THE TEMPEST

Scene summaries
ACT 1
sc 1
- Ship— actual tempest scene.
- Boatswain, nobles, Alonso.

sc 2
- true story of how they got to the island— Prospero and Miranda
- Ariel gives description of tempest, Ariel’s backstory
- Caliban and his backstory
- Ferdinand comes

ACT 2
sc 1
- Alonso, Sebastian, Gonzalo, Antonio, etc. search for Ferdinand. Backstory
- Gonzalo’s island fantasy
- murder plot

sc 2
- Caliban, Trinculo, and Stephano drunk - comic relief

ACT 3
sc 1
- Ferdinand carries wood, flirts with Miranda

sc 2
- Stephano, Caliban, Trinculo plot Prospero’s murder

sc 3
- feast and harpy scene

ACT 4
sc 1
- Prospero blesses Ferdinand, warns him about virginity
- masque: Iris, Ceres, Juno, reapers, nymphs

The Tempest notes by Twisha Dimri 1

- Prospero remembers he is going to be murdered
- Stephano, Trinculo, Caliban in bog
- Stephano and Trinculo distracted by shiny clothes
- release of the hounds

ACT 5
sc 1
- release of the nobles
- Prospero delivers soliloquy and gives up magic
- Prospero talks to nobles: loyalty v. treachery. Release from spells
- Ferdinand is alive
- Boatswain is back
- Ariel is set free
- Epilogue: imprisoned on stage, set free by applause.

Character studies
Prospero
Prospero is the protagonist of the play. He is a powerful magician who was wronged and betrayed by his
perfidious brother, and the play describes how he takes revenge. Some say that Prospero is also an outlet for
Shakespeare’s own voice, which can be seen in the epilogue of the play.

Backstory
Prospero tells Miranda that 12 years ago, her father had been the ‘Duke of Milan’ and a ‘prince of power’.
They had come to this island by foul play.
He had put his brother (whom next thyself of all the world I loved) ‘the manage of my state’ while he
focused on his studies of ‘the liberal arts’.
He cast the government on his brother and grew estranged from his state as he was ‘rapt in secret studies’.
Antonio began to grant favours and advance the people who were loyal to him and get rid of those loyal to
Prospero. he set all the hearts in the state to ‘what tune pleased his ear’.
In Prospero’s ‘false brother’, there ‘awaked an evil nature’. Antonio struck a deal with the King of Naples—
he would pay him an annual tribute (subject his coronet to his crown) and in return, the king would recognise
him as duke. Prospero considers this ‘most ignoble stooping’.
Then, Antonio tried to get rid of them. With the help of ‘a treacherous army’, he set them to sea in a ‘rotted
carcass of a butt’.
They reached the island safely ‘by providence divine’. ‘A noble Neapolitan’, Gonzalo, furnished them with
necessary items and volumes from Prospero’s library that he said he does ‘prize above my dukedom’.
When he is recounting this story to Miranda, he often calls for her attention— dost thou attend me?— this
shows his increasing agitation.

The Tempest notes by Twisha Dimri 2

Relationship with Miranda
We know that Miranda is one of the most important aspects of Prospero’s life— when he is giving her hand
in marriage to Ferdinand, he says that she is a third of his life. when he told the story of his dukedom, he said
that he loved Antonio more than anything next to her. even when they were at sea in the rotted carcass of a
boat, her smile ‘infused with a fortitude from heaven’ was what preserved him.
On the island, Prospero tutored Miranda and taught her skills that even princes would lack. as she was raised
in isolation, she was kept away from various social norms and expectations. her education ‘made thee more
profit than other princes have that have more time for vainer hours, and tutors not so careful’.
Miranda is central to his plans— I have done nothing but in care of thee, of thee, my dear one, thee my
daughter.
Although there is no doubt that prosper loves his daughter very much, he is not above using magic or manip-
ulation to control her. He interferes with her relationship with Ferdinand to ensure that his own plans don’t
fall apart. “I must uneasy make, lest too light winning makes the prize light.” the end goal of this is that
his daughter will become queen of Naples, giving him not only his dukedom but also power over the kingdom.

Relationship with Caliban

When they first arrived on the island, Caliban was the one who showed them the qualities of the island— the
fresh springs, brine pits, barren place and fertile.
Prospero and Miranda would give him water with berries in it, taught him about the sun and the moon, and
taught. him how to speak. however, Caliban attempted to molest Miranda. Prospero forced him into a position
of servitude and controls him with threats of pinches, aches, and cramps. Later, Caliban tries to murder Pros-
pero with Stephano’s help.
this thing of darkness, I acknowledge is mine

Relationship with Ariel

When they arrive on the island, Prospero frees the spirit, Ariel, from years of imprisonment. He then employs
Ariel in his service, who he uses to carry out his magic. However, we know that Ariel is not voluntarily in his
service— Prospero manipulates him by forcing him to recount his years trapped in the tree. “I must once a
month recount what thou hast been, which though forget’st. this damned witch sycorax… from Algiers
was banished. this blue eyed hag was hither brought with child. thou wast a spirit too delicate to act her
earthy and abhorred commands. she did confine thee, by help of her more potent ministers… into a
cloven pine, within which rift imprisoned thou didst painfully remain a dozen years. …thy groans did
make wolves howl. it was mine art… that made gape the pine and let thee out.” he also threatens Ariel:
“I will rend an oak and peg thee in its knotty entrails till thou has howled away twelve winters.”
we know that their relationship goes far beyond this, and the Prospero is actually very fond of Ariel. Prospero
calls him "my tricksy spirit,” (do you love me, master? no? dearly, my delicate Ariel)

Power
- Prospero breaks the cycle of violence by refusing to take revenge on Alonso, Antonio, Sebastian, or Caliban
and the political tensions in the play are calmed and reconciled. After Prospero's merciful refusal to seek
revenge, Alonso and Prospero quickly come to an understanding and unite their once warring cities through
the marriage of their children. after he gets his revenge on the nobles, he is willing to forgive them and
offers them shelter in his cell. he also promises calm seas and auspicious gales on their journey back to
Naples.
- When he arrived on this uninhabited island, he seized power by dispossessing Caliban of his rightful in-
heritance – a fact that Caliban strongly resents. He curses Prospero and conspires against him with Stephano

The Tempest notes by Twisha Dimri 3

 and Trinculo to murder him so that he is saved the torment inflicted upon him by Prospero's spirits. He is
willing to exchange his slavery under Prospero to Stephano.
- Ariel, along with his spirits of the air, helps Prospero in rising a fierce storm on the sea, thus bringing all
his enemies at one place and at his mercy. It is through this spiritual or supernatural power that Prospero
brings them to their knees, makes them repent for the grievous wrong done to him twelve years ago and
arranges the meeting of Ferdinand and Miranda that leads to their marriage.
- He keeps both Ariel and Caliban on a tight leash, promising Ariel eternal liberty after his plan has been
accomplished and punishing Caliban relentlessly for the curses heaped upon him while carrying out the
tedious tasks assigned to him. He also puts Ferdinand through severe physical rigour and tests his love for
Miranda before consenting to their union. (all thy vexations were but my trials for thy love)
- The difference between the supernatural power exercised by Sycorax and Prospero is that, while Sycorax
was evil and devilish, Prospero is benign and forgiving. Sycorax's power was derived through her pact with
the devil, of which the deformed Caliban is a living embodiment. While keeping Caliban in his place,
Prospero seeks the assistance of Ariel and other heavenly spirits to carry out his designs. Prospero's power
is not derived from the devil or black magic. It is the spiritual or supernatural power achieved through the
development of his mind and art. Prospero has subdued all his evil instincts, unlike Alonso, Antonio, Se-
bastian, Stephano, Trinculo and Caliban in the pursuit of world power. At the end, Prospero shows empa-
thy. Ariel says If you now beheld them, your affections would become tender// mine would, sir, were
I human. Ariel’s compassionate spirit is the catalyst for Prospero's change: “the rarer action is in virtue
than in vengeance. they being penitent, the sole drift of my purpose doth extend not a frown further.”
Prospero does not actually punish Antonio— for you, most wicked sir, whom to call brother would even
infect my mouth, I do forgive the rankest fault — all of them. The decision to forgive his enemies comes
chiefly from within and that is his greatest achievement. The Tempest exemplifies not only the pursuit of
worldly and spiritual power, but also regeneration, forgiveness and reconciliation through the exercise of
spiritual power which triumphs in the end.
Magic
Prospero belongs to the higher order of magicians — those who commanded the services of superior intelli-
gences. Thus we find Prospero exercising his power over elves and goblins through the medium of Ariel, a
spirit "too delicate to act the abhorr'd commands" of the foul witch Sycorax, but who answered his best
pleasure and obeyed his "strong bidding." "By your aid" he says, "weak masters, though ye be," I have
wrought the marvels of my art. whatever he does, he does for the achievement of something good. Pros-
pero’s goal can be seen as the transformation of fallen human nature – Caliban, Antonio, Sebastian and Alonso
– from a condition of sinfulness to a higher level of morality. Prospero also bears the physical signifiers that
Shakespeare’s audience would have associated with magic and power: books, staff and robe.
- In act 5, Prospero deliver a soliloquy in which he renounces magic. he summons elves of hills, brooks,
standing lakes and groves, and the other lesser spirits under his command, and talks about what he has
achieved with his powers. he says he will break my staff, bury it certain fathoms in the earth and drown
my book.

Ariel
1.1: description of tempest, backstory
2: puts everyone to sleep, wakes them up when he hears Sebastian+ Antonio’s plans
3.2: thou liest
3.3: harpy
4: masque, Caliban and the trumpery, hounds
5: king and noble update, boatswain, sets Caliban, Stephano, Trinculo free, freedom for Ariel

The Tempest notes by Twisha Dimri 4

- Ariel's very being is spun of melody and fragrance. He has just enough of human-heartedness to know how
he would feel were he human— “mine would, sir, where I human”, and a proportionable sense of that
gratitude which has been aptly called the memory of the heart; hence he needs to be often reminded of his
obligations(Prospero), but he is religiously true to them so long as he remembers them. His delicacy of
nature is nowhere more apparent than in his sympathy with right and good; the instant he comes within
their touch he follows them without reserve, and he will suffer any torments rather than "act the earthy
and abhorred commands" that go against his moral grain. And what a merry little personage he is withal;
as if his being were cast together in an impulse of play, and he would spend his whole life in one perpetual
frolic. Small wonder that Prospero calls him "my tricksy spirit,” (do you love me, master? no? dearly,
my delicate Ariel)
- A mark-worthy feature of Ariel is that his power does not stop with the physical forces of nature, but reaches
also to the hearts and consciences of men, so that by his music he can kindle or assuage the deepest griefs
of the one, and strike the keenest pangs of remorse into the other. This comes out in the different effects of
his art upon Ferdinand and the guilty king, as related by the men themselves— songs. (full fathom five thy
father lies)
- A spirit who possesses supernatural powers. he serves Prospero and acts out his commands. He is indebted
to Prospero and came to be in his service when Prospero rescues him from the tree in which his previous
mistress entrapped him. Prospero controls Ariel with this story: “I must once a month recount what thou
hast been, which though forget’st. this damned witch Sycorax… from Algiers was banished. this blue
eyed hag was hither brought with child. thou wast a spirit too delicate to act her earthy and abhorred
commands. she did confine thee, by help of her more potent ministers… into a cloven pine, within
which rift imprisoned thou didst painfully remain a dozen years. …thy groans did make wolves howl.
it was mine art… that made gape the pine and let thee out.” he also threatens Ariel: “I will rend an
oak and peg thee in its knotty entrails till thou has howled away twelve winters.”
- Represents principle of goodness, mischievous
- STORM: Ariel works with other spirits to cause the shipwreck. Its elemental powers are balanced with the
capacity to charm others to sleep, as it does with the mariners, and to charm Ferdinand from movement.
Ariel describes its own work as ‘spriting gently’, consistent with the subtlety of something ‘invisible / To
every eyeball’ but that of Prospero. “I flamed amazement, divide and burn in many places, fire and
cracks of sulphurous roaring, the most mighty Neptune//his dread trident shake. on the topmast, the
yards and bowsprit would I flame distinctly”— not a hair perished
- Liberty: he asks for his freedom. In response to this, Prospero forces him to recount his trauma, then threat-
ens him with entrapment. He is finally liberated at the end of the play, and Prospero says “thou shalt be
free”… “be free, and fare thou well”.
- Songs/music: to take Ferdi to Prospero. enter Ariel playing solemn music: nobles sleep. his song wakes
them: open eyed conspiracy.
- Overhears Caliban’s murder conspiracy and reports back to Prospero.
- Harpy (mythical creature associated with divine retribution): “three men of sin. you, ‘mongst men, being
most unfit to live. I and my fellows are ministers of fate. you three from Milan did supplant good
Prospero. the powers delaying, not forgetting, have incensed the seas and shores— yea, all the crea-
tures— against your peace. nothing but heart’s sorrow and a clear life ensuing.”
- Masque: (some vanity of mine art)
- Caliban: I had forgot that foul conspiracy. I charmed their ears
- Captain and boatswain from ship: the shape was in the same shape it was when they set sail, the mariners
were put to sleep, their clothes were as clean as the day they set sail, thanks to Ariel’s magic
- Caliban’s end: sets them free on Prospero’s command

The Tempest notes by Twisha Dimri 5

- Weather for ships heading back to Naples: calm seas, auspicious gales
- Freedom
- Lighthearted and cheerful. Obedient, loves his master. Powerful music
- Ariel displays more Human feelings and sympathy than the actual humans do— empathy. If you now
beheld them, your affections would become tender// mine would, sir, were I human
- Ariel’s compassionate spirit is the catalyst for Prospero's change: “the rarer action is in virtue than in
vengeance”
- Ariel’s elemental nature: “be’t to fly, to swim, to dive into the fire, to ride on the curl’d clouds’

Caliban
→ He is half monster-half human He has an appearance of a fish
→ Caliban is the offspring of the witch Sycorax
→ Prospero has made Caliban his servant,
→ Caliban is insolent and rebellious
→ Kind words cannot subdue him
→ He is only controlled through the use of magic.
→ Caliban claims the island as his own and maintains that Prospero has tricked him
→ Prospero had tried to nurture Caliban but in return he tries to outrage Miranda’s modesty
→ Prospero makes him a slave in return Caliban curses him
→ He plots Prospero’s murder with Stephano and Trinculo
→ He curses the fact that he is made a slave by Prospero but he leaves Prospero and joins Stephano as
his slave and considers him a ‘brave dog’
→ He tells Stephano to kill Prospero in his sleep
→ Caliban has a more sensitive side as we see in his beautiful speech about his island
→ He describes the island as ‘full of noises//thousand twangling instruments’ which makes him sleep
and awakens him
If Caliban strikes us as a more wonderful creation than Ariel, it is probably because he has more in common
with us, without being in any proper sense human. He represents, both in body and soul, a sort of intermediate
nature between man and brute. Though he has all the attributes of humanity from the moral downwards, so
that his nature touches and borders upon the sphere of moral life, the result but approves his exclusion from
such life in that it brings him to recognise moral law only as making for self. He has intelligence of seeming
wrong in what is done to him, but no conscience of what is wrong in his own doings. But the magical presence
of spirits has cast into the caverns of his brain some faint reflection of a better world; he has taken in some of
the epiphanies that throng the enchanted island. It is a most singular and significant stroke in the delineation
that sleep seems to loosen the fetters of his soul and lift him above himself. It seems as if in his passive state
the voice of truth and good vibrated down to his soul and stopped there, being unable to kindle any answering
tones within, so that in his waking hours they are to him but as the memory of a dream:
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices That, if I then had wak'd after long sleep,
Will make me sleep again: and then, in dreaming, The clouds methought would open, and show riches
Ready to drop upon me, that, when I wak'd,
I cried to dream again. [III, ii, 133-139.]
The Tempest notes by Twisha Dimri 6
Here is revealed the basal poetry in Caliban’s nature, but it is significant that when Prospero and Miranda seek
to educate him the result is to increase his grossness and malignity of disposition. his mind is like a dark cave
into which the light of knowledge falling neither illuminates nor warms, but only serves to put in motion the
poisonous vapours generated there.
Caliban's most remarkable characteristic is the perfect originality of his thoughts and manners. Though his
disposition is framed of grossness and malignity, there is nothing vulgar or commonplace about him. His
whole character is developed from within, not impressed from without, the effect of Prosperous instructions
having been to make him all the more himself, and there being perhaps no soil in his nature for conventional
vices and knaveries to take root and grow in. Hence the almost classic dignity of his behavior compared with
that of the drunken sailors. In his simplicity, indeed, he at first mistakes them for gods who "bear celestial
liquor," and they wax merry enough at the "credulous monster," but in his vigor of thought and purpose he
soon conceives a scorn of their childish interest in trinkets and gewgaws, and the savage of the woods seems
nobility itself beside the savages of the city.
Caliban also symbolises the savageness that colonisers attributed to the natives of any land that they con-
quered. He fits into the character of a brute to show the racism of the colonisers.
Comparison between Caliban and Antonio also exit— Prospero loved them both but both of them betrayed
him (Antonio by overthrowing him and Caliban by assaulting Miranda). Both of them also had murder plots
that were overheard by Prospero’s spirit servant, Ariel. These parallels help us make inferences regarding both
characters.
a thing most brutish/a thing of darkness/on whose nature nurture will never stick/mooncalf/folly of the
isle

Miranda:

- Miranda is a unique and exquisite creation of the poet's magic. She is his ideal maiden, brought up from
babyhood in an ideal way — the child of nature, with no other training than she received from a wise and
loving father — an ideal father we may say. And nature on this enchanted island is more than nature any-
where else on earth, for the supernatural — that which is beyond and above nature — is added, through the
potent and benign art of Prospero. He has been her teacher too — a loving teacher with ample leisure for
the training of this single pupil, the sole companion, comfort, and hope of his exile life. He says: "Here in
this island we arriv'd; and here Have I, thy schoolmaster, made thee more profit Than other princess
can, that have more time For vainer hours, and tutors not so careful."
- one drawback to her education is that she has never interacted with any other member of society— Ferdi-
nand is the third man she ever saw, after her father and Caliban
- she is kind and empathetic— this we see in the first instance of her character: if by your art, my dearest
father, you have put the wild waters in this roar, allay them// I have suffered with those that I saw
suffer// the cry did knock against my very heart
- to Caliban, she says “I pitied thee” but he took advantage of her and tried to rape her (to people this isle
with Calibans). “took pains to make thee speak, taught thee each hour one thing or other.”
- she falls in love with Ferdinand at first sight and thinks he’s an angel— it carries a brave form// a thing
divine.
- though this is a part of Prospero’s plan, he says that “i must uneasy make, lest too light winning makes
the prize light.” Miranda does her best to defend Ferdinand, defying her father in the process. (my foot,
my tutor?// I’ll be his surety)
- we see her kindness again in 3.1. Ferdinand is struggling with the task of carrying the logs (some kinds of
baseness are nobly undergone// as heavy to me as odious// she is ten times more gentle than her fa-
ther’s crabbed// upon a sore injunction)

The Tempest notes by Twisha Dimri 7

- Miranda's frank offer to carry logs while Ferdinand rests is a natural touch that might at first seem unnat-
ural, but how thoroughly in keeping with the character it is after all. This child of nature, healthy, strong,
active, familiar with the rough demands of life on this uninhabited island, and unfamiliar with the chivalrous
deference to woman that exempts her from menial labour in civilised society, sees nothing "mean" or "odi-
ous" or "heavy" in piling the wood, as Ferdinand does; and when he resents the idea of her undergoing such
"dishonour" while he sits lazy by, nothing could be more natural than her reply:— "It would become me
As well as it does you; and I should do it With much more ease, for my good will is to it, And yours
it is against."
It is hard for him every way — as severe a strain upon his muscles as upon his pride.
- Miranda is also one of the most important and beloved people for Prospero, and is central to his plans. but
at the same time, he uses her for his plans. at the end of the play, he uses her as a prop (I have lost my
daughter//in this last tempest) then reveals her and Ferdinand playing chess.
- while Miranda is passive in many ways, she has at least two moments of surprising forthrightness and
strength that complicate the reader’s impressions of her as a naïve young girl. The first such moment is in
Act I, scene ii, in which she and Prospero converse with Caliban. Prospero alludes to the fact that Caliban
once tried to rape Miranda. When Caliban rudely agrees that he intended to violate her, Miranda responds
with impressive vehemence, clearly appalled at Caliban’s light attitude toward his attempted rape. She goes
on to scold him for being ungrateful for her attempts to educate him: “When thou didst not, savage, /
Know thine own meaning, but wouldst gabble like / A thing most brutish, I endowed thy purposes /
With words that made them known” In Act III, scene i comes the second surprising moment—Miranda’s
marriage proposal to Ferdinand: “I am your wife, if you will marry me; / If not, I’ll die your maid” Her
proposal comes shortly after Miranda has told herself to remember her “father’s precepts” forbidding con-
versation with Ferdinand. As the reader can see in her speech to Caliban in Act I, scene ii, Miranda is
willing to speak up for herself about her sexuality. she has been removed from society’s oppression of
women.

Gonzalo

- noble Neapolitan
- tries to comfort Alonso beseech you sir, be merry//our hint of woe is common
- is treated like a joke by the younger nobles— the old cock
- his good deed came back to him: he saved Prospero’s life and later, when Sebastian is about to kill him,
Prospero sends Ariel to his rescue.
- rude to the boatswain, tries to assert his power. — his complexion is perfect gallows
- commonwealth:
• no kind of traffic
• no name of magistrate
• letters should not be known
• riches, poverty, and use of service, none
• no work on land
• no use of metal, corn, or wine
• no occupation, all men idle, all
• women you, but innocent and pure
• no sovereignty (but he would be king on it//the latter end of his commonwealth forgets the beginning)

The Tempest notes by Twisha Dimri 8

 • nature will produce everything required and will be distributed equally.
- good old lord Gonzalo//his tears run down his beard like winter’s drops

THEMES
- magical illusions
- love
- servitude (colonialism and imperialism as a side note)
- The Illusion of Justice
The Tempest tells a fairly straightforward story involving an unjust act, the usurpation of Prospero’s throne
by his brother, and Prospero’s quest to re-establish justice by restoring himself to power. However, the idea
of justice that the play works toward seems highly subjective, since this idea represents the view of one char-
acter who controls the fate of all the other characters. Though Prospero presents himself as a victim of injustice
working to right the wrongs that have been done to him, Prospero’s idea of justice and injustice is somewhat
hypocritical—though he is furious with his brother for taking his power, he has no qualms about enslaving
Ariel and Caliban in order to achieve his ends. At many moments throughout the play, Prospero’s sense of
justice seems extremely one-sided and mainly involves what is good for himself. Moreover, because the play
offers no notion of higher order or justice to supersede Prospero’s interpretation of events, the play is morally
ambiguous.

Power
The play is full of examples of power taken by force, and in each case these actions lead to political instability
and further attempts to gain power through violence. Antonio and Alonso's overthrow of Prospero leads to
Antonio and Sebastian's plot to overthrow Alonso, just as Prospero's overthrow and enslavement of Caliban
leads Caliban to seek revenge.
Ultimately, it is only when Prospero breaks the cycle of violence by refusing to take revenge on Alonso,
Antonio, Sebastian, or Caliban that the political tensions in the play are calmed and reconciled. After Pros-
pero's merciful refusal to seek revenge, Alonso and Prospero quickly come to an understanding and unite their
once warring cities through the marriage of their children. The Tempest suggests that compromise and com-
passion are more effective political tools than violence, imprisonment, or even magic.
When he arrived on this uninhabited island, he seized power by dispossessing Caliban of his rightful inher-
itance – a fact that Caliban strongly resents. He curses Prospero and conspires against him with Stephano and
Trinculo to murder Prospero so that he is saved the torment inflicted upon him by Prospero's spirits. He is
willing to exchange his, slavery under Prospero to Stephano.
Ariel, along with his spirits of the air, helps Prospero in rising a fierce storm on the sea, thus bringing all his
enemies at one place and at his mercy. It is through this spiritual or supernatural power that Prospero brings
them to their knees, makes them repent for the grievous wrong done to him twelve years ago and arranges the
meeting of Ferdinand and Miranda that leads to their marriage.
He keeps both Ariel and Caliban on a tight leash, promising Ariel eternal liberty after his plan has been ac-
complished and punishing Caliban relentlessly for the curses heaped upon him while carrying out the tedious
tasks assigned to him. He also puts Ferdinand through severe physical rigour and tests his love for Miranda
before consenting to their union.
The difference between the supernatural power exercised by Sycorax and Prospero is that, while Sycorax was
evil and devilish, Prospero is benign and forgiving. Sycorax's power was derived through her pact with the
devil, of which the deformed Caliban is a living embodiment. While keeping Caliban in his place, Prospero
seeks the assistance of Ariel and other heavenly spirits to carry out his designs. Prospero's power is not derived
from the devil or black magic. It is the spiritual or supernatural power achieved through the development of
his mind and art. Prospero has subdued all his evil instincts, unlike Alonso, Antonio, Sebastian, Stephano,

The Tempest notes by Twisha Dimri 9

Trinculo and Caliban in the pursuit of world power. At the end, Prospero shows empathy. Ariel says If you
now beheld them, your affections would become tender// mine would, sir, were I human. Ariel’s com-
passionate spirit is the catalyst for Prospero's change: “the rarer action is in virtue than in vengeance”.
Prospero does not actually punish Antonio— for you, most wicked sir, whom to call brother would even
infect my mouth, I do forgive the rankest fault — all of them. The decision to forgive his enemies comes
chiefly from within and that is his greatest achievement. The Tempest exemplifies not only the pursuit of
worldly and spiritual power, but also regeneration, forgiveness and reconciliation through the exercise of spir-
itual power which triumphs in the end.
Prospero belongs to the higher order of magicians — those who commanded the services of superior intelli-
gences. Thus we find Prospero exercising his power over elves and goblins through the medium of Ariel, a
spirit "too delicate to act the abhorr'd commands" of the foul witch Sycorax, but who answered his best
pleasure and obeyed his "strong bidding." "By your aid" he says, "weak masters, though ye be," I have
wrought the marvels of my art. whatever he does, he does for the achievement of something good. Pros-
pero’s goal can be seen as the transformation of fallen human nature – Caliban, Antonio, Sebastian and Alonso
– from a condition of sinfulness to a higher level of morality. Prospero also bears the physical signifiers that
Shakespeare’s audience would have associated with magic and power: books, staff and robe.

MAGIC
The theme of Magic is seen throughout the play. Prospero is often described as a practiser of ‘white magic’;
i.e. whatever he does, he does for the achievement of something good. Prospero’s goal can be seen as the
transformation of fallen human nature – Caliban, Antonio, Sebastian and Alonso – from a condition of sinful-
ness to a higher level of morality. Prospero also bears the physical signifiers that Shakespeare’s audience
would have associated with magic and power: books, staff and robe.
Right from the beginning of the play, the evidence of magic can be seen – the tempest. The tempest is the
central magical creation which will unravel the plot. Later, the mention of Sycorax and the introduction to
Caliban show us the demonic power of magic and the obvious difference between Prospero’s magic and ‘black
magic’, which Sycorax used. Her charms – ‘wicked dew, toads, beetles, bats’ – represent a more rudimentary
form of magic than Prospero’s art, which can be seen by the fact that although she could imprison Ariel in
the tree where he languished for twelve years, she ‘could not again undo the spell’. Prospero finally came and
let him out, and thus believes that just as his art is more potent than Sycorax’s witchcraft, it is also more
superior.
Caliban also mentions that Prospero is so powerful that he could make a vassal out of Sycorax’s god, Setebos.
The presence and use of Ariel are also evidence of Prospero’s magic, in addition to mythological characters
such as Iris, Juno, Ceres, the harpies and so on. The sudden appearance and disappearance of a banquet also
plays a major role in the depiction of magic in the play. The final mention of magic in the play is when
Prospero renounces his magic. It is a subtle signal by Shakespeare that the magician’s power is not really
benign and must be rejected if he has to resume his ducal duties in Milan.
Prospero belongs to the higher order of magicians — those who commanded the services of superior intelli-
gences. Thus we find Prospero exercising his power over elves and goblins through the medium of Ariel, a
spirit "too delicate to act the abhorr'd commands" of the foul witch Sycorax, but who answered his best
pleasure and obeyed his "strong bidding." "By your aid" he says, "weak masters, though ye be," I have
wrought the marvels of my art. whatever he does, he does for the achievement of something good.
in act 5, Prospero deliver a soliloquy in which he renounces magic. he summons elves of hills, brooks, stand-
ing lakes and groves, and the other lesser spirits under his command, and talks about what he has achieved
with his powers. he says he will break my staff, bury it certain fathoms in the earth and drown my book.
\
Much of Prospero’s magic is carried out by Ariel, making him a pivotal part of this theme.
Furthermore, he uses his magic for manipulation and power— refer to Prospero’s character sketch.

The Tempest notes by Twisha Dimri 10

BETRAYAL, REVENGE, FORGIVENESS
The most significant betrayal is the basis of this story — Antonio’s betrayal of his brother. He supplanted
Prospero and took his dukedom with the help of the king. We see that Antonio shows no remorse, and contin-
ues to act in his treacherous manner, going as far as too prompt Sebastian to murder his brother. He says that
if his conscience were a kibe, it would cause him more discomfort. However, despite all this, Prospero shows
him forgiveness. Prospero breaks the cycle of violence by refusing to take revenge on Alonso, Antonio, Se-
bastian, or Caliban and the political tensions in the play are calmed and reconciled. Prospero does not actually
punish Antonio— for you, most wicked sir, whom to call brother would even infect my mouth, i do
forgive the rankest fault — all of them. The decision to forgive his enemies comes chiefly from within and
that is his greatest achievement. The Tempest exemplifies not only the pursuit of worldly and spiritual power,
but also regeneration, forgiveness and reconciliation through the exercise of spiritual power which triumphs
in the end.
Shakespeare links Caliban, Stephano and Trinculo in Act III, Scene 2, to the main plot by creating their desire
to overthrow Prospero and rule the island. This idea in itself is amusing, as it is evident from the beginning
that the drunken trio of Trinculo, Stephano and Caliban do not have the slightest chance against Prospero and
his Art, as is shown later, in Act V, Scene 1, where the plot comes to nothing.
There is something a little more complex involved in Trinculo and Stephano's characters, though. Caliban,
Trinculo, and Stephano continue to drink and wander about the island. Stephano now refers to Caliban as
‘servant monster’ and repeatedly orders him to drink. Caliban seems happy to obey. The men begin to quarrel,
mostly in jest, in their drunkenness. Stephano has now assumed the title of Lord of the Island and he promises
to hang Trinculo if Trinculo should mock his servant monster. Ariel, invisible, enters just as Caliban is telling
the men that he is ‘subject to a tyrant, a sorcerer, that by his cunning hath cheated me of the island’. Ariel
begins to stir up trouble, calling out, ‘Thou liest’. Caliban cannot see Ariel and thinks that Trinculo said this.
He threatens Trinculo, and Stephano tells Trinculo not to interrupt Caliban anymore. Trinculo protests that he
said nothing. Drunkenly, they continue talking, and Caliban tells them of his desire to get revenge against
Prospero.
While Ariel looks on, Caliban plots against Prospero. The key, Caliban tells his friends, is to take Prospero’s
magic books. Once they have done this, they can kill Prospero in his sleep – ‘batter his skull, or paunch him
with a stake, or cut his wezand with thy knife’ – and take his daughter, who ‘he himself calls her a nonpa-
reil’. Stephano will become king of the island and Miranda will be his queen. Caliban assures them that Pros-
pero will be asleep within the half hour.
They wander aimlessly about the island, and Stephano muses about the kind of island it would be if he ruled
it – ‘I will kill this man. His daughter and I will be King and Queen . . . and Trinculo and thyself shall
be viceroys.’ Ariel, invisible, vows to inform his master about the plot, and with music, leads the men astray.
The power-hungry servants Stephano and Trinculo can be said to have become rough parodies of the power-
hungry courtiers Antonio and Sebastian of the previous scene. All four men are now essentially equated with
Caliban, who is, as Alonso and Antonio once were, simply another usurper.
The parallel that exists between Caliban and Antonio is that they were both loved by Prospero, and they
betrayed him. They also both have murder plots overhead by Ariel
After being shipwrecked on the island, Gonzalo tries to comfort King Alonso, who believes that he has lost
his only son, Ferdinand. Ariel arrives and magically puts everyone to sleep except Antonio and Sebastian. As
soon as Alonso's eyes are shut, Antonio whispers to Sebastian that his vital imagination sees a crown dropping
on Sebastian's head. Sebastian says it must be the talk of sleep, otherwise such a thing wouldn't be uttered.
Antonio insists Sebastian would be letting his fortunes sleep if he didn't do something. Since Ferdinand is
dead and Claribel, Alonso’s daughter, is married to the King of Tunis and hence out of reach of Naples,
Sebastian is the heir to the throne. While Sebastian is uncomfortable, Antonio points out that he is more serious
than usual. Sebastian then lets Antonio skilfully lead him on to a conclusion that, if he had not secretly wanted
it, would have been unthinkable to him. Finally, as Sebastian seems swayed to murder his own sleeping brother
for the crown, he asks Antonio if his conscience doesn’t prick him for taking his own brother's title of Duke

The Tempest notes by Twisha Dimri 11

of Milan. Still, Antonio's conscience doesn't bother him. Sebastian, weak-willed, says that he will take Anto-
nio's word for good, and Antonio's deed for precedent. Just as he is about to kill his brother, he is already
bestowing favours on Antonio as if he were king.
Just as they are about to draw their swords, Ariel awakens King Alonso and Gonzalo. Even as they are caught
red-handed, Sebastian jumps immediately to a lie to cover their treason, that they heard ‘a hollow burst of
bellowing’ that sounded like a wild animal, and they were merely trying to protect their sleeping king. Be-
lieving their intentions were good, King Alonso thinks no more about it and asks them to help in the search
of Ferdinand.
Even on the search for the lost Prince, Antonio and Sebastian still plot together. Antonio says he is glad the
King thinks his son is dead and reminds Sebastian not to lose focus on their goal. Sebastian promises to use
the next opportunity. Now totally resolved to killing his brother, he says, ‘I say [we will do it] to-night. No
more.’
Antonio and Sebastian work well together because Sebastian is prone to fooling around in a mean-spirited
way and Antonio earns Sebastian's trust and respect by also being a horrible human being. In their last lines
in the play, Sebastian and Antonio mock Trinculo and Stefano (who are basically their reflections). They show
they have learned absolutely nothing, have no remorse, and do not wish to be forgiven, because they see
nothing wrong with themselves. Their plot against the King, their lack of remorse, and their wickedness in
general characterise them as bad characters.
Miranda betrays her father for Ferdinand: she talks to him, tells him her name despite explicit orders not to,
and offers to do his tasks.

MUSIC
Shakespeare’s most musical character is Ariel, the ‘airy spirit’ of The Tempest, and he also happens to be
one of Shakespeare’s most magical characters. Ariel has four songs in the play. He plays the pipe and tabor,
and his exits and entrances are almost always accompanied with music. Unlike Shakespeare’s professional
musicians, Ariel’s songs are a fundamental part of his nature and are the manifestation of his magic. Shake-
speare uses his songs to drive the play’s plot, as they make characters act in certain ways. Ariel sings songs
throughout the play, and they have magical effects.
At the beginning of the play he sings ‘Come unto these yellow sands’. Here, Ariel appears as a water-nymph,
invisible to everyone except for his master, Prospero. He uses this song to calm the stormy seas which has
shipwrecked Ferdinand and his father’s ship, to calm Ferdinand, and to lead him further into the island. The
‘burthen’ is believed to be a chorus of spirits who answer Ariel, and the animal noises they make disorientate
Ferdinand, putting him at the mercy of Prospero.
He then sings ‘Full fathom five thy father lies’ to lead Ferdinand with his singing, convincing him that his
father has drowned in the storm. Ferdinand cannot tell where the ownerless voice is coming from, and com-
ments that it seems to come from above him. Another important part is when he sings in Gonzalo’s ear to
wake him.
‘While you here do snoring lie, Open-eyed conspiracy
His time doth take.
If of life you keep a care,
Shake off slumber, and beware: Awake, awake!’
Here, Ariel awakens Gonzalo from an enchanted sleep with this song, and saves him from being murdered by
Sebastian. Again, Gonzalo is confused by the spirit’s voice and believes ‘I heard a humming’.
At the end of the play, Ariel’s song is heard again. He has spent the whole play waiting to be freed from the
service of his master, Prospero. In the final act of the play, Prospero promises that he will soon be free, and
Ariel sings as he helps to dress the enchanter. ‘
Where the bee sucks, there suck I:
In a cowslip's bell I lie;
There I couch when owls do cry.

The Tempest notes by Twisha Dimri 12

On the bat's back I do fly
After summer merrily.
Merrily, merrily shall I live now
Under the blossom that hangs on the bough.’
The song here does not work as a spell on any character, but seems to be spontaneous, and anticipates Ariel’s
freedom to go where he pleases as an ‘airy spirit’ once he is released.
Earlier in the play, Ariel also plays on the pipe and tabor, mimicking the drinking songs of the drunkards,
Stephano and Trinculo. When they become frightened at the music which seems to come out of thin air,
Caliban tells them not to be afraid, with the famous line:
‘Be not afeard; the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears.
As Ariel is so often accompanied by music as he travels around the island doing Prospero’s bidding, it is clear
that the noises, sounds, and sweet airs are his doing. He controls the musical landscape of the play, and this
makes him Shakespeare’s most musical character.

SPECIFIC SCENES
ACT I, SCENE 1 AND THE TEMPEST

- The tempest plays a large role in Shakespeare’s play The Tempest. The play begins with a shipwreck. The
spectacular opening storm ostensibly splits a ship and all its passengers drown. It is only after the opening
scene when Prospero removes his robe and begins to tell his daughter his life-story that the audience gets
to know that the storm is only an illusion crafted by Prospero and the castaways are all safe. The storm
gives Prospero an opportunity to relate to Miranda all the circumstances which have caused her and himself
to be in this island. These circumstances are the causes of the action of this play. It is necessary that the
audience of the play should be thoroughly informed of them. The dramatic purpose of this recital of them
is to convey to the spectators that necessary information. For the remainder of the play, the shipwrecked
Europeans and the savage Caliban wander in clusters around the island, while Ariel flits from one group to
another. The two sub-plots of Antonio and Sebastian conspiring to murder Alonso and Caliban planning to
make Stephano the king of the island after killing Prospero also stem from the original tempest. The ulti-
mate resolution of the play mentions the antithesis to the storm – Prospero promises ‘calm seas, auspicious
gales’ in order to catch the ‘royal fleet far off’.
- It introduces the theme of Illusion V Reality
- it sets everything into motion
- The tempest that begins the play, and which puts all of Prospero’s enemies at his disposal, symbolises the
suffering Prospero endured, and which he wants to inflict on others. All of those shipwrecked are put at the
mercy of the sea, just as Prospero and his infant daughter were twelve years ago, when some loyal friends
helped them out to sea in a ragged little boat Prospero must make his enemies suffer as he has suffered so
that they will learn from their suffering, as he has from his. The tempest is also a symbol of Prospero’s
magic, and of the frightening, potentially malevolent side of his power.
- In the conversation between the boatswain and the Nobles, we also see the themes of power imbalances,
hierarchy and servitude come through and the conflicts of the master-servant relationships. Nearly every
scene in the play either explicitly or implicitly portrays a relationship between a figure that possesses power
and a figure that is subject to that power. The play explores the master-servant dynamic most harshly in
cases in which the harmony of the relationship is threatened or disrupted, as by the rebellion of a servant
or the ineptitude of a master. For instance, in the opening scene, the “servant” (the Boatswain) is dismissive
and angry toward his “masters” (the noblemen), whose ineptitude threatens to lead to a shipwreck in the
storm. From then on, master-servant relationships like these dominate the play: Prospero and Caliban; Pros-
pero and Ariel; Alonso and his nobles; the nobles and Gonzalo; Stephano, Trinculo, and Caliban; and so
The Tempest notes by Twisha Dimri 13
 forth. The play explores the psychological and social dynamics of power relationships from a number of
contrasting angles, such as the generally positive relationship between Prospero and Ariel, the generally
negative relationship between Prospero and Caliban, and the treachery in Alonso’s relationship to his no-
bles.
- the Boatswain observes that social hierarchies are flimsy and unimportant in the face of nature’s wrath.
“What cares these roarers,” he asks, referring to the booming thunder, “for the name of king?” The
irony here, of course, is that, unbeknownst to the occupants of the ship, and to the audience, the storm is
not natural at all, but is in fact a product of Prospero’s magic.

MASQUE SCENE
The Masque Scene (Act IV Scene 1) begins with Prospero apologising to Ferdinand for punishing him. He
says that all these punishments ‘were but trials of thy love’ for Miranda, and singing his daughter’s praises,
offers her to Ferdinand. However, he also warns him against taking Miranda’s virginity before the proper
ceremonies of the marriage have been concluded, otherwise the marriage bed will be troubled by ‘sour- eyed
disdain and discord’, and the marriage itself will be destroyed. Ferdinand reassures Prospero that nothing will
tempt him to give up his honour and lust after Miranda. After telling Ferdinand to sit and talk with Miranda
since now they are betrothed, Prospero calls for Ariel, commends him for what he has just done, and tells him
that he needs him to do something more for him. He tells him to bring his minions to that place as soon as
possible as he wants to exhibit some display of his magic in front of the newly- engaged couple.
After Ariel leaves, Prospero once again exhorts Ferdinand to ‘be more abstemious’ with regard to Miranda,
and after listening to his repeated reassurances, calls for Ariel to start his show.
The Masque begins with Iris, a mythological figure, messenger to Juno, the queen of the gods, inviting Ceres,
the Roman goddess of fertility, to come to Juno, as she has asked for her. Iris and Ceres then meet Juno, who
suggests that they go and bless the newly-engaged couple. While Juno blesses Ferdinand and Miranda with
‘honour, riches, marriage-blessing’, Ceres’ blessing is that there should be everlasting abundance and that
their granaries should be always full. Spring should follow harvest, and there should be no winter.
Juno and Ceres then tell Iris to call the naiads of the brooks to come and dance, which she does. In the midst
of the dance, Prospero suddenly recollects Caliban and his conspiracy, and the spirits vanish. Prospero seems
to be angry and in a passion, but tells Ferdinand and Miranda not too worry as ‘I am vexed’. He asks them to
wait in his cell while he takes a little walk to calm his mind.
Prospero then asks Ariel where Caliban and his companions are, to which Ariel replies that he led them
through ‘toothed briars, sharp furzes, pricking gorse and thorns’, finally leaving them in the slimy pool near
Prospero’s cave. Ariel then brings the worthless finery lying in Prospero’s cave to tempt Stephano and Trin-
culo.
When the conspirators arrive, both Stephano and Trinculo are attracted to the glittering clothes, notwithstand-
ing all Caliban’s warnings to the contrary. They decide to carry away all the finery to where their cache of
wine is hidden, but a noise of hunters is heard, and several spirits in the shape of hounds chase the three
conspirators away. The Masque Scene is significant for two reasons:
- Firstly, Shakespeare probably included a masque in his play since stage spectacle was an essential part of
court occasions. He used the figures in his masque as continuations of Prospero’s concern for his daughter’s
chastity being linked to his hopes for her fruitful marriage and the legitimacy of his dynasty. Ceres, in her
insistence on the orderly processes of nature, echoes this theme.
- Secondly, the elaborate masque is also a method to show Prospero’s power to his prospective son-in-law,
in which he is hugely successful. Ferdinand is fascinated by this vision and is extremely impressed with
the powers of Prospero.

The Tempest notes by Twisha Dimri 14