their circumstances. They have escaped a deadly disaster and
Prospero ever came to his island.
find themselves on a beautiful island. Adrian, too, praises the
features of the island where "The air breathes upon us here
When Miranda and Caliban argue, she reminds him that she
most sweetly." Meanwhile Antonio and Sebastian maintain a
and her father taught him language when he, a savage,
private running mockery of Gonzalo's positive attitude. When
"wouldst gabble like/A thing most brutish." Caliban agrees that
Gonzalo says, "How lush and lusty the grass looks! How
the use of their language has enabled him to curse them. Here
green!" he is quickly derided by Antonio ("The ground indeed is
Shakespeare touches on both the power of language and the
tawny") and Sebastian ("With an eye of green in 't"). Gonzalo
issues surrounding exploitation of any person by another. He
also marvels that their clothing has not suffered from the sea
seems to question whether it is really noble to teach someone
wreck and are "now as fresh as when we put them on first in
to learn another language or culture if that person is not given
Africa, at the marriage of the King's fair daughter Claribel to
the full expression of such learning. The play was written
the King of Tunis." This explains where the king's party has
during a time of colonization when Europeans would travel to
been. They have just been to the wedding in Africa and were
places they considered to be more primitive cultures, and they
on their return voyage home when they ran into the terrible
would force the native people there to adopt European
storm. This places the island in the middle of the respect for the older counselor in commenting, "he will carry
Mediterranean Sea. this island home in his/pocket and give it his son for an apple."
Even before they develop their scheme against the king, it is
King Alonso, believing his son Ferdinand is dead, is consumed clear they are selfish, ungrateful men who do not have anyone
with grief. At mention of his daughter's marriage he laments he else's interest at heart.
made her marry so far from home because the journey was the
reason for Ferdinand's loss. Now he has lost both his children. What the audience has learned about Gonzalo's optimistic
When Francisco tries to give him hope that Ferdinand is alive, character paves the way for the ideas he presents about the
Alonso insists he is dead. Antonio and Sebastian are cruel to perfect commonwealth he envisions. Gonzalo's utopia is in
the king in the face of his grief. They suggest that "the fault's many ways the opposite of the basic structure of English
your own" because Alonso let her marry an African rather than society at the time and undoubtedly owed a debt to an essay
a European. Gonzalo gently reprimands the pair, but they are by the French writer Montaigne, "Des Cannibales," which gave
not affected. an idealized view of the indigenous peoples of the New World.
Gonzalo then describes the type of utopian commonwealth he In Shakespeare's time the fact that social classes and
would develop if he were in charge of the island. In his economic barriers restricted people from any social mobility
commonwealth there would be no trade or lawyers, no rich or and land ownership was the key to a powerful and wealthy
poor, no slaves or kings. Everyone would share the bounty of existence for the nobles. Although Gonzalo says there will be
nature that would provide "all abundance,/To feed my innocent no sovereignty, he does not eschew all authority as he
people." Antonio and Sebastian mock Gonzalo's vision, suggests that he will "govern" the commonwealth, which
reminding him his ideal includes Gonzalo actually being the Sebastian, who raises a legitimate criticism of the feasibility of
ruler himself. Gonzalo's utopian vision, points out. It is a vision that belongs
to someone, and that someone is the default ruler, even if that
Ariel, invisible, enters the scene and puts everyone but Antonio someone decries authority. Moreover while Gonzalo is a
and Sebastian to sleep. Then Antonio begins to plant an idea in goodhearted man—he helped Prospero to survive when he was
Sebastian's mind. He suggests that Sebastian has long exiled, and he is deeply loyal to his king—he is not a particularly
cherished a secret hope to become king in Alonso's place. perceptive or effective person, and he is not able to do much
With Ferdinand surely drowned and Claribel far away in Africa, practical good. The discussion again raises the issue of who
Sebastian is heir to the throne and might supplant Alonso. should rule whom and how leaders should best govern those
Antonio reminds Sebastian of how he did the same to they serve—the theme of exploitation and power that recurs
Prospero and feels no guilt for it: "Look how well my garments throughout the play.
sit upon me." Sebastian is convinced, and they agree to kill
both Alonso and Gonzalo that very moment. But Ariel returns The theme of magic also appears again in this scene in a
and wakes the sleeping men. When Alonso and Gonzalo number of ways. Gonzalo notices the men's clothes have not
question why the men have drawn their swords, Antonio and been affected by the sea or their current circumstances. The
Sebastian make the excuse they thought they had heard lions strangeness reminds the audience that things are not as they
and were preparing to defend the king. The whole group seem; an extended metaphor involving clothing begins here for
decides to go again in search of Ferdinand's body. the purpose of contrasting Gonzalo's idealism against
Sebastian and Antonio's realism and opportunism. Gonzalo is
actually correct: their clothing is fresher than before the
Analysis shipwreck, whereas Sebastian and Antonio's pragmatism hold
them bound to the illusion Ariel has created. Prospero's
Act 2, Scene 1, is more about the true nature of the important magical control and ability to see into the future is also seen at
characters from the king's party—particularly the unrealistic work in the sleep of all but Antonio and Sebastian. Their
optimism of Gonzalo and the scheming nastiness of Sebastian plotting itself is part of Prospero's overall plan. Shakespeare
and Antonio. Where Gonzalo sees a beautiful landscape and uses the symbol of sleep to illustrate just how much Prospero,
hope, the other pair sees tigerlike danger as well as an through Ariel, is able to manipulate circumstances exactly as
opportunity to show ill will toward others. They show no he wishes.
Miranda disobeys her father and tells Ferdinand what her orchestrating throughout the play.
name is. Ferdinand pledges his deep love and devotion to her.
Romantic love is the focus of the scene as the two young no loyalty to Trinculo, and the two have constant conflict.
lovers explore the character of their affection. Ferdinand When Ariel, invisible, enters the scene their conflict increases.
confesses that he has admired other women for some Using Trinculo's voice several times, Ariel accuses Caliban of
qualities, but it is Miranda alone who is perfection: "But you, O lying. This enrages Caliban, who asks Stephano to deal harshly
you,/So perfect and so peerless, are created/Of every with Trinculo. Stephano repeatedly asks Trinculo to stop being
creature's best." There's some humor in Ferdinand's a nuisance, which only frustrates Trinculo more because he is
declaration because Miranda has actually never seen another not actually speaking. In the confusion Stephano ends up
woman. She has been isolated on the island for as long as her beating Trinculo.
memory goes back. Nor has she seen any other men to whom
Caliban describes how Prospero cheated him out of his island
to compare Ferdinand except her father and Caliban. But while
through sorcery and urges Stephano to destroy Prospero and
Prospero's treatment of Ferdinand may seem manipulative, it is
take what belongs to him, including his daughter Miranda.
noteworthy that Ferdinand mentions liking, and eventually
Caliban explains that he can take Stephano to exactly the right
rejecting, other women before Miranda. This suggests that
place at the right time. He even gives him a specific strategy:
Prospero's decision to make Miranda hard to get may actually
first take away his books, which will make him powerless, and
be wise and necessary.
then "brain him" or "batter his skull" or "paunch him with a
Shakespeare plays on the idea of slavery in this scene. The stake,/Or cut his weasand [windpipe] with thy knife."
starts, and a strange procession of spirits appears carrying a In his assessment of the spirits he says, "Who, though they are
banquet. Prospero, invisible, also arrives to watch. The men are of monstrous shape, yet note/Their manners are more gentle,
astounded and marvel at the island, wondering if anyone would kind, than of/Our human generation you shall find/Many, nay,
believe them if they described what they have seen. But just as almost any." Gonzalo sees the best in the natural world of the
the hungry men prepare to eat the feast, thunder and lightning island and compares the kindness and gentleness of these
(a mini tempest) appear, and Ariel, in the shape of a spirits to the less admirable manners of many civilized humans.
mythological creature (a harpy), descends and causes the It's important to recall that Gonzalo is not guilty in the exile of
banquet to vanish. Ariel then pronounces three of them are Prospero as the other men are. It was Gonzalo who helped
"men of sin" and they were brought to the island because of Prospero to escape and placed his magic books aboard the
their betrayal of Prospero. He explains that their swords are boat they left in. On the other hand, since these spirits are not
powerless against the invincible spirits of the island and curses actually welcoming the noblemen to the island Gonzalo can be
them to their fate. Just as quickly Ariel disappears and the seen here as too optimistic and positive.
banquet reappears.
Ariel's character also develops in this scene. Unlike Caliban,
Prospero praises the work and devotion of Ariel and relishes Ariel throws himself into service to Prospero and executes it to
how his enemies are now in his power. He leaves them in the full effect, earning Prospero's gratitude and praise: "Of my
spirits' control for now and goes to visit Ferdinand and instruction hast thou nothing bated/In what thou hadst to say."
Miranda. Ariel seems to trust that the promised freedom from Prospero
is coming. And Prospero does not seem to feel any difference
Alonso expresses a sense of guilt for the first time about the between doing magic himself and having Ariel do it for him, as
action they took against Prospero, but Sebastian and Antonio though, by controlling Ariel, he also gets to take credit for all
are still focused on killing Alonso. Gonzalo, fearing what all the good work Ariel does.
three men might do in the circumstances, prays to the spirits to
keep watch over them.
Act 4, Scene 1
Analysis
Magic plays an important role in this scene as illusion and Summary
reality weave in and out to control and confuse the men.
Prospero's plan of exposing the three guilty men comes to its This scene begins with Prospero acknowledging that he has
climax as Prospero watches from the sideline. Ariel does only been testing Ferdinand and Miranda's love. Now that he
Prospero's bidding by disarming the men through music and knows Ferdinand really loves his daughter, he is willing to bless
the magical appearance of the banquet. In the midst of their the wedding. But he severely warns Ferdinand against taking
exhaustion, grief, and confusion, he is able to name their crime: Miranda's virginity before the wedding and promises "barren
"But remember—/For that's my business to you—that you hate, sour-eyed disdain, and discord" if he doesn't respect
three/From Milan did supplant good Prospero." Ariel tells the Prospero's wishes.
The symbol of the tempest appears again. The mini tempest a masque. Iris, Ceres, Jupiter, Venus, Mars, Hymen, and Juno
that accompanies Ariel brings judgment on the men, just as the all feature in this dramatic production that honors the contract
original tempest brought them to the island to face their of marriage. Ferdinand, amazed by Prospero's powers that can
judgment. Perhaps Shakespeare is suggesting that call forth such spirits at his bidding, longs to stay on the island
supernatural intervention is required to bring some people to and live with Prospero as his father and Miranda as his wife.
the truth.
But Prospero suddenly stops the dancing when he remembers
Gonzalo's generous and positive character is further revealed. Caliban and his companions plan to kill him and the time is fast
approaching. He disperses the spirits and comforts the
disappointed Ferdinand by reminding him that everything furzes, pricking gorse, and thorns" and then left them in a filthy,
eventually comes to an end. stinking pool of water near Prospero's cell. Prospero sends
Ariel off to gather some glittery apparel. Meanwhile Prospero
laments the devilish nature of Caliban, which cannot be broken
Our revels now are ended. These
or corrected even with the humane treatment Prospero initially
our actors, offered him.
As I foretold you, were all spirits, When Ariel returns they hang the fancy garments on a line near
Prospero's cell. When the men enter, soaking wet from the
and
filthy pond, they are complaining and arguing. Caliban tries to
Are melted into air, into thin air; keep them focused on the matter at hand: murdering Prospero.
But the men become distracted by the beautiful clothing,
And like the baseless fabric of this claiming it for "King Stephano" as Caliban becomes more and
vision, more upset that they need to "do the murder first," but the men
will have none of it as they try on all the clothes. In the midst of
The cloud-capped towers, the this chaos Prospero sends spirits in the shape of hunting dogs
gorgeous palaces, upon the three men to drive them off.
The solemn temples, the great Now Prospero recognizes that everything he has been working
toward is suddenly within his control: "At this hour/Lies at my
globe itself, mercy all mine enemies." He only has to finish his plans and he
Yea, all which it inherit, shall can free Ariel.
dissolve;
And, like this insubstantial pageant Analysis
faded, The subject of marriage is central to this scene, which begins
with Prospero's assent to his daughter's marriage to Ferdinand
Leave not a rack behind. We are
and moves into the lengthy masque. Particularly at the time of
such stuff the play's writing, marriage was an institution that symbolized
order and structure in society. In fact many marriages were
As dreams are made on, and our founded on reasons other than love because the social
little life contract between two families offered economic or political
power for one or both parties.
Is rounded with a sleep. Sir, I am
Ferdinand and Prospero discuss Miranda's virginity and the
vexed. sexual pleasures of marriage. Modern audience members
Bear with my weakness. My old might extend the theme of exploitation and power to this
relationship, particularly as it was written at a time when
brain is troubled. women had few rights and a wife was considered a possession
of her husband. Miranda is passed from one "owner," Prospero,
With his troubled mind, Prospero sends Ferdinand and Miranda to another, Ferdinand, as Prospero says, "Then as my gift and
away so that he can come up with a plan. thine own acquisition/Worthily purchased, take my daughter."
However, it is unlikely Shakespeare was pointing to Miranda
Ariel enters and together the two discuss how best to handle
and Ferdinand's marriage as an additional type of exploitation
"Caliban and his confederates." Ariel recalls what has already
since their marriage is a key ingredient and source of harmony
been done to the men. Using music as a lure, Ariel has brought
in the happy ending of the play.
them on an uncomfortable path through "toothed briers, sharp
Prospero's repeated admonitions to Ferdinand not to give into a few minutes earlier that "my old brain is troubled" makes it
his passions before the wedding support the ideal of romantic seem like he does not find the successful completion of his
love, which asserts love is a pure, holy, and honorable revenge plan as satisfying as he had anticipated.
condition. At the same time Prospero recognizes the strength
of human passion, whereby "The strongest oaths are straw/To
th' fire i' th' blood." Shakespeare, through Prospero, Act 5, Scene 1 and Epilogue
acknowledges two powerful, sometimes opposing, forces in
human nature: passion and reason. Prospero's insistence that
Ferdinand and Miranda undergo the full ceremony of legitimate
Summary
marriage likewise shows a concern about legitimacy and
formality. Despite the fact that Ferdinand has pledged his love
Prospero, accompanied by Ariel, enters the stage wearing his
and fidelity and technically now has a legal obligation to
magic robes again. He has everything under control: "Now
Miranda, Prospero wants to ensure that Miranda's future is
does my project gather to a head./My charms crack not, my
secure.
spirits obey, and time/Goes upright with his carriage." Ariel
reports on where the king and his followers are. The whole
Prospero commands a masque to be performed to celebrate
group of men is deeply distressed, especially "good old Lord
the betrothal of Ferdinand and Miranda. In the 17th century a
Gonzalo" whose "tears runs down his beard like winter's
masque was an elaborate theatrical production that included
drops/From eaves of reeds." Ariel suggests that if Prospero
costumes, actors, singing, and dancing. The characters and
saw them, his heart would soften toward them. Prospero is
plots were based on story lines from Greek and Roman
moved and agrees that as a fellow human, he should be even
mythology. In the masque in The Tempest, the goddesses in
more compassionate than Ariel since his wrongdoers have
the masque symbolize fertility and prosperity within family and
shown repentance. Acknowledging that "The rarer action is/In
nature.
virtue than in vengeance," he commands Ariel to release all the
This scene provides more insight into the humanity of prisoners and bring them to him.
Prospero's character. Despite the murderous nature of
Prospero draws a circle on the ground. He then speaks to the
Caliban, Stephano, and Trinculo's plot against Prospero, he
various spirits he has used in this magical work over these last
does not severely punish them. Instead he uses magic to scare
years. He acknowledges their role and names some of the
them and run them off, so that they do not try to kill him again.
things he has been able to do through his magic. But then he
Prospero wishes to right wrongs, not create new ones. At the
explains his plan to give up his magic by breaking his staff and
same time Ariel's devotion and Prospero's commitment to
drowning his book after he finishes dealing with King Alonso
freeing Ariel are underscored. In fact there is a true, shared
and his men.
affection between the two, as Ariel asks, "Do you love me,
master?" and Prospero responds, "Dearly, my delicate Ariel."
Ariel brings Alonso, Gonzalo, Sebastian, Antonio, and the other
men into the circle Prospero has drawn. They are still
Prospero, who has recently been engaged with his many plans
paralyzed by a magic spell and do not recognize Prospero or
and the masque itself, stops suddenly because he has to solve
hear him. Prospero announces that he will "cure thy brains" and
a new problem. He acknowledges he is getting old and in
restore their senses. Seeing his loyal friend Gonzalo, Prospero
describing the end of the masque makes clear comparisons to
is moved to tears and promises he will return home safely.
life itself. All the artifice of the masque is like the artifice of life,
Then Prospero turns to the men who forced him into exile and
which, like a play, eventually fades. Our human lives are like
recalls their crimes, including Sebastian and Antonio's
short dreams that are surrounded by sleep. Many scholars
murderous plot against Alonso. Instead of condemning them as
view Prospero's speech here as Shakespeare's personal
expected, he forgives them. He takes off his magic robes and
farewell to the theater, where his own plays and pageants
puts on his former ducal robes before waking the men. He
"now are ended."
reminds Ariel that the spirit will soon receive freedom but first
Prospero says at the end of the scene that "At this hour/Lies must fetch the sailors still under a sleeping spell in the ship.
at my mercy all mine enemies," but his confession to Ferdinand
When the king and his men wake they see Prospero as he
looked when he was the duke of Milan. They are frightened by Then he will resume his position as duke of Milan where he will
the sight, not sure whether it is really Prospero or some kind of grow old in peace. Then he frees the faithful Ariel.
ghost. They are also filled with guilt for their role in deposing
Prospero of his dukedom. But Prospero, instead of The play finishes with an epilogue that Prospero speaks
condemning them, comforts and welcomes them, showing directly to the audience. He asks to be released from the play
great honor toward his old and loyal friend Gonzalo. He tells so that he, a regular man now, can travel to Naples. He reminds
Sebastian and Antonio he knows of their plot against Alonso, them that the goal of his magic was to please, and now he
but he will not reveal it. He publicly forgives even his brother, wants to be set free.
characters in the play. Sebastian is so surprised by Prospero's "retire me to my Milan, where/Every third thought shall be my
behavior, in fact, that he first ascribes it to evil rather than grave." The magician has grown old, and he is eager to re-
good: "The devil speaks in him." The forgiveness is almost too embrace a more normal, human condition.
good to believe—in fact, it creates its own "magical" power
because it comes out of nowhere and restores people to good The character of Caliban comes full circle by the end of the
relationships. Justice does require, however, that Prospero's play when he recognizes "What a thrice-double ass/Was I to
dukedom be restored. take this drunkard for a god,/And worship this dull fool!" He
vows renewed allegiance to Prospero as he admits to
The theme of power continues through the end of the play, Prospero's power of him and the futility of disobedience. The
although now it is not for the purpose of exploitation but for audience wonders if Prospero will take Caliban to Milan or
restoration. Prospero has given up his ultimate plan of revenge, leave him behind on the island. Either way Caliban is a tragic
but he is still in control of the events. He controls Sebastian figure in the midst of the play's happy ending. The best he can
and Antonio by not revealing their treachery against King hope for is isolation on a deserted island or a life of physical
Alonso. And he remains in control of Alonso, as well, by servitude to his master, Prospero.
depicting his own lost daughter and explaining that he lost her
"In this last tempest," before revealing that both Miranda and Romantic love finds its final fullness in Act 5, Scene 1, when
Ferdinand are alive. All the way to the final lines of the play, both Prospero and Alonso bless the engaged couple that will,
Prospero uses his knowledge and power to manage the one day, rule Naples.
The audience is reminded of Miranda's innocence when she regular human in his home in Milan, Shakespeare pleads with
sees so many humans together for the first time. Despite the his audience to "release me from my bands/With the help of
corruption that has tainted the various characters, your good hands." In other words, give him the applause he
Shakespeare reminds the audience of the marvel of humanity needs so he will know he has accomplished his purpose in
through Miranda's joy at seeing so many people. Perhaps pleasing the audience. Their accepting applause is the mercy
Shakespeare is reminding his audience there is value in that will "set me free."
— Miranda, Act 1, Scene 2 Caliban speaks these words to Stephano and Trinculo when
they are frightened by the sounds of the island. His praise of
the sounds of the island is an acknowledgment that there is
much good in the natural world when it is not interfered with by — Prospero, Act 5, Scene 1
human hands. Here, as elsewhere, the island is represented as
a beautiful, mysterious new world.
Prospero has finally positioned everyone on the island so he
can act out his revenge. Yet at that moment he sympathizes
with the afflictions of the men and acknowledges their shared
"The solemn temples, the great humanity. He changes his mind and decides to show mercy
rather than judgment.
globe itself,/Yea, all which it
inherit, shall dissolve,/And, like this
insubstantial pageant "O wonder!/How many goodly
faded,/Leave not a rack behind. creatures are there here!/How
We are such stuff/As dreams are beauteous mankind is! O, brave
made on, and our little life/Is new world/That has such people
rounded with a sleep." in 't."
Prospero speaks these words to Ferdinand when the young Miranda speaks these words when she comes forth to meet all
man is disappointed that the masque has ended so abruptly. the other men from the ship. An innocent young woman who
Prospero compares the end of the masque to real life where has never known any humans except her father and Caliban,
everything eventually comes to an end. she is overwhelmed by the magnificence of humanity. Her
wonder reflects the general spirit of the Age of Discovery,
which was defined by a sense of newness and amazement.
most powerful people in the theater. too, surrenders at the end of the play.
surrenders his magical powers and books so that he can rejoin magical powers like Prospero's, still bless and curse in their
human society and rule well. Many scholars also believe the ordinary language. For example, upon seeing Ferdinand for the
magic books represent Shakespeare's own writing, which he, first time, Alonso immediately gives him a father's blessing.
Later he blesses the marriage of the lovers, and Gonzalo adds Shakespeare as a playwright is able to do the
to the blessing with a simple "Amen." In the masque the lesser same—eventually bringing restoration and order. Prospero
spirits and the goddess Ceres speak poetry to celebrate and creates a tempest with an ultimate sequence of events in
bless Miranda and Ferdinand's love, and there is some concern mind—his daughter's marriage to Ferdinand, the restoration of
that left unfinished—unspoken—the blessing will be incomplete. his throne, and the repentance of his enemies—and for the
When Stephano stumbles upon Caliban and Trinculo appearing most part things play out exactly as he has plotted, making him
as one four-legged monster, he observes that humans possess seem like a clever author who can create a narrative using
two voices: the forward voice that speaks well and the real-life characters.
backward voice that utters foul speeches and detracts,
suggesting again that pairing language with intentions for ill or
good carries weight.
Power and Exploitation
Alliances, another kind of power, are created between those
who share the same language in The Tempest. Ferdinand and
Miranda's love bond begins with the recognition that Miranda
The play explores the role of power and its use in exploiting
speaks the same language as he does, and their speech
other people in families and in the social order. In nearly every
patterns match throughout the play. As much as Caliban
scene Shakespeare reveals a situation in which power and its
argues in Act 1 that learning language has done him no good
exploitation creates a lack of harmony. Even in the opening
but to curse his masters, Caliban's shared language with
scene the community structure is disrupted when the nobles
Stephano and Trinculo gives him the power to entice them to
come on board during the storm and interfere with the work of
overthrow Prospero and empathize with him. Gonzalo, who
the sailors; the boatswain points out that while men may
"prates" shallowly, fails to mock effectively, and uses faulty
respect royalty and nobility, the storm does not, so the nobles
logic in his discourse when speaking of his utopian
have no authority at this moment. The events driving the play
commonwealth—saying he would be king of a region without
began when, back in Milan, Antonio exploited the power he
need of a king—fails to command respect from the language-
was given to help his brother rule, becoming power hungry and
savvy and politically ambitious Antonio and Sebastian,
driving Prospero into exile. But that is just the beginning.
providing a noticeable contrast. Gonzalo, too kindhearted to
Prospero lands on an island and becomes master of Caliban
carry out the original plan to murder Prospero, still lacks the
and Ariel, despite Caliban's claim to the island. Antonio and
intention necessary to harness language to be used as a
Sebastian plot to take King Alonso's power for their own.
power.
Trinculo and Stephano, aware that they are superior to no one
but Caliban, exploit the creature for their own gain. Gonzalo's
vision of an ideal commonwealth, in which no one rules over
Magic of Theater anyone else, is treated as a naïve and unrealistic fantasy. It is
not until Prospero willingly gives up his "magical" power and his
need for revenge that the spell is broken and there is any hope
of peace in the social order, although that peace can only
The basic nature of any magic is its ability to change reality in come about by returning Prospero to power and marrying his
unexpected and inexplicable ways. The obvious magic in the daughter to an even more powerful ruler than he is: Ferdinand,
play comes from Prospero and his ability to manipulate the the future king of Naples.
island's spirit and nature. A terrible storm hits a ship, but all its
members survive and land in perfect sequencing upon the
island. A banquet appears and disappears in thin air. A specific
man comes onshore and meets the right woman at just the Revenge, Forgiveness, and
right time. Many scholars believe that the theme of magic
represents the power of the playwright to create something
out of nothing. As a magician Prospero controls and
manipulates circumstances and people around him, just as
The controlling energy of much of the play comes from In each act of the play notions of utopian idealism are pitted
individuals' desire for revenge in pursuit of some form of against ideas of disharmony and discord, beginning with the
justice. Prospero is driven by his need to expose what was chaotic tempest itself, which is only an illusion that causes no
done to him and regain his rightful place as the duke of Milan. real harm. Gonzalo's ideal commonwealth speech in Act 2,
His book learning and magic are focused on correcting the Scene 1, presents the political ideas of a utopian society to
wrongs of the past. Caliban, too, is set on revenging his counterbalance Prospero's description of his brother Antonio's
displacement and the wrongs inflicted on him by Prospero. dystopian deeds enacted before the play begins: using
When offered a way to do this through Stephano, Caliban vows Propero's money and power and believing "his own lie" to feed
his allegiance to a new master—a far worse master than his growing ambition. Prospero believes in divine providence
Prospero ever was. The only way to destroy the power of and heavenly music, the power of nature, virtue, and the pursuit
revenge is to absorb it rather than unleash it, which is what of knowledge. These beliefs seem quite idealistic as compared
Prospero does at the end of the play, willingly surrendering to the forces driving Antonio. He feels no remorse and lacks
both his power and his need for revenge. virtue. He acts opportunistically, seeking to slay King Alonso
within hours of being shipwrecked on a seemingly deserted
Almost all of the major characters except Antonio and island far from society and uncertain whether he will ever make
Sebastian show remorse over some aspect of the past, it back to civilization. Prospero's idealism is consistent
ultimately asking for forgiveness. Prospero admits he was a throughout the play—notwithstanding his treatment of Caliban,
bad duke. Caliban regrets serving a new master, and Stephano whom he must keep distant from Miranda—as he never takes
admits he would be a bad ruler even if he only had one subject. real action for revenge and focuses his energies on
Alonso apologizes and asks for Prospero's pardon. However, it orchestrating the ideal circumstances for love to flourish
is noticeable that Caliban does not repent having attempted to between Miranda and Ferdinand. And in turn the lovers display
murder Prospero or rape Miranda, and Stephano and Trinculo idealistic qualities. They each perceive the other as divine at
do not repent for their part in the murder plot against first sight, equally enjoin to serve, and keep their vows of
Prospero. Antonio and Sebastian never show remorse, and chastity. Those who seek disharmony and discord (Sebastian,
King Alonso never discovers that they plotted against him Antonio, Caliban, Stephano, and Trinculo) lose to the idealistic
because Prospero speaks of all the "sins" they committed characters seeking harmony and balance.
while the nobles are under a spell. The thematic significance
derives from that fact that Prospero's forgiveness at the very
end of the play has no relation to the crimes committed or the
quality of or lack of repentance made by each character at the
b Motifs
climax of the play. Prospero offers pardon to all, even to his
brother who has not asked for it. In the end Prospero frees
himself from his own need for revenge through his gift of
mercy, and forgiveness is shown to be the most significant Drowning
power explored in the play. Through forgiveness freedom is
restored to those washed up on the island, even as Prospero's The prevalence of water imagery throughout the play serves to
position in Milan is restored. reinforce the ever-present force of the tempest and its effects
on the lives of the characters. Prospero claims that his grief
over his lost dukedom could have drowned the sea; Ferdinand
is certain that his father is drowned; and Alonso believes that
Ferdinand is drowned. Departure by drowning suggests a
profound and complete loss: nothing returns from the sea.
However, loss is transformed into rebirth. Ferdinand and
Music
Music among other mysterious noises in the play creates a
sensory and enchanting experience for the characters and the
audience alike. The music reinforces the premise that the
setting is magical. Ariel's music leads Ferdinand to Miranda,
and it wakes Gonzalo prior to Alonso's attempted murder. The
banquet and the wedding are awash in music. It is as if music
enchants the island.
Servants
Servant-master relationships dominate the play in an
exploration of power: Prospero and Caliban or Ariel, for
example. Shakespeare asks, in what ways is power used and
abused in these unequal relationships? Then he examines the
effects of power in both positive and negative lights as
relationships under pressure are jeopardized or destabilized.
e Suggested Reading
Murphy, Patrick M. The Tempest: Critical Essays. New York:
Routledge, 2001. Print.