The Tempest Critical Analysis

The nucleus of the plot in Shakespeare's The Tempest revolves around Prospero enacting his revenge on various characters who have wronged him in different ways. Interestingly enough, he uses the spirit of Ariel to deliver the punishments while Prospero delegates the action. Prospero is such a character that can concoct methods of revenge but hesitates to have direct involvement with disillusioning his foes. In essence, Prospero sends Ariel to do his dirty work while hiding his involvement in shipwrecking his brother, Antonio, from his daughter, Miranda.

The Tempest is about an ousted Duke of Milan ,Prospero, who has been living in exile on a remote island for the past twelve years with his daughter Miranda. He is a powerful magician, who happens to be the master of Ariel and Caliban, and a guy who really likes his books. When Prospero's enemies wash up on shore, he uses his black magic to seek revenge and restore himself to power. The Tempest belongs to the genre of Elizabethan romance plays. It combines elements of tragedy with those of romantic comedy, and like one of Shakespeare's plays previously, it asks deeper questions that are not completely resolved at the end. The tone that seeps into the play is one of wonder, amazement, and admiration. Mystery is still present , but the magic performed is not black and scary. The version that seems to grasp my attention more, would have to be the Utah Valley University interpretation because it takes Shakespeare’s main purpose and tone but shows it in its own unique way. Furthermore, with its silly drunkards, the play has a certain lightness to it and even the so called killers of the King tell hilarious jokes and are lighthearted. But there is also the tone of revenge and reconciliation in the play. We feel a revenge burning in Prospero while, at the same time, a wish for forgiveness and reconciliation with those who have wronged him.

The second that she offers is that the magic that Prospero controls only allows him control of the physical world. Since he cannot directly influence the thoughts and beliefs of others, he is limited to mostly trickery, albeit impressive trickery. He has the power to conjure spirits, control the weather and raise the dead, but for all this earthly power, he cannot change the basic tenets of men. He has to use his powers to attempt to make the characters of the play change themselves. This sometimes works, and sometimes does not. This interpretation of Prospero is in contrast with the last tenet. Prospero appears at the beginning, according to his own words, to be only interested in gains beyond the world, yet his magic is limited to only things in the world (assuming that spirits are also physical in nature, and not outside the realm of reality.) This means that he is restricted to using earthly means to attain a goal above earthly gains. He is a strangely hypocritical person here. He rejects the world in pursuit of his studies, yet he is restricted by that same earthly limitation. This adds to the dimension of his character. Perhaps he is not as simplistic as he seems. This allows him the possibility of having conflicting goals within the play, as he seems to have.

    In William Shakespeare's The Tempest, Prospero lives with his daughter Miranda on a deserted island.  On the surface, he appears to be a benevolent leader doing his best to protect and care for the inhabitants of the island, especially for Miranda.  On closer inspection, however, Prospero plays God, controlling and creating each individual to fit the mold he desires.  He takes advantage of his authority over the people and situations he encounters while wearing a facade of integrity and compassion to disguise his wily intentions and to retain love and respect.

Discovery can lead to a new-found identity, position, and view on society. Caliban “loved” Prospero, and “showed thee (Prospero) all the qualities o’ th’ isle”,

Aime Cesaire’s A Tempest is a ‘new world’ response to Shakespeare’s The Tempest. In Cesaire’s adaptation, the characters and plot are generally the same. However, there are a few small deviations from Shakespeare’s The Tempest that make a significant impact on the play as a whole, and lead the play to illustrate important social issues occurring in the time of the adaptation.

He seeks for control in his nemesis towards his brother Antonio, control of the fate of his daughter Miranda, and the control of his servants Ariel and Caliban. Prospero uses force and debt to have greater authority over the spirit Ariel. When Ariel asks for his freedom and “liberty,” Prospero brings up the “damn’d witch Sycorax” from whom he saved him (1.2.247-264). Sebastian and Antonio also abuse their powers by plotting an attack on Alonso, the King of Naples, so they could gain even more political power in the real world. Eventually after all the words of encouragement from Antonio, Sebastian finally says, “Thy case, dear friend, shall be my precedent. As thou got’st Milan, I’ll come by Naples. Draw thy sword,” (2.1.270-272). The desire for political power and authority becomes the core from which other minor themes develop in this play. This improper use of power eventually only harms everyone, not benefit.

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.

“Your tale, sir, would cure deafness.” (Shakespeare, page 18) In The Tempest by William Shakespeare, the introduction plays a huge role in how the amazing story plays itself out. Act Ⅰ and Ⅱ create a good introduction to the story because, Shakespeare highlights the build up to the climax well, he uses the characters in the story to turn against each other. The author introduces the characters very well in this play and shows their importance to the development of the play.

Shakespeare's Use of Language, Imagery and Setting to Illuminate Prospero's Journey from Revenge to Reconciliation

Throughout the years since The Tempest was first published in the 1623 Folio, there has been much debate among Shakespeare’s contemporaries and critics as to the significance of the figure of Prospero and other major characters featured in the work. In this paper, I want to examine the figure of Prospero and his relationship with the character Ariel. In doing this, I want to show how Prospero is a figure for the artist, how Ariel is a figure for the poetic imagination, and how the relationship between Prospero and Ariel explores the relationship between the artist and his or her poetic imagination. By showing this, I wish to argue that Shakespeare’s intention in portraying

Making use of character Prospero, the author shows how the ideologies of an individual assume a different direction after suffering some of the transformation in the society. As the play kicks off, Prospero’s conduct displays a contradiction from the basic tenets of Christian forgiveness. Depending on his good fortune, the character seizes the opportunity to take vengeance of his enemy. The passage that presents the central focus of the book is one that "Prospero hopes that his plan to

In both texts there was the everlasting love and security between Prospero, or Prospera, and Miranda. Each character wanted their daughter to be happy and safe. The differences seen between the two texts were distinctly related to the change of gender. Prospera, in general, appeared to be more benevolent and compassionate for Miranda, as well as Ariel. With a more feminine nature, situations were more light hearted and moments held a more intimate value. The outstanding film adaption of Shakespeare’s The Tempest provided a new outlook on the classic play. The film allowed the story to be viewed from a different perspective and gave viewers new insight on how a few changes can shift the momentum of a

easily destroy or punish his enemies by any method or means. However, he chooses not to and brings the past conspirators face-to- face with the sins of their past, which causes them to be repentant. In a god-like way, Prospero

Power and control can limit the ability to realize the potential to discover. Shakespeare’s late romance “The Tempest,” written in early 17th century follows the usurpation of protagonist Prospero, betrayed by his brother and with a preoccupation for magic he finds himself in exile on a remote island with his three-year-old daughter, Miranda. Prospero seeks to enact revenge on those he feels have wronged him. Twelve years of harbouring bitterness