THE TEMPEST LANGUAGE. Soliloquy

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1 THE TEMPEST The Tempest is generally regarded as Shakespeare s last play, first performed in Its rich themes and ambiguities are often attributed to the seventeenth century age of exploration, the circumstances of its performance at court (first performed for King James I as well as for the marriage festivities of Elizabeth), and the context of the playwright s tumultuous writing career. Allegorical reading of The Tempest 1. The play can be read as Shakespeare s commentary on European exploration of new lands. Prospero lands on an island with a native inhabitant, Caliban, a being he considers savage and uncivilized. He teaches this native his language and customs, but this nurturing does not affect the creature s nature, at least from Prospero s point of view. But Prospero does not drive Caliban away, rather he enslaves him, forcing him to do work he considers beneath himself and his noble daughter. As modern readers, sensitive to the legacy of colonialism, we need to ask if Shakespeare sees this as the right order and assess his views of imperialism and colonialism. Furthermore, we must explore the depiction of the master/ slave dynamic shown in this play. 2. Because it was performed at court, there is a lot of stage business: music, dance, masque-like shows. The role of the artist is explored through Prospero s use of his magic, and parallels can be drawn to Shakespeare s own sense of his artistry. With the knowledge that this is Shakespeare s last play, some critics have chosen to explore the autobiographical connections, indicating that he sees himself in Prospero. Furthermore, there is also the notion that he feels somehow isolated and in need of reconciliation, as he bids adieu to the theatre. If the play is studied meticulously with a key attention to these details then the parallels are certainly underscored. This interpretation of the play is also evident in the thematic concerns for example power, reconciliation, illusion, change/transformation. Soliloquy LANGUAGE A soliloquy is where a character, onstage and alone, reveals their thoughts to the audience. The Tempest does not use many soliloquy's, as the dramatic scenes in the play are enough to give accurate information to the audience. However, Shakespeare does use a few soliloquys, most notably through Prospero, for example, in Act 5, Scene 1 where he ends the play by telling the audience that Prospero is giving up his magic. Aside An aside is a stage direction which playwrights use to allow characters to address the audience, without the other characters noticing. Asides usually suggest that there is some form of conspiracy, deceit, or mocking in the scene. For example, in Act 3, Scene 1, Prospero frequently uses the aside: '[Aside] Poor worm, thou art infected' to show the audience that he has

2 orchestrated the union and interaction between Miranda and Ferdinand. Prospero s manipulation of language Prospero s rhetoric (persuasive/eloquent way of speaking) is particularly important to observe in the play, especially in his confrontation with Ariel. Of all the characters, Prospero alone seems to understand that controlling history enables one to control the present that is, that one can control others by controlling how they understand the past. Prospero therefore tells his story with emphasis on his own good deeds, the bad deeds of others toward him, and the ingratitude of those he has protected from the evils of others. For example, when he speaks to Miranda, he calls his brother perfidious, (treacherous) then immediately says that he loves his brother better than anyone in the world except Miranda. He repeatedly asks Miranda, Dost thou attend me? Through his questioning, he commands her attention almost hypnotically as he tells her his one-sided version of the events which unfolded in Milan. It is important to note that Prospero himself is not blameless. While his brother did betray him, he also failed in his responsibilities as a leader by giving up control of the government, so that he could study and experiment with magic. As a result, he equally contributed to the circumstances that surround his usurpation from his position as Duke of Milan. He contrasts his popularity as a leader the love my people bore me (I.II.141) with his brother s evil nature (I.II.). Additionally, through the playwright s use of dramatic monologue, the audience is informed that initially, Prospero had taken Caliban under his wing, taught him to speak, and fed him. In exchange, Caliban had shown him all the tricks and treasures of the island. Sadly, the arrangement ended when according to Prospero, Caliban tried to rape Miranda. Consequently, Prospero confined Caliban to servitude. Language in the play serves as a tool for spreading knowledge. It is important to note that Prospero however, has sole autonomy on how the past is presented. SETTING The characters on the boat are divided into nobles, for example Antonio and Gonzalo, and servants or professionals, such as the Boatswain. The potential lethality of the storm upsets the usual balance between these two groups, and the Boatswain, in an attempt to save the ship, comes into direct conflict with the nobles, who, despite their helplessness, are extremely irritated at being rudely spoken to by a commoner. The characters in Act 1 Scene 1 are never named outright; they are only referred to

3 in terms that indicate their social stations: Boatswain, Master, King, and Prince. The conflict between masters and servants which is a thematic concern in the play, and the angst that exists between the various social divisions is introduced on board the ship. Therefore, the ship becomes an important symbol as it operates as a social leveller. Furthermore, the setting of The Tempest in an unnamed/ unspecific location allows Shakespeare and the reader to create endless possibilities for the activity on the island. The ambivalent setting of the play, makes it susceptible to a variety of interpretations CHARACTERIZATION Characterization is the method used by a playwright to develop a character. The method includes: (1) showing the character's appearance (for e.g. costume), (2) displaying the character's actions (stage directions), (3) revealing the character's thoughts (soliloquy/monologue), (4) letting the character speak, and (5) getting the reactions of others Indirect characterization: consists of the author showing the audience what kind of person a character is through the character s thoughts, words, and deeds. This requires the audience to make inferences about the character. PROSPERO CHARACTERS He is deified and imbued with supreme magical powers. He is cunning and manipulates all the other characters. Prospero is the rightful Duke of Milan who was usurped by his brother. He has an obsessive interest in magic and the supernatural, and because of this, his brother believed that Prospero would not be an effective Duke of Milan and plotted, with the help of the other members of the royal entourage to banish him. Shakespeare uses this to create sympathy for Prospero, but his self-importance and control of the other characters make him a character who the audience remains unsure of, as he is manipulative and deceitful. However, it can be argued that he only acts in this way to create positive results - such as Miranda's wedding to Ferdinand which create the play's happy ending. Direct characterization: also known as explicit characterization, consists of the playwright telling the audience what a character is like. Prospero symbolizes British colonizers in foreign countries as he, despite Caliban's claims that the island is

4 his, enslaves the natives of the island to carry out his desires. He also treats Caliban harshly, threatening him with painful punishments and threatening Ariel with imprisonment. Prospero is also an autocratic character who demands attention from the other characters. At the start of the play, while telling Miranda a story, he is eager for her to listen, and give her full attention to him. His imperative language towards may suggest that he is patriarchal, and in the time the play was written, this would not have been unusual. Prospero might have left civilisation and surrounded himself with magic and supernatural beings, but he has still replicated a hierarchal human system of moral judgments and rules, despite the possibility that he, Miranda and the spirits already on the island, could live with total freedom. This may suggest that humans are in need of rules to govern themselves effectively, yet Prospero abuses these rules, and makes himself superior which may be a comment by Shakespeare to criticise the nature of human beings. Prospero's plans and plots are central to the events of the play MIRANDA and this may be symbolic of Shakespeare being central to the writing of the play. For example, it can be posited that Prospero is an artist in the way that he orchestrates and arranges the events of the play, controls others on the island and studies their reactions. This is similar to Shakespeare s writing as he creates the play, the plot and the characters. Some critics even suggest that Prospero is a representation of Shakespeare, allowing the audience to explore the importance of art in society. This is supported by some of Prospero's speeches, near the end of the play, where he likens himself to a playwright, and makes references to the theatre. Miranda is one of the principal characters in The Tempest, and is the daughter of Prospero, who was exiled to the island when she was very young. She cannot remember much about mainstream civilisation and this has allowed her to become extremely sheltered, innocent and somewhat naïve as she has no experience with other humans - all she knows she has learnt from her father. She is gentle and extremely compassionate. For example, during the storm she tries to convince

5 Prospero not to hurt the men 'I have suffered with those I saw suffer' (Act 1, Scene 1). Oreover, she is devoted to her father. For example, when she unintentionally disobeys her father's command that she must not tell Ferdinand her name, she is dismayed and upset. Yet, she asserts herself and tells her father what to do sometimes, such as 'Sir, have pity', which may suggest that Miranda is not controlled by her father and that she has an innate sense of morality. Her naivety is shown through her love at first sight reaction upon seeing Ferdinand. Some critics have suggested that her feelings for Ferdinand are unreasonable and foolish, because she may not know what love is, as she has never met another young male. The only male acquaintances she has are her father and the monstrous Caliban. On the other hand, others believe that this is true love, because she does not want to meet any other man, and she is extremely happy marrying Ferdinand immediately. CALIBAN The character of Caliban is a complex character and functions as one of the main protagonists of the play. He is the son of the evil witch Sycorax, and is the only known native of the island. He is portrayed as a dark creature, associated with nature, and who is enslaved by Prospero initially, and secondly by Stephano. As a result of his enslavement, and his belief that he is the rightful ruler of the island, Caliban is insolent and rebellious, often complaining about Prospero's control. However, he fulfills his orders because he is afraid of the pain that Prospero unleash through his magic. Although Caliban is a native, and this may mean that he is justified in his claims for power, he is yet another character who wishes to control the island. On the other hand, his more sensitive side is elicited through his language. Caliban speaks some of the most beautiful and eloquent poetry of the play, and this may be used by Shakespeare to critique Prospero's and Stephano's attempt to control and suppress the autonomy and individuality of the native. For example, many critics believe that the character of Caliban is a tool for Shakespeare to criticise Western colonisation which suppressed native cultures, as Prospero 'teaches' Caliban how to speak English and both Prospero and Stephano enslave him. ARIEL Ariel is a source of mystery throughout The Tempest. The audience is never quite sure about what the spirit is exactly. The character has no gender and may be presented from an ethereal, feminine spirit, to a mischievous male character. Shakespeare calls the character an airy spirit and Ariel is presented through a variety of forms in the play, for example: a flaming light

6 during the storm, a harpy during the banquet and as Ceres in the Masque scene. We do not learn how Ariel came to be on the island, but we do discover that Ariel was previously imprisoned by the ruler of the island; the evil witch Sycorax. He was punished by her when he refused to do her cruel biddings, and was trapped inside a tree. When Prospero takes over the island, he discovers and frees Ariel temporarily, and then re-enslaves the spirit. Ariel fulfills Prospero's every demand in the hope that Prospero will one day free him, and throughout the play Ariel yearns for freedom. For example, Ariel is the one to cause the storm which brings the royal entourage to the island, as the spirit believes that this event will allow Prospero to provide him with the freedom he has asked for. The relationship between Ariel and Prospero is a difficult one to term. Prospero seems to have an ambivalent attitude towards his spirit-servant - he is sometimes abrupt and dismissive, referring to Ariel as a 'moody' and 'malignant thing', and in other circumstances he is affectionate towards Ariel, calling the spirit 'bird', 'chick' and 'my fine spirit' which creates an uncertain atmosphere regarding their relationship. Ariel is the character who is able to teach Prospero about forgiveness and pity through his childlike willingness to serve- 'What shall I do? GONZALO Gonzalo is referred to as an elderly counsellor to the King of Naples who is known to be trustworthy and honest. He helped Prospero to survive, and provided him with his magical books, when Prospero was banished from Milan. This suggests that Gonzalo, unlike the villains of the play; Antonio and Sebastian, has integrity and is sincere. The character of Gonzalo introduces the idea of a utopia society which is juxtaposed against the hierarchal structure of Prospero's island. He talks of an island 'For no kind of traffic/ would I admit; no name of magistrate/ Letters should not be known; riches, poverty/ and use of service, none;' (Act 2, Scene 1), where people do not need to work, and the concept of money does not exist. Everyone works in harmony to help each other. ANTONIO The character of Antonio can be read as a symbol of Western civilisation as foolish and hungry for power. He allows Prospero to be usurped in order to become Duke of Milan himself. His actions are governed by envy as he desires to further his own social position in the society. For example, he plans to kill Alonso, convincing Sebastian to assist him, in order to take control and power from the King.

7 Antonio, shows no sign of remorse, even at the end of the play when he has been terrified by Prospero's spirits and when the other members of the royal entourage make amends with Prospero. He does not attempt to reconcile the relationship with his brother, and this may be a message from Shakespeare to suggest that Western ideals of colonisation and superiority are irrational and unreasonable ideas which divide society, and promote selfishness. FERDINAND Ferdinand is the son and heir of the King of Naples, Alonso, who through Prospero's plan, is isolated on the island after the storm, until he meets Miranda- Prospero's daughter. Prospero has planned this in order to make the couple fall in love, so he that he can get revenge on Ferdinand's father. Ferdinand experiences love at first sight with Miranda and even agrees to servitude in order to win Prospero's approval to be with her. This may suggest that Ferdinand is naïve and innocent. However, he makes several comments about women he had previously been with. In this instance, he seems arrogant. Yet, he does respect Prospero's rules regarding Miranda and promises not the break Miranda's 'virgin-knot' (Act 4, Scene 1) before their wedding night which may suggest that he is honourable and earnest. ALONSO Alonso is the King of Naples and is a character that the audience remains ambivalent about for the entire play. Although he is an enemy of Prospero, he does not take any real vindictive action himself - he is easily persuaded into plots by others, for example Antonio, but he can also be persuaded into good actions by his counsellor Gonzalo. Alonso experiences intense, divisive emotions, for example when he cries over the death of his son, as well as the fact that he has maintained a relationship with traitors such as Sebastian and Antonio. However, Alonso is able to redeem himself by admitting his flaws and mistakes and showing sincere remorse. For example, when the harpy in Act 3, Scene 3 reminds him how he had wronged Prospero by banishing him. He is genuine in his regret and sorrow, and he returns Prospero's dukedom to him at the end of the play. Yet, we can still argue that Alonso is reluctant to confront his mistakes, as he does not account for them until he is confronted by another person. SEBASTIAN Sebastian is Alonso's brother, who is willing to attempt murdering the King. He is simultaneously an aggressive and cowardly character. He also presents Western civilisation as foolish and thoughtless, as he mocks Gonzalo's

8 dreams of a utopian society of harmony and peace. STEPHANO Stephano is another of The Tempest's antagonists, but he is a comedic, drunken fool. He is the butler of the royal entourage, and his petty and greedy nature encourages him to create a plan to kill the King and rule the island. He is yet another character used by Shakespeare to criticise the Western ideal of colonisation as Stephano's aims are purely selfish. For example, when he first discovers the native Caliban, his first instinct is to capture him to sell when he returns to Naples. He also imprisons Caliban to be his 'foot-licker'. TRINCULO Trinculo acts as a jester in The Tempest and he also aids Stephano s and Caliban s evil scheme to kill Prospero. He and Stephano act as comedic counterparts to the true villains- Antonio and Sebastian, through their ridiculous, drunken attempt to kill Prospero and take control of the island. LITERARY TECHNIQUES Imagery of servitude: Ferdinand sees his love for Miranda, as a form of servitude. He assures her that he is worthy of her love although he is royalty and would no more endure / This wooden slavery [carrying logs]. He states that: The very instant that I saw you did / My heart fly to your service; there resides, / To make me slave to it (Act 3 Scene 1). The words slavery and slave underscore the parallel as well as the difference between Ferdinand and Caliban. Prospero repeatedly calls Caliban a slave, and we see Caliban as a slave both to Prospero and to his own anger. Ferdinand, on the other hand, is a willing slave to his love, and is happy in a servitude that makes him rejoice rather than curse. At the end of Act 3 Scene 1, Miranda takes up the theme of servitude. Proposing marriage to Ferdinand, she says that I am your wife, if you will marry me; / If not, I ll die your maid.... / You may deny me; but I ll be your servant. The play attempts to overcome the implausibility of this courtship to make Miranda look like something more than Prospero s puppet and a fool for the first man she sees. Shakespeare accomplishes this by showing Ferdinand in one kind of servitude in which he must literally and physically humble himself as he talks earnestly about another kind of servitude, in which he gives himself wholly to Miranda. The fact that Miranda speaks of a similar servitude of her own accord, that she remembers her father s precepts and then disregards them, and that Prospero remains in the background without interfering helps the audience to trust this meeting between the lovers more than their first meeting in Act 1, scene 2. Doubling: In Act 3 Scene 2, Caliban, Trinculo, and Stephano wander aimlessly

9 about the island, and Stephano muses about the kind of island it would be if he ruled it I will kill this man [Prospero]. His daughter and I will be King and Queen... and Trinculo and thyself [Caliban] shall be viceroys, just as Gonzalo had done while wandering with Antonio and Sebastian in Act 2, Scene 1. At the end of Act 3, scene 2, Ariel enters, invisible, and causes strife among the group, first with his voice and then with music, leading the men astray in order to thwart Antonio and Sebastian s plot against Alonso. The power-hungry servants Stephano and Trinculo thus become rough parodies of the power-hungry courtiers Antonio and Sebastian. All four men are now essentially equated with Caliban, who is, as Alonso and Antonio once were, simply another usurper. Spectacle 1. Ariel s appearance as an avenging harpy represents the climax of Prospero s revenge, as Antonio, Alonso, and the other lords are confronted with their crimes and threatened with punishment. From Prospero s perspective, the disguised Ariel represents justice and the powers of nature. He has arrived to right the wrongs that have been done to Prospero, and to punish the wicked for their sins. However, the audience knows that Ariel is not an angel or representative of a higher moral power, but merely mouths the script that Prospero has taught him (Dramatic Irony). Ariel s only true concern, of course, is to win his freedom from Prospero. Thus, the vision of justice presented in this scene is artificial and staged. Prospero knows that a supernatural creature claiming to represent nature will make a greater impression in advancing his argument than he himself. If he simply appeared before the table and stated his case, it would seem tainted with selfish desire. However, for Ariel to present Prospero s case in this spectacular fashion, it makes it seem like the inevitable natural order of the universe even though Prospero himself stages everything Ariel says. 2. Miranda is the only female presented on stage, in a play filled with male characters who either vie to control her view of the world or for her hand in marriage. 3. The shipwreck which opens the play is a spectacle as it destabilizes everything before the audience/reader has encountered the plot and the characters. 4. Act 3 Scene 3: The Masque (a masque is a form of festive courtly entertainment).act 4 Scene 1 plays an integral role in the play. Up until this point in the play, Prospero has been exacting towards Ferdinand, and this masque allows for kind of reconciliation. It finally allows the audience to see Prospero s real ambitions towards Ferdinand. Therefore, the masque is a ceremony very similar to marriage. Ferdinand and Miranda are amazed, and Prospero says these are spirits he has called upon behalf of the young lovers. Nymphs and land reapers are then summoned, and they perform a beautiful dance. This scene can also be argued as important as it heralds the final scene of the play (the reconciliation). We see this

10 because Iris was the goddess of the rainbow in Greek mythology; acting as the rainbow to the storm at the start of the play and so this metaphorically signifies the change of mood, preparing us for Prospero s final action. The theatricalities can be seen as very necessary in creating the spectacular and intense atmosphere. This makes the magic look as grand and important as it is in this play. 5. Another part in the play that we can recognise, where theatricality is used to highlight the importance of magic, is where we see the banquet disappear. It is a spectacle that astonishes the audience, and this event helps to create the magical feel that is needed to facilitate Ariel s role in the play. When Alonso, Gonzalo, Sebastian and Francisco (a lord in Alonso s court) witness this event they are utterly stupefied: A living drollery. Now I will believe That there are unicorns; that in Arabia There is one tree, the phoenix throne; one phoenix At this hour reigning there. Importantly, it can be posited that Shakespeare uses the theatricality of magic in the play to highlight the significant/powerful characters and to underscore the effect they have over other characters. For example: Thunder and lightning. Enter Ariel like a harpy; claps his wings upon the table; and, with a quaint device, the banquet vanishes. 6. Act 4: Stephano, Caliban and Trinculo s discovery of the courtly attire. The clothing immediately distracts them and they want to steal it, despite the protests of Caliban, who wants to stick to the plan to kill Prospero. The sight of these commoners parading on stage in courtly attire is a spectacle since it is visibly appealing and striking, since their rank in the society does not make them synonymous with the power/affluence that these clothes represent. The pack of spirits in the shape of hounds, set on by Ariel and Prospero is also a spectacle. SYMBOLISM 1. The Tempest: the tempest is a significant symbol in the play since it is the event that starts the action and allows Prospero to carry out his plan to trap his usurpers. Initially, the tempest symbolises the suffering that Prospero experienced after his usurpation, and his desire to punish the men who wronged him. Prospero uses the storm to put the royal entourage at his mercy, as he wants them to be in a similar position of distress that he and his daughter Miranda experienced when they were banished from their home. The tempest shows that Prospero wants to seek revenge and make his enemies suffer for what they did to him, and the storm creates the image of Prospero as extremely powerful, malevolent and God-like. 2. Prospero's Books: similar to the tempest, Prospero's books are a symbol of his power. It is his books that have taught him the magic which allows him to control nature and other people to fulfill his desires. For example Caliban tells Stephano

11 Usurpation that 'For without them [the books] /He's but a sot' (Act 3, Scene 2). Prospero's books also show his isolation from civilisation as magic is what causes him to neglect his duties as Duke of Milan. We can see, from the ending of the play that the only way Prospero can return to civilisation is by ridding himself of his magic and by destroying his books. This suggests that magic or the supernatural does not function in society. THEMES Usurpation is the overthrow of a rightful leader or ruler. This is used in a variety of forms throughout The Tempest. The play is full of rebellions - the Boatswain orders the king and courtiers from the deck during the storm; political treachery - Antonio expels Prospero and steals his dukedom; mutinies - Caliban attempts to rape Miranda; and conspiracies - Antonio and Sebastian plot to kill Alonso and Gonzalo and Caliban; Stephano and Trinculo plot to kill Prospero. Imprisonment and Freedom Many characters within this play experience some form of imprisonment or confinement, yet this is not always overt. Prospero and Miranda are banished from Milan and are exiled to the island, Caliban is enslaved by both Prospero and Stephano, Ariel is imprisoned by Sycorax and is then forced to serve Prospero, Ferdinand is kept as Prospero's prisoner after the initial shipwreck, and the sailors of the ship are confined to a magical sleep which keeps them unknowingly confined to slumber. All of these characters yearn for freedom in some way but through a variety of forms. Prospero wants to be freed through regaining his rightful status, Miranda achieves freedom, although through marriage, from her father's control, Caliban believes that he can gain freedom by exchanging one master for another, Ariel demands freedom from Prospero's control and Gonzalo dreams of freedom from the restraints of a civilisation controlled by social conventions and hierarchy. This idea of freedom is also emphasised at the end of the play when Prospero's character asks the audience to set me free through forgiveness of his actions. (Act 5, Scene 1) Forgiveness and Reconciliation It seems, at the beginning of the play, that Prospero's aims are not to reconcile, but to seek revenge. However, the audience is never quite sure, and by the end of the play Prospero, with help from Ariel, has learnt how to forgive and reconcile with the royal entourage and regains his position as the Duke of Milan - he says: 'The rarer action is/n virtue, than in vengeance' (Act 5, Scene 1). This idea of forgiveness is introduced slightly earlier in the play, during Act 4, Scene 1, through the appearance of the Goddess Iris. Iris is the Goddess of the Rainbow which provides the audience with the image of the storm ending, and provides the promise of a new beginning. This also symbolizes Prospero's transition to harmony and peace, rather than revenge as he allows the blessing of his daughter's marriage to Ferdinand, the king's son.

12 Colonialism The Tempest is preoccupied with the theme of colonialism. Shakespeare presents colonialism as a form of exploitation which Western societies use to control 'inferior' beings. The conflict between Prospero and Caliban, represents the conflict between the Old World (Europe) and the challenges to their culture and beliefs from the New World (Americas, Africa and other colonized areas), as Prospero can be seen as the colonist and Caliban as the native inhabitant. There is much support within The Tempest for the idea that colonisation was a form of economic exploitation. Firstly, Prospero takes control of Caliban and uses him as a slave, and secondly and perhaps most obviously, when Stephano and Trinculo discover Caliban their first thought is to wonder how much money they could gain by selling him. Colonisation links closely to the idea of social class as Europeans believed that social hierarchy was a fixed element of society and was ordained by God. Europeans justified their inhumane actions against natives through the suggestion that natives and their actions were full of debauchery and depravity. For example, Caliban's attempted rape of Miranda is used as evidence of his evil nature, especially as he does not realise how horrible his actions are. In comparison, Prospero's control of Miranda's sexuality suggests that Western society is a higher state of civilisation, characterised by restraint, abstinence and selfdiscipline. These beliefs were often related and encouraged by the Christian religion, which Europeans felt needed to be enforced all over the world. Native Americans for example were seen as barbaric and ungodly. Colonists used this idea to justify their divine right to save natives from their degenerate nature. Some critics have argued that Shakespeare gives a Eurocentric view in The Tempest and that he fails to explore Caliban's point of view, instead focusing only on Prospero. Illusion and Magic The play begins with an illusion - the shipwreck is not a result of a tempest, but of Ariel's and Prospero's magic, and this creates the idea that the island is full of magic and illusions. For example, Ariel and the other spirits may be seen as an illusion to the royals as they are unused to such supernatural beings and the island itself is seen to be magical. Even Caliban - a supernatural creature himself - says that the island is full of noises (Act 3, Scene 2) which suggests that it is a place of magic and the supernatural. Prospero is also representative of magic through his learning of spells and his possession of magic books. He is able to make himself invisible, control others and the elements, bring torment and pain, and command the spirits of the island, which show that his magic is extremely powerful. It is this magic that allows Prospero to perform all his tasks, regarding the royal entourage, which makes magic central to the success of the play. It is also suggested that illusion within The Tempest appears through the illusion of justice. The act that initiates the play, is the unjust usurpation of Prospero by his brother Antonio. This is the first violation of justice the audience encounters, and Prospero uses this to present himself as a victim. Yet it can be argued that he abuses this status as he

13 takes power from other characters - Ariel and Caliban. Thus, Prospero also creates an illusion of justice as he should not enslave the other characters of the play. Sleep and dreams recur throughout the play. At the beginning, Prospero sends Miranda to sleep so that he can plot with Ariel, then Ariel enchants Alonso and Gonzalo into a sleep, the sailors of the ship are kept in a magical slumber for the entire play, Caliban has dreams so wonderful that he longs to sleep again and the Masque scene also has dream-like qualities due to their supernatural elements. Metamorphosis - change and transformation The play begins with a turbulent storm which creates a change in the life of all the characters and by the close of the play there has been a huge transformation as Prospero and the royal entourage have now made amends and Prospero no longer intends to seek revenge and instead shows forgiveness.. God and Humanity This is an interesting theme of The Tempest as religion is not clearly mentioned, yet Prospero often acts as if he is God of the island. He demands total respect and recognition, even from his daughter, and he is outraged that Antonio has stolen his position. His enslavement of the spirits and Ariel and Caliban suggests that he believes that he is superior to all other beings, as they must do his bidding. This supports the idea that Western nations believed that they were better than other contries - which may also suggest that Western civilisation thought themselves to be somewhat god-like. Master/Servant The relationship between servants and their masters is one that Shakespeare explores in several ways. The first instance we encounter of servants and masters is in Act 1, Scene 1, through the Boatswain and the royal entourages accepting and equal treatment (Gonzalo and Alonso) and their demanding and belittling treatment of the Boatswain (Antonio and Sebastian). This is used by Shakespeare to critique society s treatment of lower class people and to criticise those who believe themselves to be superior to others. Ariel s slave status to the master of Prospero poses several interesting questions to the audience. Initially, Ariel seems keen to serve Prospero, and even acts with some level of affection towards the master, yet this may only be because Ariel craves freedom. We can see that Prospero, as the master wielding power, manipulates Ariel by promising and then taking away freedom. This eventually forces the spirit to obey him which creates sympathy for Ariel. Prospero's feelings towards Ariel are ambivalent throughout the play, he sometimes addresses the spirit with affecting, and other times condemning it malignant thing! which may suggest that masters feel some level of emotional connection with their servants. (Act 1, Scene 2) However, this is not the case with another of Prospero's slaves, Caliban. Prospero treats Caliban poorly and with contempt because Caliban does not willingly accept the rule of Prospero on the island. This suggests that

14 '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 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. com/p/themes.html