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Character
Directory
ALONSO |
King Alonso of Naples
is the father of Ferdinand. In 2.1, when Alonso and his followers are
shipwrecked on the magician Prospero’s island, Alonso believes his son has
drowned and his grief overwhelms him. In 3.3 Prospero's sprite Ariel,
disguised as a Harpy, declares Alonso, Antonio, and Sebastian to be 'three
men of sin' (3.3.53) and reminds the king that he helped Antonio depose
Prospero as Duke of Milan (before the play began). Ariel cites the loss of
Ferdinand as Alonso's punishment. The three are made insane by Prospero's
magic and must be revived at the play's end, in 5.1. Faced with Prospero,
Alonso willingly surrenders Milan to him and begs his pardon. When
Prospero reveals the surviving Ferdinand, Alonso is overjoyed; his 'I say,
Amen' (5.1.204) offers a religious reference that reinforces the play's
point that providence can restore human happiness.
Alonso symbolizes
several of the play's themes. His story demonstrates the Christian pattern
of sin, suffering, repentance, and eventual recompense, thus supporting
the play's presentation of moral regeneration and contributing to the
final aura of reconciliation and forgiveness. His fall into madness and
subsequent revival as a purified man is an instance of another important
theme, transfiguration. Finally, his innate goodness—exemplified by his
grief for Ferdinand and his admission of guilt—contrasts tellingly with
the villainy of those around him, especially Antonio. |
SEBASTIAN |
Sebastian is the brother of King Alonso of
Naples. Sebastian is led by Antonio, the villainous deposer of Prospero,
into greater crimes than he would otherwise have contemplated. In 1.1
Antonio and Sebastian arrogantly curse the seamen of their storm-wracked
vessel, and after they are shipwrecked on Prospero's magical island they
are equally offensive in ridiculing Gonzalo’s attempts to cheer Alonso,
who believes his son is dead. However, Sebastian demonstrates no more than
crude offensiveness until Antonio suggests that they kill the sleeping
Alonso, so that he, Sebastian, may inherit the crown of Naples. Sebastian
accepts the idea greedily, but Antonio's primacy in evil is demonstrated
in their plan: Antonio will stab Alonso, while Sebastian takes on Gonzalo.
This is Sebastian's moment of greatest involvement. Prospero's sprite
Ariel prevents the assassinations and reduces Sebastian and the others to
madness. In 5. L free from the spell, Sebastian has one more significant
line. When Prospero restores Alonso's son, Sebastian cries, 'A most high
miracle.' (5.1.177). In acknowledging the spiritual power of the moment,
Sebastian contrasts with Antonio, who remains unmoved. Thus, Sebastian,
like Alonso, finally comes to exemplify humanity's capacity for
redemption. |
PROSPERO |
Prospero is the
magician-ruler of a remote island. Prospero, once the Duke of Milan, lives
in exile with his daughter Miranda and two supernatural inhabitants of the
island, Ariel and Caliban. Through magic, Prospero controls this world
completely, and he is the central figure of the play, simultaneously the
sparker and spectator of its various subplot. He has freed Ariel from a
magic spell, in exchange for his service as an assistant; he also
befriended Caliban at first but enslaved him after he attempted to rape
Miranda. Though embittered by his exile, Prospero has gained wisdom
through his sorcery, and when chance places his one-time enemies in his
power, he uses his magic to create an atmosphere of reconciliation and
forgiveness, providing for the future in the union of Miranda with
Ferdinand, the son of his enemy.
Having accomplished
these things, Prospero sacrifices both his dominion over the island and
his love of magic, choosing to return to Milan. In doing so, he restores a
measure of justice to human society, for he had been unjustly deposed from
authority before the play began. He also restores himself to a sound moral
footing, for he had earlier placed a private concern—his study of
magic—above his duty as a leader of society, with disastrous results.
However, Prospero's success is not complete; he remains a melancholy
figure at play's end, haunted by Caliban's enmity and his evil brother
Antonio, who refuses regeneration. Thus Prospero brings out an important
subtheme of The Tempest and of the Romances in general: that life is an
admixture of good and evil and that good cannot completely eradicate bad.
Prospero is a
philosopher as well as a ruler. His magic is referred to as his 'Art'
(1.2.1), consistently spelled with a capital A; this is a conventional
allusion to Neoplatonic doctrines of the occult, familiar ideas in the
17th century. The Neoplatonic philosopher/magician attempted to elevate
his soul through arcane knowledge of the divine, whether through alchemy,
the reading of supernatural signs, or communication with spirits. If these
efforts led to a magical manipulation of the real world, it was only as a
byproduct of the search for spiritual knowledge. Prospero's original goal
was to transcend nature, not control it. Nevertheless, it is clear that
the pursuit of this goal was culpably selfish, for it resulted in his
exile and the disruption of sound government in Milan, as he recounts in
1.2. He had insisted on studying magic rather "than governing and as a
result had been deposed by Antonio. Conscious of his failing, regretful at
leaving Ariel and the beauties of 'rough magic [and] heavenly music' (5.1.
50-52), distressed by his evident failure to educate Caliban, and, most
important, frustrated by the intransigence of Antonio, Prospero returns to
Milan at play's end without the satisfaction the conclusion brings to most
of the other characters. Though restored to power, and though he has
provided a hopeful future for others, he is a partial failure, and he
knows it.
Prospero is not a
pleasant character. He is a distant and uncommunicative father and a
tyrannical master. His unjustified complaints that Miranda is not
listening to him in 1.2 and his anguished disruption of the Masque in 4.1
are evidence of his temperamental nature. Only in his affection for Ariel
is he a pleasant figure, but he is also capable of rounding vituperatively
on the sprite —'Thou liest, malignant thing!' (1.2.257)—and threatening
him—'I will . . . peg thee [to a tree] till / Thou hast howi'd away twelve
winters' (1.2.294-296). His program of petty harassments of Caliban,
recounted in 2.2.1-14, is equally repellent.
Prospero's
exploitation of the island's inhabitants is a clearly established element
of the play. Ariel, a free spirit by nature, is restive in his service,
and Caliban even attempts a revolt. Some modern commentators go so far as
to make this exploitation a central concern, and The Tempest has been
presented as an allegory of colonialism and oppression. However, it is
clear that Prospero's control has been employed for good, for he has
undone the dominance of evil that he found on his arrival, when the
villainous Caliban prevailed, and Ariel, a good spirit, was imprisoned by
Caliban's mother. The inhumane treatment of Caliban and Ariel's
dissatisfaction provide evidence of the inexorability of evil; good ends
must often be compromised by morally unsatisfactory means.
A central theme of
the play is transfiguration, as the characters undergo transformations
that suggest the varying human capacity for improvement. Prospero's magic
effects these alterations in the others, but he himself also undergoes a
highly significant change. His transformation occurs largely before the
time of the play, but evidence of it remains. His decision that 'the rarer
action is / In virtue than in vengeance' (5.1. 27-28) implies a temptation
from which he refrains. We recognize that he has grown: first a scholar of
magic, he became a seeker of revenge through super-natural means, but
finally he has transcended magic altogether. Once he could say 'my library
/ Was dukedom large enough' (1.2.109-110), but at play's end he returns to
Milan to resume his proper position as a leader of society. In so doing,
he renounces his magical powers and discards his semi-devine status as the
island's omnipotent ruler. Prospero accepts his humanity and comes to
terms with the prospect of his own death, to which he will devote 'every
third thought' (5.1.311). He leaves the future in the hands of Ferdinand
and Miranda.
Prospero's 'Art'
fittingly takes the form of drama, the art practiced by Prospero's
creator. Assisted by Ariel, Prospero produces three distinctly theatrical
illusions—the Harpy’s banquet of 3,3, the betrothal masque of 4.1, and the
presentation of Ferdinand and Miranda at chess in 5.1. As producer of
these spectacles, Prospero comments on their nature at the close of the
masque, in his famous speech beginning 'Our revels now are ended'
(4.1.148). He points out the illusion involved and goes on to equate such
an 'insubstantial pageant' (4.1.155) with life itself, which disappears
once it is performed. 'We are such stuff / As dreams are made on', he
concludes, 'and our little life / Is rounded with a sleep' (4.1.156-158).
Many commentators have regarded Prospero's remarks as Shakespeare's
personal valedictory to a career in the theatre. While this notion is
imprecise, in that Shakespeare continued to write for the theatre after
The Tempest, the passage does seem to reflect the experience of an artist
whose long career has led to the belief that art's inherently illusory
nature is analogous to, and probably related to, the impossibility of
understanding life. Here we have a clue to the philosophy underlying a
prominent feature of Shakespeare's work, his persistent attention to
ambiguity.
Shakespeare may have
taken Prospero's name from Prospero Adorno (active 1460-1488), a deposed
duke of Genoa, of whom he could have read in William Thomas' History of
Italy (1549). However, this is uncertain, for another source was nearer to
hand: Ben Jonson’s Every Man in His Humour (1600). This play, in
which Shakespeare acted, contains a character—though not a deposed
duke—originally named Prospero (the name was later changed to Wellbred, as
it appears in modern editions). |
ANTONIO |
Antonio is the
villainous brother of Prospero. Before the play begins, as we learn in
1.2, Antonio deposed Prospero as Duke of Milan with the help of King
Alonzo of Naples. Fearful of Prospero's popularity, he staged a natural
death for the duke, abandoning him and his daughter Miranda in a small
boat at sea. In the play Antonio, along with Alonso and others, is
shipwrecked on the island that Prospero rules in exile. He continues to
display his villainy in large and small ways, derogating the optimism of
Gonzalo and encouraging Alonso's brother Sebastian to assassinate the king
and assume the throne of Naples. His manipulation of Sebastian in
2.1.197-285 is a striking demonstration of Machiavellian villainy, and for
this Antonio has been compared to Shakespeare's great villains Richard III
and Iago.
Antonio, Alonso, and
Sebastian are all captured by Prospero, who casts a spell of witless
insanity on them; when he releases them from the spell, he takes back his
duchy and forgives them their crimes in an atmosphere of reconciliation.
Antonio, however, refuses to accept this reconciliation, remaining silent
when even the bestial Caliban assents. He thereby represents an important
qualification to the play's sense of good's triumph: evil cannot be
entirely compensated for in a world of human beings, for there are always
Antonio’s who simply will not accept good. |
GONZALO |
Gonzalo Character in
The Tempest, adviser to King Alonso of Naples. Gonzalo is a kind and
charitable, if ineffectual, figure who is a foil to the cynical villainy
of Antonio, Duke of Milan, his master's ally. Gonzalo's goodness is an
important element in the play. He persistently takes a generous and
optimistic point of view, as in his fantasy of an ideal society in
2.1.143-164. At the play's close, when Prospero’s schemes result in a
final reconciliation and the seemingly miraculous restoration of the
king's son, Ferdinand, it is the ageing adviser—called by Prospero 'Holy
Gonzalo, honourable man' (5.1.62)—who cries out, '0, rejoice / Beyond a
common joy!' (5.1.206-207).
In 1.1, as the king's
ship sinks, Gonzalo's calm acceptance of fate contrasts with Antonio's
arrogant fury and helps establish our sense of the moral polarities with
which the play is concerned. In 1.2 we learn that Alonso assisted Antonio
in deposing his brother, Prospero, and abandoning him and his infant
daughter Miranda at sea, but that Gonzalo helped the victims by providing
them with supplies. The contrast between Antonio and Gonzalo remains
throughout the play. In 2.1 Gonzalo is mocked by Antonio and Sebastian for
his attempts to cheer the king, and Antonio proposes to kill Gonzalo along
with Alonso in his scheme to place Alonso's brother Sebastian on the
throne of Naples. At the close Gonzalo's hearty participation in the aura
of reconciliation points up Antonio's refusal to accept it. |
ADRIAN |
Adrian is a follower of King Alonso of
Naples. Adrian hardly speaks; in 2.1 he briefly supports Gonzalo in his
optimism, which is mocked by Antonio and Sebastian, and in 3.3 he speaks
only half a line, closing the scene. Adrian, with Francisco, has been seen
by some scholars as evidence for the existence of an earlier version of
The Tempest, in which his role was more substantial, for there seems
no reason to include him in the play as it stands. He may have been
intended for scenes that Shakespeare originally planned but then discarded
in the course of composition. In any case, minor attendants help establish
the high status of royal figures throughout Shakespeare's plays, and
Adrian has this function for Alonso; moreover, his reiteration of
Gonzalo's position focuses attention on it and helps maintain our sense of
good's survival among villains. |
FRANCISCO |
Francisco is a
follower of King Alonso of Naples. In 2.1.109-118 Francisco attempts to
reassure the king that Prince Ferdinand has survived their shipwreck. This
passage is an extension of Gonzalo’s efforts to cheer the king, and
Francisco speaks only three more words, in 3.3. 40, so there seems little
reason for his presence in the play. In some editions, in fact, he is
deleted and his lines given to Gonzalo. Some scholars have taken him and
Adrian as evidence of an earlier version of The Tempest, in which
they played a greater part. He may have been intended for scenes that
Shakespeare originally planned but then discarded in the course of
composition. In any case, royal figures are conventionally endowed with
unimportant attendants throughout Shakespeare's work. |
Ferdinand |
Ferdinand is the
lover of the magician Prospero’s daughter, Miranda. Prospero arranges the
match between Miranda and the son of his old enemy, King Alonso of Naples,
as part of the atmosphere of reconciliation and forgiveness with which he
resolves his own exile. Prospero pretends to distrust Ferdinand and puts
him to forced labor, but when the young man's love survives this trial,
Prospero blesses the future marriage of the couple. Ferdinand's ardor is
important to the play's scheme of things, for he and Miranda symbolize the
healing value of love. Ferdinand is accordingly a sterotypical romantic
leading man, though his role is relatively small.
Ferdinand is
tellingly compared with Prospero's bestial slave, Caliban. Miranda
explicitly judges the two, in pointedly contrasting terms: Caliban is 'a
thing most brutish' (1.2.358) and Ferdinand 'a thing divine' (4.1.421).
Caliban has attempted to rape Miranda, but Ferdinand vows to respect her
virginity until they are married. Caliban truculently resists his chore of
delivering fire wood with whines and curses; Ferdinand is assigned a
similar task—carrying logs—but he rejoices in the labor, for it is
associated with his love. Ferdinand's mourning for his father, whom he
believes drowned, is also part of the play's depiction of goodness and
helps (with Alonso's similarly mistaken grief over his son) to ameliorate
the king's earlier crime against Prospero. |
Stephano |
Stephano is the
drunken butler of King Alonso of Naples, and the ally of Caliban in his
plot to kill Prospero. Stephano is a loutish fellow who is drunk
throughout his time on stage, bullies Caliban and Trinculo, and is
ludicrously ineffective in carrying out the plot. In 3.2, when Stephano
accepts Caliban's suggestion that after killing Prospero he take Miranda
for himself, we see that a supposedly civilized man is capable of villainy
as deep as that of a bestial savage (for Caliban had already attempted to
rape the young woman). Stephano's bluff—and drunken—courage distinguishes
him from his companions, but when he is comically distracted from the
assassination by the trivial vanity of fancy clothes in 4.1, he seems
inferior to even the sub-human Caliban, at least in discipline. He offers
an interesting sidelight on one of the play's themes, the relative merits
of civilized and natural humanity; in his drunken foolishness, Stephano
demonstrates the potential for evil inherent in civilization's pleasures.
Nevertheless,
Stephano is basically a comic villain, contrasting with the more seriously
evil Antonio in the play's network of comparisons. When he is finally
punished, Stephano is reduced to punning on his name, Neapolitan slang for
'belly', by saying 'I am not Stephano, but a cramp.' (5.1.286). This jest
has seemed to some scholars to confirm speculation that Shakespeare found
inspiration for The Tempest in Italian Commedia Dell’Arte
scenarios, while others point to the appropriate definition of 'Stefano'
in John Florio’s Italian-English dictionary, A Worlde of Wordes (1598). |
Trinculo |
Trinculo is a jester
to King Alonso of Naples and a follower of Stephano and Caliban in their
plot to kill Prospero. Trinculo is a buffoon, drunk most of the time, and
alternately servile and presumptious. He is ridiculously terrified of the
weather when he first appears in 2.2 and is a butt for humor when Stephano
sides with Caliban against him in 3.2, especially when the invisible Ariel
imitates his voice and makes him seem argumentative when he is in fact
entirely docile. In 4.1 Trinculo is comically obsequious towards Stephano,
in a parody of the relationship between courtier and king. When the trio
of would-be assassins is finally punished, Trinculo can only observe
ruefully, T have been in such a pickle . . . that, I fear me, will never
out of my bones' (5 1 282-283).
Trinculo is less
vicious than Stephano; he is a follower in a conspiracy he could not have
conceived himself. Stephano and Trinculo are thus respectively like
Antonio and Sebastian, within the play's various parallels and
oppositions. As a professional jester, Trinculo is technically a Fool, but
in his buffoonery, his cowardice, and his lack of conscious irony, he more
nearly resembles the rustic Clown. |
Caliban |
Caliban is the
beastlike slave of the magician Prospero. Before the time of the play,
Prospero and his daughter Miranda took Caliban, the illegitimate son of a
witch and a devil, into their home and taught him to speak and function as
a human, but his response was to attempt to rape the girl. In the course
of the play he and Stephano attempt to murder Prospero. Though Caliban is
powerless to effect his schemes, his villainous nature is an important
element in The Tempest's scheme of things. At the play's close a chastened
Caliban declares, 'I'll be wise hereafter, / And seek for grace'
(5.1.294-295) as part of the general reconciliation engineered by
Prospero. Caliban is only partly human. He is a 'monster' (2.2.66), a
'moon-calf (2.2.107), a 'born devil' (4.1. 188), and a 'thing of darkness'
(5.1.275). Because his father was a devil, Caliban is supernatural like
Ariel, but unlike that airy spirit, he has no supernatural powers. He is
more like a debased human than like any other supernatural creature in
Shakespeare. He has intelligence enough to learn language, but he is
seemingly incapable of moral sense; reminded of his attempted rape, he
merely asserts his animal drive to procreate. Caliban serves as a foil for
the other characters: his foolish credulity in accepting Stephano as a god
contrasts with Prospero's wisdom, his viciousness with Miranda's
innocence, his amorality with the honorable love of Ferdinand, and, most
significantly, his finally regenerate state with the intransigent evil of
Antonio.
Caliban's human
qualities illuminate another of the play's themes and, in doing so, shed
light on Shakespeare's world, which was just becoming aware of the natives
of America. As Prospero's 'slave' (1.2.310) Caliban is linked with
America; his mother's god, Setebos, was known by Shakespeare as a South
American deity; in finding Stephano divine and in responding greedily to
his liquor, Caliban behaves like the American natives of early explorers'
accounts.
The discovery of
native American societies in the early 17th century stimulated debate on
an ancient question: is 'natural man' a savage whose life is governed only
by animal drives, or is he in a blessed state, unspoiled by the manifold
corruptions of civilisation? Although the idealism of the latter view is
reflected in Gonzalo’s praise of primitive society in 2.1.143-164 (drawn
from remarks on America by the French essayist Montaigne), Caliban's
nature contradicts it. He represents 'natural man', but his very name, an
anagram of'canibal' (a legitimate 17th-century spelling of 'cannibal'),
lends a negative quality to the connection. It is precisely his
naturalness that condemns Caliban. He is confined to brute slavery because
he has refused to accept a civil role in Prospero's household. Prospero
says that 'on [his] nature / Nurture can never stick' (4.1.188-189). In a
telling comparison, Caliban's resistance to his wood-carrying chores is
contrasted with Ferdinand's philosophical delight in similar labors. The
young man knows that 'some kinds of baseness / Are nobly undergone; and
most poor matters / Point to rich ends' (3.1.2-4). Miranda expressly
judges both Ferdinand and Caliban: the first is 'a thing divine'
(4.1.421), the second, 'a thing most brutish' (1.2.358).
Yet Caliban has some
positive attributes, which qualify Shakespeare's condemnation of'natural
man'. Though he proclaims that his education has merely taught him 'how to
curse' (1.2.366), his use of language is in fact quite impressive, and he
rises to lyrical poetry—revealing an aesthetic sensibility—in describing
his dreams of 'a thousand (wangling instruments' (3.2.135). He can imagine
a level below himself to which he does not want to descend, for he fears
he and his companions will be 'turn'd to barnacles, or to apes / With
foreheads villainous low' (4.1.248-249). Though he is foolish enough to
follow Stephano and Trinculo, he is more sensible than they and scorns
their frivolous absorption with mere 'luggage' (4.1. 231). His proposed
revolt is both repulsive and ineffectual, but Caliban's dislike for his
enslavement is one with which we instinctively sympathize. His initial
statement of grievance is compelling; he helped Prospero and Miranda
survive and is now enslaved. Only then do we learn of his crime, but even
afterwards, Caliban is permitted his say on his status: his elaborate
complaint of Prospero's harassment in 2.2.1-14 casts his master in a bad
light, and his comical enthusiasm for 'Freedom, high-day! high-day,
freedom! freedom, high-day, freedom!' (2.2.186-187) is infectious.
For all his villainy,
Caliban contributes to the general sense of regeneration with which the
play closes. He recognizes his folly and expresses his intention to
improve himself in a religious metaphor—he will 'seek for grace'
(5.1.295). His earlier behavior certainly makes us wonder if reform is
really possible, but Shakespeare pointedly elevates this beastlike
character's moral stature before he exits forever. However appalling
Caliban's fallen state, he offers the hope for restoration to grace that
is part of Shakespeare's sense of human possibility. |
Master
of a Ship. (Master:) |
Master is the captain
of the ship that is wrecked on Prospero’s island. The Master speaks only
two lines, at the play's opening, instructing the Boatswain to see that
the men act swiftly, or they will go aground. In 5.1 he reappears with the
Boatswain, who reports on the miraculous restoration of the vessel, but he
does not speak himself. He is an extra, helping to provide a realistic
depiction of a ship's company. |
Boatswain |
Boatswain is a crew
member of the ship that is wrecked on Prospero’s island. In 1.1 the
Boatswain curses the arrogant Sebastian and Antonio, who insist on
interfering during the great storm that threatens the vessel. Prospero's
sprite Ariel magically preserves the ship and its crew, and in 5.1, as the
play closes, the Boatswain is brought to Prospero by Ariel and reports on
the ship's miraculous restoration. The Boatswain is a plainspoken working
man whose contrast with Sebastian and Antonio helps establish their
villainous natures at the outset and whose reappearance at the close
suggests the everyday world to which the play's characters will soon
return. |
Mariners |
Number of sailors that appear in the first
scene of the play and at the end in reunion scene in Prospero's cell. |
MIRANDA |
Miranda is the
daughter of the magician Prospero. Miranda, exiled with her father at the
age of two, has lived 12 years with him on the island he rules through
sorcery. It is uninhabited except for the supernatural creatures Ariel and
Caliban, so when Prospero's magic brings people to the island, Miranda
sees her first young man, Ferdinand, with whom she falls in love—and he
with her—in 1.2. Prospero has planned this—Ferdinand is the son of his old
enemy. King Alonso of Naples—but he pretends to oppose the couple's love
to ensure that Ferdinand does not take Miranda lightly. Prospero takes the
young man captive, but Miranda contrives to visit him, and they confess
their love and plan to marry in 3.1; in 4.1 Prospero declares his
approval. As part of Prospero's arrangements for a conclusion of
forgiveness and happiness, in 5.1 Miranda and Ferdinand are revealed to
King Alonso, who believed his son had drowned. Miranda's marriage plans
are confirmed, and Alonso declares that she and Ferdinand will inherit the
kingdom of Naples.
Miranda does not
speak often or at length, but she is established as a paragon of
maidenhood. She displays a touching compassion—fearing for the shipwreck
victims, she says, '0, I have suffered / With those that I saw suffer!'
(1.2.5-6). She also shows a capacity for delighted wonder; on first seeing
Ferdinand, she cries, 'I might call him / A thing divine; for nothing
natural / I ever saw so noble' (1.2.420-422). Her angry disdain for
Caliban, who once attempted to rape her, displays the moral sensibility
she has learned from her father, but her innocence of society gives her a
simplicity that in a less overtly fantastic context would be
disconcerting. She ignores the fact that Ferdinand is the son of her
father's enemy, and at the play's close she is filled with pleased
admiration for all of the king's party, even though some of them are
arrant villains, saying, 'How beauteous mankind is! O brave new world, /
That has such people in 't!' (5.1. 183-184).
Miranda represents
the compassionate, forgiving, and optimistic potential in humanity. She is
the only human character in the play who does not undergo some sort of
purging transformation, for she does not need to. Innocent of life's
difficulties and compromises, she repudiates evil and responds to nobility
and beauty. She is most pointedly contrasted with the evil Caliban. Both
were raised together by Prospero, but she has become a person of moral
sensibility, while he is a would-be rapist who declares that his only use
for language is to curse. Their responses to the arrival of strangers on
the island are also contrasting: she is filled with demure awe, he with
crass fear.
Though innocent,
Miranda is nonetheless mindful of sexual propriety, speaking of her
'modesty, the jewel in [her] dower' (3.1.53-54) and declaring that if
Ferdinand will not marry her, she will 'die [his] maid' (3.1.84). Her
virginity—stressed repeatedly by the men, as in Ferdinand's first
declaration of love and in Prospero's emphatic concern about sex before
marriage—link her to an ancient archetype, the fertile woman, producer of
new generations. The goddesses at her betrothal Masque sing of 'Earth's
increase' and 'plants with goodly burthen bowing' (4.1.110, 113), making
it clear that the occasion concerns reproduction. They also stress
Miranda's virginity, for a sure knowledge of paternity has traditionally
been very important to the orderly continuation of society. This is
especially true among rulers, and Miranda's future as a queen is
frequently pointed up. At the play's close, after Prospero's
reconciliations have been effected, Gonzalo blesses the moment and
delights in the prospect that Prospero's 'issue / Should become Kings of
Naples' (5.1.205-206). Miranda thus helps fulfill that most ancient of
necessities for human societies, continuance into the future. She and
Ferdinand embody the regeneration that is the theme of the play's close.
Miranda's name—Latin
for 'admirable' (literally, 'to be wondered at')—was coined by
Shakespeare. It reflects not only her qualities as an example of innocent
womanhood but also her own admiring nature and the extraordinary sense of
wonder that the play as a whole conveys. It is punned on by Ferdinand when
he calls her 'Admir'd Miranda!' (3.1.37) and, more subtly, when he
exclaims '0 you wonder!' (1.2.429). |
ARIEL
|
Ariel is a sprite or
fairy, who serves the magician Prospero. Ariel is invisible to all but
Prospero, whom he assists in the schemes that form the plot. He is capable
of assuming fantastic disguises and of luring mortals with supernaturally
compelling music. He is also something of a theatrical producer, arranging
the spectacular tableaus that Prospero is fond of, including the magical
banquet of 3.3 and the betrothal Masque of 4.1. He performs in both,
playing a Harpy at the feast and either Ceres or Iris (depending on one's
reading of 4.1.167) in the masque. Ariel is eager to please, asking, 'What
shall I do? say what; what shall I do?' (1.2.300). To his question 'Do you
love me, master?' (4.1.48), Prospero replies, 'Dearly, my delicate Ariel'
(4.1.49), and when Prospero returns to MILAN and resumes his role in human
society, he regrets departing from the sprite, saying 'my dainty Ariel! I
shall miss thee' (5.1.95). A cheerful and intelligent being, Ariel
embodies the power of good and is thus an appropriate helper in Prospero's
effort to combat the evil represented by Antonio. In this respect he
contrasts strongly with the play's other major non-human figure, Caliban,
whose innate evil complicates Prospero's task.
Freed by Prospero
from a magical imprisonment in a tree trunk, imposed by a witch before the
time of the play, Ariel must serve Prospero until the magician releases
him. But though he fulfils his tasks cheerfully, he yearns to be free
again. Almost as soon as he first appears, he reminds Prospero of his
'worthy service . . . without grudge or grumblings' (1.2.247-249) and
requests his liberty. Prospero—more of a grumbler than his supernatural
servant—reminds him forcefully of his former torment, and Ariel agrees to
continue serving and 'do [his] spriting gently' (1.2.298). He does so, but
both he and Prospero frequently mention his coming release. Ariel sings of
the future: 'Merrily, merrily shall I live now / Under the blossom that
hangs on the bough' (5.1.93-94), and his mingling of nostalgia and fresh
spirits is touching. In his last lines before the Epilogue, Prospero bids
Ariel 'to the elements / Be free, and fare thou well!' (5.1.318). This
theme, Ariel's captivity in the human world—along with Caliban's slavery
and Antonio's remorselessness—helps maintain a tragic undertone as
Prospero's schemes for a final reconciliation are achieved. Shakespeare
does not ignore the inexorability of evil, even in a fantasy world, though
he can create a charming sprite to combat it. |
IRIS |
Iris is a Pagan
goddess and minor figure in The Tempest, a character in the Masque
presented by the sprite Ariel to celebrate the engagement of Miranda and
Ferdinand. Iris—goddess of the rainbow and messenger of the greater
deities—functions as the 'presenter' of the masque, which features Ceres,
goddess of harvests; Juno, queen of the gods; and a dance of Nymphs and
Reapers. Iris' beautiful invocation to Ceres in 4.1.60-75 establishes a
tone of serene power appropriate to divinity. Ariel subsequently declares
that he 'presented Ceres' (4.1.167), indicating that he played the part of
either Ceres or Iris, the presenter; most commentators believe Shakespeare
intended the former, with Iris' initial speech providing time for Ariel to
costume himself.
In Greek mythology
Iris is a hazy figure and was never the object of a cult of worship.
Originally simply associated with the rainbow, she was perhaps considered
a messenger of the gods because rainbows seem to connect sky and earth. In
classical literature—as distinct from mythology—Iris was particularly
associated with Juno, and Shakespeare draws on this tradition when Ariel's
masquer speaks of Juno as 'the queen o' th' sky, / Whose wat'ry arch and
messenger ami' (4.1.70-71). |
CERES |
Ceres is a Pagan
goddess and a character in the Masque presented by the sprite Ariel, at
Prospero’s orders, to celebrate the engagement of Miranda and Ferdinand.
Ceres, goddess of harvests, is presented by IRIS but declares she will not
participate unless she can be assured that Venus and Cupid will not be
present. This reminds us of Prospero's insistence on Miranda's virginity
before marriage, part of the play's theme of moral discipline. Once
reassured, Ceres joins Juno in singing a hymn of blessing, wishing
'Earth's increase, foison [abundance] plenty' (4.1.110) for the couple.
In ancient mythology
Ceres—from whose name comes our word cereal—was a pre-Roman corn goddess.
She became identified with the Greek goddess Demeter, who governed all
fruits of the earth, especially grain. According to a central myth of the
classical world, Ceres' daughter was stolen by the god of the underworld;
the goddess responded by withholding her bounty until a compromise was
achieved: Her daughter spends half the year in the underworld, during
which time Ceres resumes her grief and winter rules. In The Tempest Ceres
blames Venus and Cupid for her daughter's theft, following the account
given in OVID'S Metamorphosis (the same incident is referred to in The
Winter's Tale 4.4.116-118). |
JUNO |
Juno is the Queen of the Roman Gods and a
character in the Masque presented by Ariel to celebrate the engagement of
Miranda and Ferdinand. After an introduction by Iris, Juno joins Ceres in
singing a hymn of 'marriage-blessing' (4.1.106) to the couple. Though
queen of the gods, Juno has the smallest role in the masque. However, in
Shakespeare's hierarchy-conscious world, Juno's rank gave her a greater
importance than she seems otherwise to have. As a queen, her presence-her
'sovereign grace' (4 1 72)—gives the masque a particularly dignified air
appropriate to the betrothal of Prospero’s daughter If, as some scholars
believe, the masque was added to the play when it was performed as part of
the 1613 marriage festivities for Princess Elizabeth this feature would
have had even greater import Juno's entrance is accordingly a spectacular
one The stage direction at 4.1.72 reads 'Juno descends', indicating
theatrical practice in Shakespeare's time, at least in the new Blackfriars
Theater, the goddess was lowered from the ceiling above the stage,
probably seated on a throne decorated with peacocks, as mentioned by Ins
in 4.1. (Nineteenth-century productions of The Tempest often featured live
peacocks.) |
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