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William ShakespeareA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The main issue in The Tempest is how Prospero can right the wrongs committed against him and return to his rightful place as ruler of the city of Milan. Prospero is a mighty sorcerer whose scheme controls the fate of those who betrayed him. His purpose, however, isn’t revenge but redemption: He wants his betrayers to feel remorse, ask forgiveness, and reinstate him as Milan’s duke. His plan is sophisticated and high minded; for the most part, it succeeds.
While Duke of Milan, Prospero left the city’s administration to Antonio and retreated to his study to master the magic arts. Antonio grew ambitious and plotted with Alonso to overthrow Prospero, cast him out to sea, and install Antonio as Milan’s duke. Prospero and Miranda were spared death through the kindness of Alonso’s counselor Gonzalo, and their ship landed on a faraway island, where they survived for 12 years. Prospero seethes and plots throughout his period of exile.
When Alonso’s ship containing Antonio and others sails past, Prospero seizes the chance to change events: He uses his powers and those of the magical sprite Ariel to cause a storm that forces the ship to come to the island and deposit its passengers into Prospero’s hands. They have virtually no chance to slip out of Prospero’s magical grip; his power over them is nearly total. He can crush them, ruin them, and do anything else he pleases with them.
Instead, he arranges events so that Alonso’s son falls in love with Miranda and asks for her hand in marriage. This will create a deep climate of peace between Alonso’s Naples and, when he regains his throne, Prospero’s Milan.
He then creates a series of magical events that lead the betrayers to realize that they have committed a grievous wrong and must seek redemption. King Alonso thus immediately repudiates his agreement with Antonio, and Prospero is reinstated as duke, which redeems his exile from his rightful office. His plan complete, Prospero surprises everyone by forgiving his enemies. The scheme calls for redemption, not retribution.
Prospero also acknowledges his own abuses against Ariel, promising his freedom and frequently pausing to compliment Ariel on his excellent service. Prospero does free Ariel and, when he abandons the island, effectively turns it over to its rightful rulers, Ariel and Caliban. Prospero thus redeems himself.
Only one of the players cannot be redeemed. Antonio schemes with Sebastian to overthrow Sebastian’s brother, King Alonso, which proves that Antonio’s essential nature is evil and therefore he cannot be saved. Knowing this, Prospero arranges to blackmail the usurper by forcing Antonio’s consent to step down, lest Alonso learn of his conspiracy against the king. Despite all this, Prospero finds it in his heart to forgive his brother.
Prospero’s plan works nearly to perfection, as he uses godlike powers not to punish but to redeem. His magic having served its purpose, he discards those powers and returns to his proper place as Duke of Milan.
Prospero uses magic to control events on the island and force his enemies to return his dukedom to him. Not all that he must accomplish can be achieved through sorcery, however. To complete his plan, Prospero needs a marriage between King Alonso’s family and his own, a union that will stabilize Milan’s relations with Naples and deepen their ties. For this, he has the perfect solution: wedding vows between his wonderful daughter Miranda and the king’s talented and virtuous son Ferdinand. The two meet and promptly fall in love. Prospero is pleased, “but this swift business / I must uneasy make, lest too light winning / Make the prize light” (1.2.451-52).
To strengthen their new love, Prospero employs a simple, non-magical device: He makes it difficult for Ferdinand and Miranda to be together by arresting him and forcing him into slavery. This prompts both young lovers to pine for each other and struggle against the adversity imposed on them. Soon they have promised their hearts to one another. Satisfied that their commitment is deep, Prospero frees Ferdinand but warns him to remain chaste until marriage, or their nuptials will be cursed. This has the effect of reinforcing scarcity and yearning between the two lovers. Ferdinand proves his mettle by promising to wait.
The most magical of effects, the feeling of love, thus takes place outside the realm of Prospero’s magic, though not beyond the borders of his cleverness. He uses a trick of the mind, which always desires what it cannot have, to secure the bond between his daughter and Alonso’s son. The audience sees that the true power of Prospero’s magic lies not in his sorcery or its elaborate technique, but in his knowledge of human yearning and how to turn it to his advantage.
The Tempest isn’t just about politics, betrayal, and love; it also touches on European arrogance toward the New World colonies. This takes three forms: Prospero’s treatment of his native servants; the passengers’ attitudes toward Caliban; and Gonzalo’s ideas for a utopia.
Prospero saves the island from the effects of its previous ruler, the witch Sycorax, and then treats the Indigenous inhabitants much the same as did she. He frees Ariel from Sycorax’s spell that trapped the sprite inside a tree, then promptly enslaves Ariel for his own purposes. Prospero takes in Sycorax’s child Caliban and educates him, but the boy resents his new overlord; Prospero decides Caliban is a savage who can’t be reformed, and he torments him with magical curses. Although Prospero saves Ariel and educates Caliban, he ends up treating the island’s denizens in much the same way as did the witch. His promise to free Ariel gets put off as long as Prospero needs the sprite. Thus, the outsider who possesses tremendous power becomes an oppressor, regardless of his or her original intentions.
Everyone from the ship who encounters Caliban believes he’s a monster, and some think he’s a large fish. His disability—probably a spinal deformity—and his resentful attitude add to the effect. The deformity especially works to symbolize Caliban’s strangeness in the eyes of the visitors. Both Trinculo and Stephano regard him as a “moon-calf,” or dim-witted fool, and Stephano calls him a “servant-monster.” Yet Caliban speaks in poetic English and, when all three are drunk, has more of his wits about him than do the jester and wine butler.
Caliban’s character symbolizes the tendency of Europeans to regard natives who live in exotic, faraway places as freakish and subhuman. The visitors expect little from Caliban beyond servitude, and they make him the butt of jokes. Shakespeare uses the awkward encounters as a source of humor for the play, but he also presents Caliban’s side of the story: “This island’s mine, by Sycorax my mother, / Which thou takest from me” (1.2.331-32).
Gonzalo suggests to King Alonso that the island might be the perfect place for a fresh start, in which the king establishes a realm guided by humane, utopian ideals. In Shakespeare’s time, both the great essayist Michel de Montaigne and the statesman and author Sir Thomas More wrote about dream societies that might exist in the New World, places where wisdom and harmony prevail. Shakespeare borrowed those ideas and gave them to Gonzalo to express.
The Tempest, then, offers commentaries on the human condition, especially the conflict between those with power and those without. The play provides an early form of the modern humanistic perspective on the problems of society, wrapped in an entertaining spectacle.
By William Shakespeare
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