Analysis of the main characters in 'The Tempest



Prospero is one of Shakespeare's more enigmatic protagonists. He is a sympathetic character in that he was wronged by his usurping brother, but his absolute power over the other characters and his overwrought speeches make him difficult to like. In our first glimpse of him, he appears puffed up and self-important and his repeated insistence that Miranda pay attention suggest that his story is boring her. Once Prospero moves to to a subject other than his absorption in the pursuit of knowledge, Miranda's attention is riveted. 

The pursuit of knowledge gets Prospero is trouble in the first place. By neglecting everyday matters when he was a duke, he gave his brother a chance to rise up against him. His posession and use of magical knowledge renders him extremely powerful and not entirely sympathetic.  His punishments of Caliban are petty and vindictive, as he call upon his spirits to pinch Caliban when he curses. He is defensively autocratic with Ariel. For example, when Ariel reminds his master of his promise to relieve him of his duties early if he perfroms them willingly, Prospero bursts into fury and threatens to return him to his former imprisonment and torment. He is similarly unpleasant in his treatment of Ferdinand, leading him his daughter and then imprisoning and enslaving him. 

Despite his shortcomings as a man, however, Prospero is central to The Tempest's narrative. Prospero generates the plot of the play almost single-handedly, as his various schemes, spells and manipulations all work as part of his grand design to achieve the play's happy ending. Watching Prospero work through The Tempest is like watching a dramatist create a play, building a story from material at hand and developing his plot so that the resolution brings the wrold in line with his idea of goodness and justice. Many critics and readers of the play have interpreted Prospero as a surrogate for Shakespeare, enabling the audience to explore firsthand the ambiguities and ultimately wonder of the creative endeavor. 

Prospero's final speech, in which he likens himself to a playwright by asking the audience for applause, strengthens this reading of the play, and makes the play's final scene function as a moving celebration of creativity, humanity and art. Prospero emerges as a more likeable and sympathetic character in the final two acts of the play. In these acts, his love for Miranda, his forgiveness of his enemies, and the legimately happy ending his schemes creates all work to mitigate some of the undesirable means he has used to achieve his happy ending. If Prosperio sometimes seems autocratic, he ultimately manages to persuade the audience to share his understanding of the world- an achievement that is, after all, the final goal of every author and every play.


Just under fifteen years old, Miransa is a gentle and compassionate, but also relatively passive, heroine. From her very first lines she displays a meek and emotional nature. ''O, I have suffered/ With those that I saw suffer!'' she says of…


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