The Tempest Flashcards
author
William Shakespeare
Prospero
The play’s protagonist, and father of Miranda. Twelve years before the events of the play, Prospero was the duke of Milan. His brother, Antonio, in concert with Alonso, king of Naples, usurped him, forcing him to flee in a boat with his daughter. The honest lord Gonzalo aided Prospero in his escape. Prospero has spent his twelve years on the island refining the magic that gives him the power he needs to punish and forgive his enemies.
Miranda
The daughter of Prospero, Miranda was brought to the island at an early age and has never seen any men other than her father and Caliban, though she dimly remembers being cared for by female servants as an infant. Because she has been sealed off from the world for so long, Miranda’s perceptions of other people tend to be naïve and non-judgmental. She is compassionate, generous, and loyal to her father.
Ariel
Prospero’s spirit helper. Ariel is referred to throughout this SparkNote and in most criticism as “he,” but his gender and physical form are ambiguous. Rescued by Prospero from a long imprisonment at the hands of the witch Sycorax, Ariel is Prospero’s servant until Prospero decides to release him. He is mischievous and ubiquitous, able to traverse the length of the island in an instant and to change shapes at will. He carries out virtually every task that Prospero needs accomplished in the play.
Caliban
Another of Prospero’s servants. Caliban, the son of the now-deceased witch Sycorax, acquainted Prospero with the island when Prospero arrived. Caliban believes that the island rightfully belongs to him and has been stolen by Prospero. His speech and behavior is sometimes coarse and brutal, as in his drunken scenes with Stephano and Trinculo (II.ii, IV.i), and sometimes eloquent and sensitive, as in his rebukes of Prospero in Act I, scene ii, and in his description of the eerie beauty of the island in Act III, scene ii (III.ii.130-138).
Ferdinand
Son and heir of Alonso. Ferdinand seems in some ways to be as pure and naïve as Miranda. He falls in love with her upon first sight and happily submits to servitude in order to win her father’s approval.
Alonso
King of Naples and father of Ferdinand. Alonso aided Antonio in unseating Prospero as Duke of Milan twelve years before. As he appears in the play, however, he is acutely aware of the consequences of all his actions. He blames his decision to marry his daughter to the Prince of Tunis on the apparent death of his son. In addition, after the magical banquet, he regrets his role in the usurping of Prospero.
Antonio
Prospero’s brother. Antonio quickly demonstrates that he is power-hungry and foolish. In Act II, scene i, he persuades Sebastian to kill the sleeping Alonso. He then goes along with Sebastian’s absurd story about fending off lions when Gonzalo wakes up and catches Antonio and Sebastian with their swords drawn.
Sebastian
Alonso’s brother. Like Antonio, he is both aggressive and cowardly. He is easily persuaded to kill his brother in Act II, scene i, and he initiates the ridiculous story about lions when Gonzalo catches him with his sword drawn.
Gonzalo
An old, honest lord, Gonzalo helped Prospero and Miranda to escape after Antonio usurped Prospero’s title. Gonzalo’s speeches provide an important commentary on the events of the play, as he remarks on the beauty of the island when the stranded party first lands, then on the desperation of Alonso after the magic banquet, and on the miracle of the reconciliation in Act V, scene i.
Stephano & Trinculo
Stephano, a drunken butler, and Trinculo, a jester, are two minor members of the shipwrecked party. They provide a comic foil to the other, more powerful pairs of Prospero and Alonso and Antonio and Sebastian. Their drunken boasting and petty greed reflect and deflate the quarrels and power struggles of Prospero and the other noblemen.
Boatswain
Appearing only in the first and last scenes, the Boatswain is vigorously good-natured. He seems competent and almost cheerful in the shipwreck scene, demanding practical help rather than weeping and praying. And he seems surprised but not stunned when he awakens from a long sleep at the end of the play.
Sycorax
Caliban’s mother and a powerful witch. She never appears in the text because she dies several years before the events of the play begin. She was one of the only native inhabitants on the island on which Prospero and Miranda are stranded.
Ceres
One of the spirits summoned by Prospero during the masque celebrating Miranda and Ferdinand’s impending marriage. Ceres is a goddess of agriculture and fertility, and her presence in the masque is a blessing for the young couple.
Iris
One of the spirits summoned by Prospero during the masque celebrating Miranda and Ferdinand’s impending marriage. She is the goddess of the rainbow and the messenger of the gods, which means she bridges the gap between the mortal world and the magical world.
Juno
One of the spirits summoned by Prospero during the masque celebrating Miranda and Ferdinand’s impending marriage. She is the queen of the gods and the goddess of marriage. Her blessing of Miranda and Ferdinand symbolizes the prosperous union between the two families.
Adrian
One of the lords who gets shipwrecked on Prospero’s island. He is a cheerful man who is loyal to his superiors and follows orders.
Francisco
One of the lords who gets shipwrecked on Prospero’s island. He comforts Alonso and tries to reassure him that Ferdinand, Alonso’s son, did not drown during the shipwreck.
Theme: Power
Power Struggles: The play questions who holds power, who deserves it, and how it should be used.
Cycle of Violence: Power is often taken by force, leading to political instability (e.g., Antonio overthrows Prospero, then plots against Alonso).
Resolution: Prospero breaks the cycle by choosing mercy over revenge, leading to political reconciliation through marriage.
Message: The play suggests that compassion and compromise are better than violence, imprisonment, or magic.
Theme 2: Magic and Illusion
Prospero’s Control: Magic gives Prospero near-total control over events, manipulating enemies to reveal their true selves.
Illusions & Theatre: Prospero’s magic is likened to a playwright’s ability to craft stories. His masque for Miranda and Ferdinand mirrors Shakespeare’s role as a playwright.
Final Symbolism: Prospero’s farewell to magic in the epilogue is seen as Shakespeare’s farewell to the stage.
Theme 3: Colonization
Prospero vs. Caliban: Prospero sees Caliban as a savage needing education, while Caliban realizes he has been robbed of his home.
Racism & Slavery: The play reflects European fears and justifications for colonization. Stephano even considers enslaving Caliban.
New Societies: Gonzalo imagines creating a utopia, showing how colonization was also seen as an opportunity for social experiments.
Motif 1: Masters and Servants
Power Hierarchies: Nearly every scene features a power dynamic (e.g., Prospero and Ariel, Alonso and his nobles, Stephano and Caliban).
Disruptions in Authority: Servants rebel (Caliban), masters are ineffective (Alonso’s nobles), and roles are reversed (Boatswain commands nobles in the storm).
Contrasting Relationships: Prospero and Ariel’s bond is largely positive, while Prospero and Caliban’s is hostile.
Symbol: The Tempest
The tempest represents the political upheaval in the play. When the courtiers and their ship are tossed by the storm, nature and the sailors suddenly have more power than the courtiers. This state of disorder continues throughout the play until the injustice done to Prospero is righted at the end. After Prospero has regained his dukedom, he promises his guests “calm seas” and favorable winds for their journey home.
