The Tempest – Revision Notes
Organised by possible question theme
The storm
- FILM ADAPTATION: by The Globe (2009) ‘Prospero’s Books’ – spectacular display of power with the storm
being conveyed via CGI for a modern audience
- The storm is deceptive – it is not nature, but Prospero’s ‘art’
- Mariners manipulated by Prospero and this shatters the social hierarchy because natural forces don’t care
about human hierarchies – setting up the plays interrogation of that system
- “All lost! To prayers, to prayers! All lost!”
- STAGECRAFT: directors often use music/noise to portray the storm – dramatic start to the play
- Stage direction – “A tempestuous noise of thunder and lightning heard.”
- Mystery and magic alongside destruction
Prospero’s character/personas
Someone who wants to be in control, but has massive character development throughout the play
- Emma Smith – “Manipulative control freak”
- Feminist critical view – patriarchal tyrant
- “Thou art inclin’d to sleep.” – Prospero putting Miranda to sleep (power and magic)
- Kermode (1950) – “a model of the good ruler rather than the imperialist colonizer”
- Sir Peter Hall – “Prospero is allowed to play God”
- Tillyard – “Prospero does not fundamentally change during the play”
- Referring to Caliban as “this demi-devil” in A5S1 – still feels hatred towards Caliban (not forgiving)
Prospero’s relationship with Miranda
- Mosely – “Miranda is being used as a tool to take revenge on Antonio”
- When she marries Ferdinand, Antonio has no power – power play to gain power
- Jamie Lloyd Production – presents the relationship between them as more loving as Prospero is cast as a woman
- Shows a stronger bond between them (mother-daughter bond)
- Tydeman – describes Prospero as a “loving, devoted father”
- “I have done nothing by in care of thee” – he puts Miranda first and wants to do what is best for her
- “How beauteous mankind is! O brave new world, that has such people in’t”
- Juxtaposition between Miranda and Prospero’s views on the world
- Tempest and Dystopia link – irony with the title of the novel vs the story, viewing the play as dystopian
Prospero’s relationship with Ariel and Caliban
- Jaimeson – “Ariel and Caliban represent two sides of Prospero’s personality”
- Stark contrast between Ariel and Caliban and that both represent aspects of Prospero
- Ariel with his magic “My tricksy spirit!”
- Caliban with his human desires – “This thing of darkness I acknowledge mine.” – recognising the
earthly/animalistic/human aspect of himself, but is still taking responsibility for Caliban (part of being a good
leader)
- Lindley – “Shakespeare has stripped off from Caliban what is ethereal and refined and compounded them into
Ariel.”
Ariel
- O’Toole – “It is (Ariel’s) power of enchantment upon which Prospero is dependent… (Ariel is) the one in control”
QUOTE
- Dowden (1875) – “Ariel reverences his great master”
- Prospero and Ariel share a love for each other
- Prospero is possessive of Ariel, calling him “my Ariel” “my bird” and Ariel asks him to forgive the noblemen and
King
- Ariel asks Prospero: “do you love me, master?”
Ariel
- O’Toole – “The first appearance of Ariel immediately establishes his character as that of a submissive, deferential
subject.”
- “be’t to fly, to swim, to dive into the fire, to ride on the curl’d clouds” – his first lines in the play, shows his
magical abilities and his inhuman nature
- O’Toole – “His language is that of a slave who binds himself to his master without question.”
, - Coleridge – “He is neither born of heaven, not of Earth; but as it were, between both.”
- Jamie Lloyd 2025 production – portrays him as a gender fluid character, showing androgyny of character
- Refused to work for Sycorax because of her dark magic, suggests a degree of morality
Caliban
- Warton (1753) – “He is represented as a prodigy of cruelty, malice, and pride”
- Kermode – considers Caliban the “representative of nature uncontrolled by Art”
- Freestone (2023) production – Caliban is portrayed as less monster, more man
- In some productions, he is presented in such a way that he gains sympathy from the audience
- 2016 Gregory Doran, the opposite in Jamie Lloyd 2025
- “A savage and deformed slave” – as described in the cast list (Shakespeare’s words) – links to racism and slavery
Prospero’s ‘project’ of revenge
- R.S. White (1999) – “the action itself is dominated by Prospero. He is clearly obsessed with controlling those
around him.”
- Prospero establishes overarching power and justifies his own vengeful and cruel actions by portraying
himself as a victim
- Tydeman (modern critic) – “Prospero, like a film director, selects events and figures to create the overall pattern
he desires.”
- He dominates/takes the role of stage director/storyteller for both the characters and audience in order to
succeed in his project
- Prospero strives to get revenge throughout the play, then decides to let go through realisation of selflessness
- “Let us not burden our remembrances” – forgiveness, becoming selfless
- Is Prospero a revenger or an agent of justice – “The rarer action is in virtue rather than in vengeance”
Miranda and Ferdinand’s courtship
- Sagar (2005) – “The wedding is hedged about with vows, prohibitions, ceremonies. If sexuality is to be magically
transformed into spirituality, courtship must be as circumscribed and codified as a game of chess.”
- Thompson – “while the play does move towards marriage, the relationships are ‘ignorant at best, characteristically
tense, potentially tragic.”
- Bowen – “The manipulation of Miranda and her evident nativity are also troublesome.”
- What she thinks of as love is really manipulation by Prospero to complete his plan
- “So glad of this as they I cannot be” – his plan has played out how he wanted it to
- Beautiful language and interactions together – suggest their love is pure
- “”Here’s my hand.” “And mine, with my heart in’t.”
- Imbalance of power dynamics in the relationship – she proposes to him
- “I am your wife if you’ll marry me, if not I’ll die your maid”
The courtiers (Alonso, Gonzalo, Antonio, Sebastian)
- Greenblatt – “The courtiers are used as tools for Prospero’s self-indulgence in salutary anxiety.”
- Orgel – “Prospero’s power is power over children”
- They are treated as naughty children awaiting their telling off by Prospero
- “You are three men of sin” – infantilising the men, Ariel is reiterating his power over them
Gonzalo’s utopia
- Bowen – “Gonzalo’s speech provides an alternative model of society organised on an egalitarian basis.”
- Sense of irony – Gonzalo’s wish for a democratic and equal society, but still agreeing with Sebastian and
Antonio that there should always be someone in power
- “I’th’ commonwealth I would by contraries execute all things” – is imagining a perfect utopia which isn’t
possible
Antonio and Sebastian’s plot
- Tanner – “The real monsters of the island are Sebastian and Antonio.”
- Power dynamics and corruption
- Saunders – “Antonio and Sebastian use their verbal wit to cover up their darker and more wicked impulses.”
- Shakespeare’s toying with morality and righteousness – all characters have faults within the play
- Northrop – “[Antonio and Sebastian] are the real dreamers, sunk in the hallucination of greed.”
- “as thou got’st Milan, I’ll come by Naples.” – belives that he will become the rightful heir, Sebastian wants
the power for himself
Organised by possible question theme
The storm
- FILM ADAPTATION: by The Globe (2009) ‘Prospero’s Books’ – spectacular display of power with the storm
being conveyed via CGI for a modern audience
- The storm is deceptive – it is not nature, but Prospero’s ‘art’
- Mariners manipulated by Prospero and this shatters the social hierarchy because natural forces don’t care
about human hierarchies – setting up the plays interrogation of that system
- “All lost! To prayers, to prayers! All lost!”
- STAGECRAFT: directors often use music/noise to portray the storm – dramatic start to the play
- Stage direction – “A tempestuous noise of thunder and lightning heard.”
- Mystery and magic alongside destruction
Prospero’s character/personas
Someone who wants to be in control, but has massive character development throughout the play
- Emma Smith – “Manipulative control freak”
- Feminist critical view – patriarchal tyrant
- “Thou art inclin’d to sleep.” – Prospero putting Miranda to sleep (power and magic)
- Kermode (1950) – “a model of the good ruler rather than the imperialist colonizer”
- Sir Peter Hall – “Prospero is allowed to play God”
- Tillyard – “Prospero does not fundamentally change during the play”
- Referring to Caliban as “this demi-devil” in A5S1 – still feels hatred towards Caliban (not forgiving)
Prospero’s relationship with Miranda
- Mosely – “Miranda is being used as a tool to take revenge on Antonio”
- When she marries Ferdinand, Antonio has no power – power play to gain power
- Jamie Lloyd Production – presents the relationship between them as more loving as Prospero is cast as a woman
- Shows a stronger bond between them (mother-daughter bond)
- Tydeman – describes Prospero as a “loving, devoted father”
- “I have done nothing by in care of thee” – he puts Miranda first and wants to do what is best for her
- “How beauteous mankind is! O brave new world, that has such people in’t”
- Juxtaposition between Miranda and Prospero’s views on the world
- Tempest and Dystopia link – irony with the title of the novel vs the story, viewing the play as dystopian
Prospero’s relationship with Ariel and Caliban
- Jaimeson – “Ariel and Caliban represent two sides of Prospero’s personality”
- Stark contrast between Ariel and Caliban and that both represent aspects of Prospero
- Ariel with his magic “My tricksy spirit!”
- Caliban with his human desires – “This thing of darkness I acknowledge mine.” – recognising the
earthly/animalistic/human aspect of himself, but is still taking responsibility for Caliban (part of being a good
leader)
- Lindley – “Shakespeare has stripped off from Caliban what is ethereal and refined and compounded them into
Ariel.”
Ariel
- O’Toole – “It is (Ariel’s) power of enchantment upon which Prospero is dependent… (Ariel is) the one in control”
QUOTE
- Dowden (1875) – “Ariel reverences his great master”
- Prospero and Ariel share a love for each other
- Prospero is possessive of Ariel, calling him “my Ariel” “my bird” and Ariel asks him to forgive the noblemen and
King
- Ariel asks Prospero: “do you love me, master?”
Ariel
- O’Toole – “The first appearance of Ariel immediately establishes his character as that of a submissive, deferential
subject.”
- “be’t to fly, to swim, to dive into the fire, to ride on the curl’d clouds” – his first lines in the play, shows his
magical abilities and his inhuman nature
- O’Toole – “His language is that of a slave who binds himself to his master without question.”
, - Coleridge – “He is neither born of heaven, not of Earth; but as it were, between both.”
- Jamie Lloyd 2025 production – portrays him as a gender fluid character, showing androgyny of character
- Refused to work for Sycorax because of her dark magic, suggests a degree of morality
Caliban
- Warton (1753) – “He is represented as a prodigy of cruelty, malice, and pride”
- Kermode – considers Caliban the “representative of nature uncontrolled by Art”
- Freestone (2023) production – Caliban is portrayed as less monster, more man
- In some productions, he is presented in such a way that he gains sympathy from the audience
- 2016 Gregory Doran, the opposite in Jamie Lloyd 2025
- “A savage and deformed slave” – as described in the cast list (Shakespeare’s words) – links to racism and slavery
Prospero’s ‘project’ of revenge
- R.S. White (1999) – “the action itself is dominated by Prospero. He is clearly obsessed with controlling those
around him.”
- Prospero establishes overarching power and justifies his own vengeful and cruel actions by portraying
himself as a victim
- Tydeman (modern critic) – “Prospero, like a film director, selects events and figures to create the overall pattern
he desires.”
- He dominates/takes the role of stage director/storyteller for both the characters and audience in order to
succeed in his project
- Prospero strives to get revenge throughout the play, then decides to let go through realisation of selflessness
- “Let us not burden our remembrances” – forgiveness, becoming selfless
- Is Prospero a revenger or an agent of justice – “The rarer action is in virtue rather than in vengeance”
Miranda and Ferdinand’s courtship
- Sagar (2005) – “The wedding is hedged about with vows, prohibitions, ceremonies. If sexuality is to be magically
transformed into spirituality, courtship must be as circumscribed and codified as a game of chess.”
- Thompson – “while the play does move towards marriage, the relationships are ‘ignorant at best, characteristically
tense, potentially tragic.”
- Bowen – “The manipulation of Miranda and her evident nativity are also troublesome.”
- What she thinks of as love is really manipulation by Prospero to complete his plan
- “So glad of this as they I cannot be” – his plan has played out how he wanted it to
- Beautiful language and interactions together – suggest their love is pure
- “”Here’s my hand.” “And mine, with my heart in’t.”
- Imbalance of power dynamics in the relationship – she proposes to him
- “I am your wife if you’ll marry me, if not I’ll die your maid”
The courtiers (Alonso, Gonzalo, Antonio, Sebastian)
- Greenblatt – “The courtiers are used as tools for Prospero’s self-indulgence in salutary anxiety.”
- Orgel – “Prospero’s power is power over children”
- They are treated as naughty children awaiting their telling off by Prospero
- “You are three men of sin” – infantilising the men, Ariel is reiterating his power over them
Gonzalo’s utopia
- Bowen – “Gonzalo’s speech provides an alternative model of society organised on an egalitarian basis.”
- Sense of irony – Gonzalo’s wish for a democratic and equal society, but still agreeing with Sebastian and
Antonio that there should always be someone in power
- “I’th’ commonwealth I would by contraries execute all things” – is imagining a perfect utopia which isn’t
possible
Antonio and Sebastian’s plot
- Tanner – “The real monsters of the island are Sebastian and Antonio.”
- Power dynamics and corruption
- Saunders – “Antonio and Sebastian use their verbal wit to cover up their darker and more wicked impulses.”
- Shakespeare’s toying with morality and righteousness – all characters have faults within the play
- Northrop – “[Antonio and Sebastian] are the real dreamers, sunk in the hallucination of greed.”
- “as thou got’st Milan, I’ll come by Naples.” – belives that he will become the rightful heir, Sebastian wants
the power for himself
