The Tempest is not a pure fantasy tale, but a purposeful allegory. The characters in the play are all representative of characters found in the bible. The first, and perhaps most persuasive, arguement would be Prospero symbolizing God. Prospero is seen to be a representative of God for several reasons. First, he is obviously in control of the actions and has an omnipotent quality. This has been demonstrated by several scenes throughout the play. Consider the power that Prospero possesses, as shown in the Epilogue at the closing of the play: I have bedimmed The mooontide sun, called forth the mutinous winds, And ‘twixt the green sea and the azured vault Set roaring war. . . . The strong-based promontory Have I made shake, and by the spurs plucked up The pine and cedar. Graves, at my command, Have waked their sleepers, oped and let them forth By my so potent art (V. i. 41-4, 46-50).
These are obviously superhuman works. In fact, Prospero claims quite definitely that he possesses the power of mighty Zeus himself, for not only does he say that he can make lightning, but he declares that he has actually used the god’s own thunderbolt (Still 6): To the dread rattling thunder Have I given fire, and rifted Jove’s stout oak With his own bolt.
Having already established that Prospero is the possessor of superhuman power, why would Shakespeare include this information except solely for alligorical purposes (Still 7)? This information serves no purpose except to establish Prospero as a god. Prospero is also seen in the play performing several roles that Christianity traditionally assign to God: that of the Omnipotent Judge and the Savior of Man. Prospero is revealed to be the Omnipotent Judge through a speech given by Ariel (Still 7):
Sophocles uses a mixture of both visual and emotional imagery to create the morally questioning, Greek tragedy 'Oedipus Tyrannos'. He presents the audience with an intense drama, which addresses the reality and importance of the gods that the Greeks fervently believed in. The play also forces the audience to ask themselves if there is such a concept as fate. From the very beginning of Oedipus, it ...
. . . . I and my fellows Are ministers of Fate. . . . The powers, delaying, not forgetting, have Incensed the seas and shores, yea, all the creatures Against your peace. . . and do pronounce by me Lingering perdition, worse than any death Can be at one, shall step by step attend You and your ways; whose wraths to guard you from, Which here, in the most desolate isle, else falls Upon your heads, is nothing, but heart’s sorrow, And a clear life ensuing.
Shakespeare tells us, through Ariel, that Prospero can pass sentance of lingering perdition, but whose mercy can be gained through repentance. This leads into the role of God as the Savior of Man. This is shown through his quote: They being pentient, The sole drift of my purpose doth extend Not a frown further (V. i. 28-30). Here, Prosperso states that, since repentance has occurred, there is no more ill will. This reflects the Christian belief that repentance can allow the forgiveness of sins. Also, Prospero is seen as the “master of the island”–that is, the all-powerful force controlling it. He manipulates the elements to produce his desired effects; two excellent examples of this are the tempest he creates in order to trap his brother and his companions, as well as the mock-feast he creates to manipulate them. The parallels to God in these instances are obvious. A final parallel between Prospero and God can be found in his Epilogue, lines 15- 20. And my ending is despair Unless I be relieve’d by prayer, Which pierces so that it assaults Mercy itself and frees all faults. As you from crimes would pardon’d be. Let your indulgence set me free (Epilogue, 15).
This is as close a paraphrase of Christ’s injunction on prayer in Ther Sermon on the Mount or of the words on forgiveness in His prayer as could be found in literature (Coursen 330). In addition to Prospero being symbolic of God, Caliban is symbolic of Satan. This is evident for several reasons. He is referred to as Devil by Prospero, and is represented as the “lost sheep” in Prospero’s flock–much the same as Lucifer was once an Angel of God who left the fold. Prospero cannot change the mind of Caliban, he can only read it and hope to thwart his plots. Caliban’s status as an outsider is shown in the following quote: A devil, a born devil, on whose nature Nurture can never stick! on whom my pains, Humanely taken, all, all lost, quite lost (IV. I. 188-93)! Caliban’s ethics and morals also help reinforce his representation of Satan. Caliban has a very different sense of morals when compared to the average human. Through his interaction with Propsero and Miranda at the beginning of the play, we learn that Caliban attempted to rape Miranda. However, in their dialogue, the responses given by Caliban show that he has no remorse about the action itself–only that he got caught. O ho, O ho! Would’t had been done! Thou didst prevent me; I had peopled else This isle with Calibans (I, ii, 349).
To what extent would you agree with Prospero's description of Caliban as a "thing of darkness"? In the list of characters Caliban is described as a "savage" and "deformed" slave. On stage he has been played as a lizard, a dog, a monkey, a snake and a fish. Most productions opt for the form of a misshapen man as it's very hard to imagine how the other forms could perform all the other chores that ...
Through this quote, it can be inferred that Caliban has no ethics or conscious as we define them. Another example of Caliban’s distorted values occurs later in the play, when he has aligned himself with Stephano and Trinculo. Here, he humiliates himself by telling Stephano that he will kiss his feet and lick his shoes simply to show his alliance to Stephano and in order to get Stephano and Trinculo to trust him. This shows how Caliban has no pride or loyalty; he manipulates others to serve his own selfish needs, wants, and desires.A final example of Caliban representing Satan occurs when he attempts to talk Stephano and Trinculo into killing Prospero. In this scene, he lies to Trinculo and Stephano and tells them that he was once master of the island, but Prospero overthrew him. He asks Stephano to take the island back over; in exchange for his freedom, Caliban agrees to serve Stephano, who will be the new ruler of the island. Parallels between this scenerio and the exile from the garden of Eden story in the Bible. Both involve two characters who are tempted with great power and knowlege by an evil being–Satan. Both are successfully tempted by the evil foce; both eventually suffer for their choices.”The Tempest”, by William Shakespeare, is a very interesting and entertaining story when viewed by its face value. However, when one analyzes the characters, settings, and situations, one realizes the deeper meaning intended by Shakespeare in composing the drama. Through his creation of the island microcosm, which is ruled by Prospero and undermined by Caliban, the Bard creates a masterful work which glorifies a merciful God, who will forgive sins through repentance. In “The Tempest”, Shakespeare creates a story that is valuable for more than just entertainment purposes–he creates a work of art.
The Tempest: Raging Waters Brad Fletcher The magic in The Tempest was able to create many abnormal happenings a swell as different feelings that are shown through the characters of Milan. There were two different types of magic that were shown one was represented by witches and wizards, this type of magic was not the beneficial type of magic. The beneficial type of magic was created by studies ...
Still, Colin. Shakespeare’s Mystery Play: A Study of “The Tempest”. Cecil Palmer, 1921. Knight, Wilson G. The Crown of Life: Essays in Interpretation of Shakespeare’s Final Plays. Barnes & Noble, Inc., 1947. Leech, Clifford. Shakespeare’s Tragedies and Other Studies in Seventeenth Century Drama. Chatto and Windus, 1950.