Explore the Ways in Which Prospero Is Presented as a Character in William Shakespeare's ‘the Tempest'

Prospero thinks that Miranda is the key to get what he wants. If she marries Ferdinand, who is the King of Naples son, when he goes to

These two Shakespearean characters, Macbeth and Prospero, from Macbeth and The Tempest can greatly compare to one another. From the very beginning, these two men are hard to understand and seem like your average warrior and ruler. Both of these characters are dealing with struggle of power; however, they both deal with this issue in different, interesting ways with different results. At the end of these two plays, we meet two entirely different characters than the ones that we were introduced to from the beginning. In Macbeth and The Tempest by Shakespeare, Macbeth and Prospero, the two main characters have a lot in common and can great compare to one another.

Prospero’s retellings of past events to Miranda and Ariel illustrates how Prospero maintained his power, exploring the old man’s meticulous carful methods of controlling those around him through magic, charisma, and rhetoric.

In Shakespeare's play, “The Tempest”, Prospero, the main character, is the rightful Duke of Milan. He found refuge on a distant island after his brother, Antonio, seized Prospero’s title and homeland. These events and experiences of being exiled advance character to become isolated and enriched at the same time. As a comic hero, Prospero start off as being frustrated and vengeful due to his separation from his title and homeland, but is later refined due to those experiences.

Throughout Shakespeare’s The Tempest, we are able to view Prospero’s intrapersonal- discovery as an aged man through the coming of age. Using his knowledge Prospero orchestrates the action of the play in order to restore the moral balance and injustice of his usurpation. However, along the way, he does become lost in his quest for vengeance and his pride. Yet, by the epilogue he has come full circle; while the opening tempest resonates with his own internal tempest, the final act sees him “promise…. calm seas”, suggesting that he has returned to his humanist values. In this sense, Prospero has shown us that he moves from immaturity to maturity. Contrastingly, both Holden and Prospero’s process through the coming of age exhibits similarities of the development of maturity. Despite the significant age difference between them, they

In Shakespeare’s The Tempest, the protagonist Prospero is traditionally a misunderstood character. Many interpretations of the character have developed, such as a loving and caring father, but also as a manipulative man.

   The presence of Prospero is felt continuously in The Tempest, even in those scenes in which he does not appear personally. He is the manipulator of the action of the play, and occupies the center of the stage very markedly, especially if one compares his position with that of the central characters of, say, most of Shakespeare's history plays. For in the latter plays, England itself becomes the hero - the English crown, in its resistance to civil war and factionalism, and therefore there is usually no one character of quite the same stature as Prospero.

Throughout the Tempest, the character Prospero takes his decision when he knew that the castaways are there in his power and he can punish them the way he want and the way he can touch the height of brutality. But it was where Prospero takes his decision and takes the hands on the consequences by not meeting the end of his contempt for the sins of castaways. Instead of cutting the life out of the sinners as Prospero was victimized by the castaways he decides to give it a new beginning rather than the brutal and bitter ending he could have given to them. All people have their different reasons for why or why not to forgive somebody but for the most part people choose to forgive because they feel empathy, remorse, and to feel better as a person. At the end of the day holding a grudge and getting revenge may feel good at first but in the long term you are better off forgiving and being free of the chains.

During Shakespeare's The Tempest, the character Prospero can be difficult to interpret due to his varying actions - one moment he is a kind and caring father, and the next he is a villainous torturer. By the end of the play, much of the audience is willing to forgive him after he gives up his power. However, after further analysis, is it is clear that his sacrifice does not equate to the problems he has caused; years of neglect, thievery and manipulation can not be fixed by simply destroying his staff.

Prospero exclaims, “When I shall think or Phoebus’ steeds are foundered or night kept chained below. Sit then and talk with her. She is thine own”(Shakespeare 4.1. 33-35). This quote exemplifies the love Miranda and Ferdinand share for each other, and explains that they have won the long battle against Miranda’s father.

The thought that The Tempest was Shakespeare's final solo work has influenced many theories about his intentions within the writing of the play. By the time he was writing it, "he was withdrawing from active involvement in the company and in the London theater scene.... by 1612, he had given up his residence in London" (Graff and Phelan). A commonly prevailing idea is that Prospero was meant to represent Shakespeare himself: a magician (or artist), nearing the end of his life, and putting things in order before his time was up. While popular, however, it is little more than a theory in terms of evidence about Shakespeare's intentions. There is, however, plenty of evidence to suggest that Shakespeare took inspiration from five individual essays he is

In Shakespeare’s The Tempest Prospero is a dynamic character who possesses great power stemming from both his books and his manipulation of other characters and events. This view of Prospero has changed over many years with the development of postcolonial theories. Before this development, Literary Critics such as Mowat, Gooder, and Belton argued that his magic is just that¬—a form of magic with no link to his power as a colonial leader. He is still seen as a manipulator, but not a leader of the people on the island.

His backstory was that he was the Duke of Milan before his brother tricked his court into exiling him and his daughter instead of being the Duchess of Milan as Prospera was. I think that changing Prospero to Prospera was a very wise move, and in my opinion having the main role as a woman makes more sense to the storyline and characters than it did in the original. It adds a deeper level of sincerity and complexity to her relationship with her daughter, where she can sympathize with everything Miranda is going through and her feelings towards Ferdinand. It also adds a greater sense of indignity and rage to her banishment, not only because her brother wanted power but also due to the fact that she was an educated woman who was banished simply because of the possibility of her having anything to do with witchcraft, a severely punished crime in those days, mostly against women. Even though she did possess skills to change and command the elements, which helped her survive on the island along with being able to indenture spirits into her service, she was unduly banished from Milan for twelve years. In the beginning and middle of the movie, her passionate rage towards those that scorned her is unbridled. Only after she nearly drives Alonso (who did not help banish her), Sebastian, and Antonio nearly mad and Ariel remarks, “Your charm so strongly works ‘em, hat if you now beheld them, your

Discuss the test of courtship faced by Miranda and Ferdinand, including a response to a classmate. In Act 3, Scene I, Ferdinand, and Miranda are to marry. The possibility turns out after Prospero finally allows Ferdinand to become his son-in-law following his proof that he is worth Miranda. At first, Prospero was reluctant to bless the Ferdinand-Miranda union because he was not sure if Ferdinand loved his daughter truly.

     During the time of Shakespeare, society had a hierarchical structure. In Shakespeare's play, The Tempest, the characters of Prospero and Caliban, represent two different extremes on the social spectrum: the ruler, and the ruled. Their positions on the social hierarchy are largely due to the fact that Caliban responds almost wholly to passions, feelings of pleasure -- his senses, while Prospero is ruled more by his intellect and self-discipline -- his mind. However, the fight that Prospero has against his own natural tendency to ignore the discipline of his intellect, and give in to pleasures such as vanity and self-indulgence, cannot be ignored.