THE TEMPEST - William Shakespeare

THE TEMPEST

The Source of the Tempest

Critics surmise that The Tempest was based on an old German play called ‘The Fair Sidea” by Jacob Ayrer of Nuremberg. Though there are certain similarities between the two, the poetry, the characterization and the humour of The Tempest are Shakespeare’s own

A brief outline of the Tempest

The play opens with a scene of shipwreck. The ship carrying Alonso, King of Naples, Sebastian, Alonso’s brother Ferdinand. Alonso’ son and Antonio, the usurping Duke of Milan and brother to Prospero, the lawful Duke, is destroyed. The passengers jump into the sea and make good their escape. Next, the scene shifts to Prospero’s cell. Prospero and Miranda are watching the shipwreck. Miranda is very sympathetic. She pities the shipwrecked people. She asks her father Prospero to save them. Prospero narrates to her how, twelve years ago, his kingdom was usurped by his villainous brother Antonio. Antonio had left Prospero and his little daughter Miranda adrift in a boat. The boat finally reached the present island where Prospero established himself by using his powers of magic.

Prospero has a servant by name Ariel. Ariel informs Prospero what he had done with the ship. Ariel took the shape of a flame and frightened all the passengers on board the ship and made them jump into the sea. Among the shipwrecked people, Ferdinand alone has been separated from the others. We learn that Prospero had freed Ariel from the clutches of Sycorax, an old witch. Prospero takes his daughter Miranda to see the monster Caliban who was the son of Sycorax. Caliban is sore with Prospero. His contention is that Prospero had usurped his (Caliban’s) mother’s island. Caliban had incurred Prospero’s lasting wrath by trying to rape Miranda.

Charmed by the invisible Ariel, Ferdinand approaches Prospero’s cell. He meets Miranda. The two fall in love with each other at once.

The scene shifts and we are taken to another part of the island where the treacherous Antonio and Sebastian mock at Gonzalo, the loyal follower of Prospero. Gonzalo whiles away the time by outlining his conception of an ideal commonwealth.

In another part of the island, Caliban makes an ass of himself by mistaking the two drunkards, Trinculoo and Stephano, for gods. He suggests to Stephano to kill Prospero and marry Miranda.

To test the genuineness of Ferdinand’s love for Miranda, Prospero makes him carry heavy wooden pieces. Miranda takes pity on Ferdinand and offers to share his burden. Seeing this Prospero reaches the conclusion that the two are in unbreakable love with each other. Prospero warns Ferdinand against trying to have pre-marital coitus with Miranda. Ferdinand solemnly pledges to follow Prospero’s advice. Stephano and Trinculo are attached by the flimsy dressing materials scattered all over the cell. Caliben is disgusted with their low tastes. Prospero’s spirits drive them away.

Antonio and Alonso are brought to Prospero’s cell by the invisible Ariel Alonso is happy to find his son Ferdinand playing with Miranda. Prospero appears before his former enemies. They all acknowledge his greatness. Prospero leaves for his kingdom with his daughter and Ferdinand, setting free Ariel and Caliban.

A Scene-wise Analysis of the Tempest

Act Scene 1

The play opens with a dreadful storm at sea. A ship is in danger. The ship is carrying Alonso, King of Naples; Sebastian, Alonso’ brother; Ferdinand, Alonso’ son: Gonzalo, Alonso’s counsellor; Antonio, the usurping Duke of Milan and brother to Prospero, the lawful Duke. The king and his men are panic-stricken, when they find the ship rushing towards the rocky shore. The boatswain gets angry with the king’s men for their meddlesome and unhelpful ways. He is particularly angry with Gonzalo, who, the boatswain thinks, talks too much. In spite of the utmost efforts of the boatswain to save the ship, the ship is dashed on the rocky shore. The passengers jump into the sea. All take leave of one another the king and his son kneel in prayer. The storm makes a sensational beginning for the play. Man’s impotence in face of the terrible natural forces is seen.

Act I, Scene2

This is a pretty long scene. It is laid before Prospero’s cell in the lonely island. Ferdinand and Miranda are watching the shipwreck. Miranda is moved to pity by the passengers whose lives are in danger. She knows that her father created the storm. So she requests him to stop it and save the passengers. Prospero tells her that he has done all these things only for good. He assures her that none of those whom she has seen perish has received the slightest injury. Prospero then relates to Miranda the story of their past. He tells her that twelve years ago, he was the Duke of Milan. He bookish nature and his aloofness were taken advantage of by his unscrupulous brother who usurped the throne and banished Prospero. Prospero and his infant daughter were left adrift in a boat. Only Gonzalo was kind enough to leave some food and clothes in the boat. Listening to the story, Miranda falls asleep. This is the result of Prospero’s magic but Miranda does not know it.

Now Prospero calls Ariel to his side and asks him what he has done with the ship and its passengers. Ariel reports that he changed himself into a flame and frightened all the passengers on board the ship and made them jump into the sea. But nobody got hurt. Ariel has separated Ferdinand from the rest who have dispersed in small groups in difference parts of the island.

Ariel then starts nagging Prospero and wants him to grant freedom to him. Prospero is irritated and reminds Ariel how he freed him (Ariel) from the clutches of Sycorax, and old witch. When Prospero came to the island, he found Ariel imprisons in the hollow of a pine tree and howling horribly. Prospero drove out Sycorax and took Ariel into his service. For this help Ariel should be helpful to him. On hearing this harangue, Ariel stops nagging Prospero and promises to be obedient and uncomplaining.

Prospero now awakens Miranda and both go to see the monster Caliban. Caliban, son of Sycorax, is angry with Prospero because he thinks that Prospero has deprived him of island which is his legitimate property as inheritance from his mother. We are informed that Prospero was at first kind towards Caliban and made much of him. But Caliban once tried to deflower Miranda and that put an end to Prospero’s civil treatment of Caliban. Prospero has taught him his own language but Caliban used it only to curse Prospero. Such is the strained relationship between the two. Prospero threatens to torture Caliban and only this threat makes Caliban do the work allotted to him; namely gathering firewood.

Now, Ferdinand, charmed by the invisible Ariel, approaches Prospero’s cell. He sees Miranda and falls in love with her at once. She regards him as a divine being and he is very much surprised to hear her speaking his own language. Prospero who has arranged this meeting feels that he must erect some barrier between the couple. Otherwise, his daughter, conquerted easily by Ferdinand, will be considered cheap by him. So Prospero pretends to be angry and tells Ferdinand with a scowling expression on his face that he is a traitor and a spy and he is going to put him in prison. Ferdinand at first tries to fight with Prospero, but being immobilized by the latter’s magic, Ferdinand is helpless. Still Ferdinand bravely says that he will gladly endure imprisonment if he is allowed once a day to see Miranda.

The scene gives us much valuable information about the past of Prospero, Ariel and Caliban. The first meeting between Ferdinand and Miranda brings out the innocence, idealism, and bravery of youth. The young people of Shakespeare’s last plays have more of the essential spirit of youth than those he depicted in his own youth.

Act II, Scene 1

The place of action is another part of the island. Alonso thinks that his son Ferdinand has drowned in the ocean. He is very sad. Gonzalo tries to comfort him, talking of various matters. Antonio and Sebastian mock at him. They also tell the king that he has lost both his children- he has lost his daughter, Claribel, by marrying her to an African and he has lost his son too, as the son has drowned in the ocean.

Once again Gonzalo tries to cheer up the king by outlining his conception of an ideal commonwealth. He says that if he were king of an island he would do away with all traffic, magistrates, earning riches, cultivation and sovereignty. Antonio points out that there is a basic inconsistency in the stand taken by Gonzalo. He wants to become a king and then wants to abolish kingship. All laugh at Gonzalo. At this time Ariel comes there and makes both Alonso and Gonzalo fall asleep. Antonio and Sebastian remain awake. Antonio has to pay a heavy tribute to Alonso for the latter’s help in banishing Prospero. He finds this a heavy burden. He thinks that if Alonso is killed, he will not have to pay any tribute. So he asks Sebastian to kill his brother Alonso when he is asleep. Thus Sebastian can become the king of Naples and Antonio can stop paying tributes. Sebastian at first, revolts at the suggestion. He is soon brainwashed by Antonio. However when Sebastian and Antonio raise their swords to kill Alonso and Gonzalo, Ariel awakens Alonso and Gonzalo. Sebastian and Antonio lie to them that they unsheathed their swords to kill dangerous animals, if any came that way.

This scene throws into bold relief the loyalty of Gonzalo by juxtaposing it with the treachery of Antonio and Sebastian.

Act II, Scene 2

This scene takes place in yet another part of the island. Caliban is carrying fireweed and cursing Prospero all the time. He sees Trinculo, who has like others, escapes the shipwreck. He mistakes Trinculo for some spirit sent by Prospero to torture him. In order to hide himself Caliban falls flat on the ground. Meanwhile a storm is brewing. Trinculo looks around himself for a place of shelter. Finding none but Caliban lying there, he creeps under Caliban’s gabardine to shelter himself from the rain.

At this time Stephano comes there. Stephano is the king’s butler. He is in a drunken state. He has a bottle of liquor in his hand. He pours some liquor into Caliban’s mouth, as Caliban is shivering and appears to be suffering from ague. Trinculo also gets some liquor. He is very pleased to meet his old friend, Stephano.

Caliban looks upon Stephano as a god and his drink as a celestial liquor. He is even ready to lick Stephano’s feet. Stephano plies Caliban with drink again and again to retain his loyalty. Caliban vows to desert his old master Prospero and stick with Stephano. He promises to show Stephano the best springs, pluck berries, catch fish and bring wood for him. He asks Stephano to kill Prospero and marry Miranda and Stephano agrees to do so.

The Scene shows how the foolish Caliban, imagining that he is becoming free by choosing to serve under Stephano, is simply exchanging masters. What is worse, he is exchanging a better master for a worse one. “Real freedom can come only through, sincere and cheerful service”.

Act III, Scene 1

The scene is laid before Prospero’s cell. Ferdinand is seen carrying logs of wood. Thinking that her father is hard at study, Miranda has come out stealthily to see Ferdinand. She offers to carry the logs herself, so that he can take rest. But he says that her presence has put new energy into him and that he does not need any rest. Ferdinand tells her that he has met several women each of whom had some good quality or another. But he sees in Miranda a combination of all these qualities. He tells her that he is a Prince. He offers to marry her and make her his Princess. Miranda is very happy to hear this. She weeps for joy. She says that she would like to serve as his mind, if he does not marry her. Prospero watching this scene invisible feels very happy seeing two innocents in love with each other.

Act III, Scene 2

Once again Stephano, Trinculo and Caliban make their appearance. They are all drunk. Caliban suggests that they can go to Prospero’s cell in the afternoon, because that is the time he is asleep. Caliban tells Stephano to seize hold of Prospero’s book on magic first, for without his book he is powerless. Then, Stephano can easily kill Prospero and marry Miranda. Ariel hears this conspiracy. He creates a quarrel between Stephano and Trinculo by remaining invisible and standering both of them. Then he sings a song remaining invisible. Trinculo and Stephano are frightened at this. But Caliban assures them that such music by invisible singers is quite common in the island and that he has often been lulled asleep by such music, awakening only to fall asleep and hear the sweet music once again. Ariel leaves them to go and inform his master of Caliban’s plot against him.

Act III, Scene 3

Alonso and his party figure in this scene. They are very tired and want to take rest. Antonio and Sebastian plan to kill Alonso and Gonzalo that night. Suddenly they hear solemn music. Strange shapes bring in a banquet. The king and others are very much surprised. When they begin to eat, Ariel appears as a harpy and takes away the banquet. Then Ariel speaks through the thunder asking Alonso and Antonio to repent genuinely for their sins against Prospero. Then Aril vanishes in thunder. The strange shapes re-enter and mock at the traitors with various gestures.

Alonso imagines that the thunder cried the name of Prospero and condemned him for having banished Prospero. Alonso now believes that his son’s death is a punishment given to him for his crime against Prospero.

The banquet and the appearance of the strange shapes are concessions to the low tastes of the Elizabethans and their craving for sensational scenes.

Act IV, Scene 1

Prospero, pleased with Ferdinand’s integrity and genuine love for Miranda, formally introduces his daughter to him. He warns Ferdinand seriously against pre-marital coitus: Ferdinand takes a solemn vow to follow this advice. Prospero wants to celebrate this betrothal in a fitting manner. Ariel is directed to arrange the Mosque of Juno. The first to appear in the masque is Iris, Juno’s messenger. Ceres and Juno come next. Juno blesses the Lovers with honour, riches, happiness of married life, and increase of these Blessings. Ceres comes and blesses the lovers with plenty and prosperity. 

Ferdinand enjoys the show. But it is rudely and abruptly stopped by Prospero who has to go away to check Caliban’s conspiracy. Before leaving, he tells Ferdinand that just as the show is an illusion so also all the objects on the earth and the earth itself are illusions that will pass away sooner or later without leaving even a trace behind. Our life itself is but a dream and ‘ is rounded off with ‘a sleep’ that is, death.

Ariel comes and tells Prospero that he has lured his associates to a stinking pool. Soon they themselves reach Prospero’ cell. Finding gaudy dressing material there, Stephano and Trinculo quarrel with each other to possess it. Caliban who wants them to do the murder first is disillusioned at this. AT this time Prospero’s spirits in the shape of hounds drive them out.

Act V, Scene 1

This scene also takes place in front of Prospero’s cell. Ariel describes to Prospero the pathetic condition of his enemies. Prospero tells Ariel that he will not punish his enemies too hard. He says, “The rarer action is in virtue than in vengeance”.

Now that all his plans are about to end successfully, Prospero decides to give up all his magical powers. Addressing the spirits of hills brooks, standing lakes and groves, and various other spirits who have faithfully served him all these years, Prospero decides to bury his magic staff in the earth and is magic book in the ocean.

Meanwhile, he enemies, the king and his party, arrive there. Prospero commends his old servant, Gonzalo, for his loyalty. Then, he puts on his old clothes. All the people now recognize him. Alonso repents and promises to restore Milan to Prospero. Prospero forgives him. When Antoni repents sincerely he forgives Antonio also. He tells Sebastian that he knows about his evil plan against his brother but that he will not expose him, now that he has repented. Next, Alonso is led by Prospero into the cell where Miranda and Ferdinand are playing chess. Alonso is happy to see his son and blesses the lovers.

Next the captain of the ship and the boatswain come and report to Alonso that their ship is intact and that they woke up to find everything in the ship in order. Prospero dismisses Caliban angrily from his presence, asking him to tidy up the cell so that all the guests can be received. Caliban realises his folly and asks for Prospero’s forgiveness. But Prospero is not quick in forgiving Caliban. Prospero intends to release Ariel before leaving the island for Milan. He says that after reaching Milan and witnessing his daughter’s marriage ‘every third thought shall be of my grave”.

The epilogue is spoken by Prospero. But it is Shakespeare himself who is voicing his feelings. He requests the audience to clap their hands and release him from the spell which ties him to them.

Character Sketches

1. Prospero

Prospero’s tragic flaw:

As in the heroes of Shakespeare’s tragedies, there is a tragic flaw in Prospero. Or rather he had a tragic flaw which brought about his banishment from Milan. Originally he was the Duke of Milan. But he neglected his royal duties and devoted all his time and attention to academic pursuits. He reposed trust in his untrustworthy brother, Antonio. The result was that Antonio captured the throne and banished both Prospero and his infant daughter, Miranda.

Prospero’s present state

As a result of this bitter experience, Prospero has become very cautious and watchful. He is no more trustful and unsuspecting. He takes care to protect himself against evil-doers. He is no more misled by appearance. When Miranda rhapsodizes over the men she sees, exclaiming that they represent a brave new world, Prospero is cynical and remarks that the world is brave and new only in her eyes, not in his. He once neglected his duties, and lost his kingdom. But now he jealously guards his mastery over Ariel and Caliban and would not allow them to flout his authority. He peremptorily gets back his kingdom from Antonio. In the past, he entrusted all his powers to Ferdinand. Now, he puts Ferdinand to the servant test possible before entrusting his daughter to him.

Prospero’s affection for Miranda

Prospero is affectionate by nature. His affectionate nature is revealed in his attitude

towards his daughter and his servant Ariel. In the opening scene Miranda is agitated by the

shipwreck brought about by her father. She pleads with him to save the passengers and not

to be cruel. Prospero explains to her that he has done all that only to promote her welfare.

                               “ I have done nothing but in care of thee:

                                 Of thee, my dear one: thee, my daughter”

He always refers to her warmly, calling her affectionately “loved darling’, ‘dear

heart’, ‘a rich gift’, ‘ a third of his own life’. When he finds that Ferdinand and Miranda have

fallen in love with each other and that Ferdinand is fit to be her husband, he is very happy.

“My rejoicing”, he says, “at nothing can be more”.

Prospero’s affection for Ariel

His relationship with Ariel is also marked by love and affection. He regards Ariel as a naughty, yet beloved child. He uses nothing but terms of endearment for Ariel calling him ‘My brave spirit’, ‘fine spirit’ ‘my Ariel, chick’, ‘delicate Ariel’, ‘my tricky spirit’. When Ariel asks Prospero, whether he loves him. Prospero says, with intense emotion, dearly my delicate, Ariel’. On one occasion, he tells Ariel “I shall miss thee”.

Prospero forgiving nature

Prospero’s most dominant trait is his forgiving quality. He enjoys unlimited powers but he does not exercise them ruthlessly. His deeply felt conviction is that,

“ the rarer action is

In virtue than in vengeance”.

Sometimes Prospero appears short-tempered, especially in his dealings with Caliban. But we must remember that he was kind toward Caliban in the beginning and tried his best to civilize him. He has to be very harsh towards Caliban because he tried to deflower Miranda. Again he was harsh towards Ferdinand to such an extent as to imprison him. But he does this only to make his daughter hard to get at and to test the strength of Ferdinand’s love for her. Once he is sure of Ferdinand’s unchanging love for Miranda, he does not stand in the way of the lovers. Thus Prospero is essentially kind and forgiving towards all.

2. MIRANDA

Miranda – A goddess

Miranda , as her name itself indicate, is an object of admiration. She is admired by all the characters. All who see her for the first time take her to be a goddess? Ferdinand, on seeing her first, exclaims rapturously.

“Most sure, the goddess

On whom these airs attend”

His father, Alonso, also looks upon her as a divine creature at his first sight of her.

“Is she the goddess that hath severed us,

And brought us together?

Caliban though an uncivilized savage has yet glimmerings of imagination in him and he too is

attracted by her beauty.

Miranda’s sympathy

The quality of Miranda that strikes the reader most is her instinctive sympathy for suffering people. When she sees the shipwreck brought ‘about by her father, her heart is wrung’. When her father narrates to her the circumstances that led to his exile her “heart bleeds’. She exclaims, “Alack, what trouble was I then to you”.

Miranda’s innocence

Her naturalness and innocence also attract readers. In order to appreciate the beauty of Miranda’s character fully, we must forget for a moment we are in the twentieth century. We must banish from our minds the conventionalities and false modesty of our own generation. We should strive to appreciate Miranda’s full purity and innocence. Verity remarks, “Emotion with her is fresh and natural”. She does not conceal her feelings in an artificial manner. She speaks out what she feels, frankly and honestly. With delicious frankness, she takes the initiative --- unusual for a woman ---- and declares her love for Ferdinand and requests____ him to marry her. Her declaration reveals her modesty, innocence and frankness.

Miranda’s love for Ferdinand

Her love of Ferdinand brings out all her best qualities. She falls in love with Ferdinand at first sight. Her love is not an ephemeral fancy. The strength of her love is in evidence when she defies her father’s prohibition are meets Ferdinand. She offers to relieve him by carrying the logs herself. She casts in her lot with him. She offers to be his servant, if he does not marry her. When her father tells her that Ferdinand in comparison with other men is as ugly as Caliban, Miranda resorts with some vehemence:

“My affection

Are then most humble; I have no ambition

To see a goodlier man”

Her father is quite sure of the strength and lasting nature of her love and also of the genuineness of Ferdinand’s love and so gives consent to the marriage.

3. FERDINAND

Introduction

Ferdinand is a fresher from the court. Like so many lovers featuring in the early comedies, Ferdinand also falls in love at first sight. The path of his love is fairly straight. He does not have to face any major hurdles.

The first meeting between Ferdinand and Miranda

The shipwreck that occurs in the opening scene separates Ferdinand from his father. Lured by Ariel’s music, he is brought to Prospero’s dwelling place. He marvels at Miranda’s beauty. He regards her as a goddess.

Ferdinand freely confesses to Miranda, the nature of his past. He tells her that he has had contacts with several women but that he was not satisfied with any of them fully. Every one of them was marred by some defect or other. But he finds in Miranda a perfect woman. His saying so comes from his heart. It is not a piece of flattery.

The hurdles faced by Ferdinand

Prospero imposes certain restraints on Ferdinand in order to test the genuineness or otherwise of Ferdinand’ love. Ferdinand is chained. Self-respecting to the core, he regards Prospero’s treatment as most insulting. He goes to the extent of raising his sword against Prospero. Using his magical powers, Prospero immobilizes Ferdinand for the time being.

The other hurdle faced by Ferdinand is that he is ordered to remove a heap of logs from one place to another. A prince is brought down to the level of a coolie. Ferdinand gladly undertakes this menial job to prove his love for Miranda. He turns down Miranda’s offer to help him. Prospero is moved by the mutual love and concern of the pair of lovers.

He allows them to be intimate with each other. At the same time, he warns them against rash pre-marital coitus. Ferdinand follows Prospero’s advice faithfully.

The lovers playing chess:

Ferdinand’s father Alonso is brought to Prospero’ cell by the invisible Ariel’s music. The father is very happy to see his son alive. And so is the son. The nuptials of the lovers are to take place as soon as they return to their kingdom.

4. CALIBAN  Introduction

Caliban is the opposite of Ariel. He is gross and earthly whereas Ariel is refined and ethereal. Hazlitt says, “Caliban’s character grows out of the soil. It is of the earthy; It seems almost to have been dug out of the grave”. The name Caliban is metathesis of ‘Cannibal’. Prospero calls him a devil, a born devil whom neither nature nor nurture can improve.

Caliban’s origin

Caliban seems to derive his grossness and monstrosity from his mother, ‘Sycorax. She was an abominable witch. Her sorceries were so terrible that her countrymen banished her to a remote island. It was here that Caliban was born.

Prospero and Caliban

When Sycorax, defeated by Prospero, died, Caliban was taken care of by Prospero. Prospero was kind towards Caliban in the beginning and took extra efforts to teach him and civilize him. But Caliban proved thankless. He rebelled against his master’s efforts to civilize him. The restraints imposed upon him irked him. He used the language taught to him by Prospero only to curse him.

“You taught me language: and my profit on’t

Is , I know how to curse”

He also went to the extent of attempting to deflower Miranda. It was this barbaric act which turned Prospero completely against Caliban and led him to control Caliban with an iron hand. The more Caliban is controlled, the greater is his bitterness. Thus, the relationship between Caliban and Prospero goes from bad to worse.

Caliban’s hero-worship

Caliban has an innate craving to hero-worship somebody or other. He gladly chooses to serve under Stephano because, hating Prospero, he must have some substitute to here-worship. He abuses himself and voluntarily offers to do Stephano those services which Prospero is at present extorting from him.

Shakespeare takes care to differentiate between Caliban the natural savage, and Stephano and Trinculo, the savages of civilization. Caliban wants to kill his master because of the latter’s inhuman treatment of him. So, there is some justification for his criminal tendency. But there is no justification whatsoever for the greed and wickedness of Trinculo and Stephano and their readiness to murder Prospero. When they enter Prospero’s cave, their attention is diverted by the gaudy dressing material that they see there. They quarrel with each other to possess it. Caliban is disgusted with their shallowness and craze for flashy materiala. He breaks away from them.

Caliban’s love of beauty

Caliban has a certain characteristic which normally one does not find in coarse people--- his capacity to enjoy the beauty of the island where he lives. The most poetic passage in the plat comes from Caliban. Only he speaks in appreciation of the music that pervades the island:

Be not afeard: the island is full of noise

Sounds and sweet airs, that gives delight and hurt not

The mind that is revealed here is that of a poet and not that of a coarse monster. Even Ariel does not have such stirring imagination in him. To a certain extent Caliban has been refined by the beauty of nature surrounding him, even though the human agent Prospero has failed to ennoble him. Nature does what man cannot do.

5. ARIEL  - Introduction

The fairy machinery plays a pivotal role in ‘A Midsummer Night’s Dream’ and ‘The Tempest”. A ‘Midsummer Night’s dream’ is marked by crudity. In this play fairies are introduced merely for fun. The fairies of this play are irresponsible. They play pranks on human beings and manipulate their affairs as they like. On the other hand, the fairies of ‘The Tempest’ are not irresponsible. They are guided and controlled by Prospero. They cannot go against his wishes. Ariel has super human powers and can change his shape at will. But he too is subservient to Prospero. Whenever Ariel shows signs of restlessness and insubordination, Prospero checks him and reprimands him so much that Ariel has to apologize.

Ariel’s Capacity

As in ‘A Midsummer Night’s Dream’ in ‘The Tempest’ also the fairies are diminutives. Ariel performs miracles at the behest of his master. There is a boastful ring when he tells his master that he can do anything his master wants him to do.

Ariel also takes any shape or remains shapeless and invisible. Ariel delights in playing pranks on other. With Prospero’s approval, Ariel misleads night wanderers. He tempts Stephano and Trinculo and Caliban to walk into “briars, sharp furzes, pricking gross, and thorns.”

Ariel’s love of music

Ariel is fond of music. Caliban says that music pervades the island, but that he is not able to locate the singer. The invisible musician is Ariel and his sweet music makes Alonso and Gonzalo sleep. At the same time, he harsh thunderous music makes Alonso feel guilty of his past crimes.

Ariel’s love of freedom

The most prominent trait of Ariel is his love of freedom. He is always voicing his desire for freedom. In the scene in which he makes his appearance for the first time he is moody and irritated. For, he has to add more and more work. Freedom is not within sight. Only when Prospero is vexed by his repeated wish for freedom, Ariel stops protesting. Ariel is very happy when, at the end of the play, he is granted freedom by his master.

Ariel as a symbol

Ariel’s character has been interpreted by many critics as a symbol. Miss. Helen A. Stewart suggests that Ariel is the quintessence of the higher laws of nature, those forces which are invisible, yet irresistible, work in all material things. He is also said to symbolize elements and forces of nature which have a tendency to escape, unless held prisoner by the ingenuity of man. He represents all that is refined, spiritual and delicate in nature, just as Caliban represents all that is coarse, earthy and vulgar in human nature.