The Tempest AO5

Postcolonial Reading

• Prospero as Coloniser: Prospero’s dominance over the island mirrors British imperialism and Caliban’s resistance exposes the pain of the colonised (e.g. he is dehumanised and called a ‘fish’, ‘monster’ and ‘tortoise’).

• Is Caliban Good or Bad?: Prospero calls Caliban ‘a born devil’, suggesting he is unworthy of this world. This is an example of Caliban being treated as the ‘other’. Although, feminist critics argue Caliban is deserving of the treatment he is faced with as it’s revealed in A1S2 that he attempted to rape Miranda.

• Innate Desire to Serve: In A3S2, Caliban kisses Stephano’s foot and calls him ‘Lord’, implying he has an innate desire to serve. This would be of concern to postcolonial critics.

• Colonialism: Throughout the play, many characters have colonial thoughts (e.g. Gonzalo’s utopia and Trinculo considering to capture Caliban and sell him back in England), showing the imbalance of power that leads to colonisation, which is what concerns postcolonial critics.

Feminist Reading

• Miranda’s Purpose: Power dynamics play a large role in The Tempest, especially between Miranda and her father, Prospero as she is often seen as a symbol of patriarchal ideals with her virginity and obedience to her father defining her worth.

• Patriarchal Oppression: Prospero's control over Miranda, and his manipulation of her through his magic, can be viewed as a form of patriarchal oppression and her marriage to Ferdinand is seen as a political transaction, reinforcing Prospero's power over her. This is similar to Claribel’s fate as her marriage is also arranged by her father, highlighting the contemporary idea that women are male property.

• Prospero as Sycorax: The only other female character mentioned is Sycorax, whose absence highlights the patriarchal structure that seeks to control and suppress female power. Despite Prospero’s hatred for her, critics like Grindlay believe ‘the only difference between Prospero and Sycorax is one of gender’.

Marxist Reading

• Bourgeoisie vs Proletariat: The play can be interpreted as a reflection of historical and social inequalities, with Prospero (and the other European characters) representing the bourgeoisie and Caliban representing the proletariat. 

• Capitalism: Prospero's control over the island and its inhabitants, including the enslaved Caliban, mirrors the power structures of a capitalist society and his domination is seen as a metaphor for the exploitation of the working class. 

• Ariel’s Purpose: Ariel is also used by Prospero for his own benefit because he exploits Ariel’s spritely magic to carry events (e.g. the masque in A4S1).

Autobiographical Reading

• Shakespeare’s Farewell?: The Tempest is often considered to be Shakespeare’s most autobiographical play. Critic Wilson claims that it’s Shakespeare's ‘farewell to theatre’. The final epilogue is also used to evidence this viewpoint as Prospero says to the audience ‘let your indulgence set me free’, asking for their approval to allow him to leave the magical world of the play. Arguably, this is Shakespeare announcing his retirement from writing. However, critics such as McRae and Smith disagree with this, claiming it is unlikely Shakespeare would implement himself in one of his plays, especially as Prospero ‘is not necessarily a flattering portrait’ due to his colonial tendencies, for example.

• Shakespeare as Playwright: Prospero’s ability to control situations via his magic (e.g. the tempest in A1S1) is similar to the power Shakespeare holds as the playwright, manipulating the story.

Contemporary (Jacobean) & Modern Audiences

• The Great Chain of Being: Contemporary audiences would view the end of the play as being morally righteous due to order being restored as Prospero regains his dukedom. In contrast, modern society has the eruption of postcolonial ideals, meaning modern audiences are more likely to believe the idea that Prospero is irredeemable due to his treatment of Caliban.

• Antonio & Sebastian as Antagonists: Antonio and Sebastian would certainly be seen as the antagonists by the contemporary audience as they plot to kill King Alonso. However, religion was very present in Jacobean England therefore the Christian teaching of forgiveness should be given to these characters, despite their sins. The modern audience is more likely to see Prospero as the antagonist rather than the hero.

The Globe Production (2013)

• Prospero: Prospero (Roger Allam) is presented more calmly and as being morally unsure of himself. For example, when telling Miranda their story in A1S2, he sounds as though he is making it up as he goes along. He also talks directly to the audience at many points, perhaps agreeing with the autobiographical reading of the play.

• Caliban: Caliban is more intelligent and seems more aware of his situation as he’s apprehensive to kiss Stephano’s foot in A3S2. Similarly, he’s often seen running away from Prospero, presenting him as more proactive. In terms of costume, Caliban is red, perhaps referencing Hell/Satan however, elements of the backdrop are also red, linking him back to the island. The red could also symbolise blood, alluding to the abuse he’s endured. 

• Ariel: Ariel is very aloof and whimsical, making him seem childlike, completely contrasting Caliban’s portrayal.

The RSC Production

• Prospero: Prospero (Simon Beale) is very aggressive, linking to the postcolonial reading which suggests Prospero is tyrannical. For example, he laughs when putting Miranda to sleep in A1S2, implying he enjoys his power.

• Caliban: Caliban has very wide and awkward body language, disconnecting him with the other characters and therefore portraying him as the ‘other’.

• Ariel: Although Ariel is played by an actor, he is also presented as a hologram, potentially alluding to his otherworldliness.

• Setting: The whole play takes place in the shipwreck from the tempest in A1S1 maybe symbolising the magical elements of the play and nature’s perpetualness, linking to Prospero giving his magic back to the island just before the in the epilogue.

The Jamie Lloyd Company Production (2024)

• Prospero: Interestingly, Prospero is played by a female actress (Sigourney Weaver) despite women at the time being considered as below men. So, the most powerful character in the play being a woman is a more modern feminist take. Prospero is also a constant presence, linking to the autobiographical reading of the play.

• Caliban: Caliban is sexualised as he wears barely any clothing apart from leather hotpants and he’s dehumanised, crawling around the stage like an animal.

• Ariel: Ariel is presented as a man in drag, emphasising his role as being an ‘other’ character.

• Ending: This production ends very abruptly after the epilogue, reminding the audience that everything is just an act, linking to the theme of reality and illusion.

Nature vs Nurture Critical Quotations

• Caliban is ‘in some respects a noble’ - Coleridge

• ‘By using Prospero's language, Caliban is remoulded in the image of his master’ - Ledingham

• Caliban is ‘the epitome of the primitive and uncivilised condition of the Native American’ - Brockbank

• ‘Caliban is evil and brutish by nature’ - Gibson

Justice Critical Quotations

• Ferdinand and Miranda's relationship is ‘a symbolic ground for reconciliation’ - Traversi

• ‘A surprising amount of The Tempest depends on the suppressed and unspoken’ - Barton

• Prospero ‘cares only for his soul’ - Riches

• ‘The benefits that Prospero brings justify his seizure of the island and enslavement of Caliban’ - Palmer

Power & Colonialism Critical Quotations

• The Tempest shows the ‘eternal conflict between order and chaos’ - Zimbardo

• Prospero displays a ‘superb combination of power and control’ - Kahn

• ‘Prospero takes on an almost sadistic quality’ - Green

• For Prospero, Miranda is ‘his raison d'etre, her marriage and children his promise of immortality’ - Thompson

• Claribel’s story makes the audience ‘uneasily realise that Miranda too is a commodity’ - Jacobs

• ‘We have gone quite a long way towards recognising the rights of Caliban’ - Bate

• Prospero's banishment is ‘on an island that serves as a kind of experimental space for testing the ethics of authority’ - Greenblatt

• The island, far from Utopia, is ‘where civilisation [...] creates a colony of ancient exploitation’ - Strehler & Simpson

Reality & Illusion Critical Quotations

• The Tempest is ‘a play about the illusion of freedom’ - Lindley

• ‘The Tempest is Shakespeare's most metatheatrical play’ - Yachnin

• Prospero ‘uses his magic for good’ as, in A1S1, he could have killed what he sees as the immoral characters in the tempest - Scholars

• Prospero is a ‘virtuous Magus’ and uses his magic in accordance with God - Hebron