William Shakespeare’s the Tempest

The significance and aptness of the title “The Tempest” is immense. Though not apparent at first, the title is skilfully used by the dramatist to enmesh the various themes, motifs and subplots in his play into a closely knit unit.

The title is not the mere reflection of a storm that characterizes the opening scene; rather, its essence lays the foundation that links disparate elements throughout the play. I believe that the tempest is a symbol of the torment and suffering endured by Prospero for twelve years, the injustice thrust upon him for which he seeks retribution. It is a clear manifestation of his rage, of the storms and conflicts that have ignited within him over the past few years. Prospero uses his art to put “the wild waters in this roar” and bring his enemies at his disposal, just as he was put to the mercy of the sea along with his infant daughter. Hence the tempest is a symbol of the frightening, potentially malevolent side of his power.

The tempest is conjured by Prospero to set into motion a sequence of events that aim to terminate the strife and anguish in his life. Using his black magic, he creates an environment to instill fear and panic in his enemies. There is uneasiness and uncertainty aboard the ship in distress. Nerves snap and conflict ensues. This is clearly evident when the boatswain orders members of the court party, “keep your cabins-you do assist the storm.” He establishes his authority and challenges Gonzalo to “command the elements to silence and work the peace of the present.” However, his dismissive and defiant attitude is interpreted for impudence and impertinence. Members of the aristocracy are insecure and the mask their fear with profanity. Antonio, along with the others, is consumed by hopelessness and grief and leaves with a curse, “Would thou mightst lie drowning, the washing of ten tides.” The boatswain is unaffected as he believes that social hierarchies are flimsy and unimportant in the face of nature’s wrath. Thus, we observe glimpses of the conflict and strife, of the clash in opinions that describes a major part of the play.

Prospero’s sorrow and suffering is immeasurable. Once the “Prime Duke” of Milan, he was a man of unparalleled dignity and intellectual prowess. However, due to his zest for knowledge, he “casts his government” upon his “perfidious” brother and places implicit trust in him. This does beget of Antonio “a falsehood in its contrary” as prodigious as Prospero’s confidence in him. Prospero begins to neglect all “worldly ends” as he is “transported and rapt in his secret studies.” Very soon he is “extirpated” from his own dukedom by a “treacherous army” and hoisted into the roaring waters to cry to the sea and sigh to the winds. Probably the most important element that lends to the play’s title, the present segment accounts for Prospero’s animosity and hostility towards his enemies. The tempest is once again a representation of the conflict and altercation that originates between them.

The tempest is not a depiction of just one man’s adversity. It is also a portrayal of Miranda’s struggle. The quintessence of love and sensitivity, she is moved deeply by the “direful spectacle of the wreck.” She empathizes with the “noble creatures” on board the “brave vessel” and entreats her father to allay the storm. Thus, we see the incipient stage of a rational, mature woman who begins to question what she feels is wrong. Her strength and forthrightness are evinced in her conversation with Caliban. When Prospero alludes to the fact that Caliban had once sought

to “violate the honour” of his child, the latter replies with a light, cavalier attitude. Clearly disgusted and appalled, Miranda responds with surprising vehemence. She goes on to reprove him for being an ungrateful, “abhorred slave capable of all ill.” She had endowed his “purposes with words that made them known.” His “vile race” however, possessed that which good natures could not abide with.

Miranda is also seen to fight for her first and true love. When she sets eyes upon Ferdinand for the first time, she is overcome by wonder and amazement. Engulfed by awe and incredulity, she considers him to be a “divine and noble spirit.”

Her father however speaks harshly and chastises him for trying to usurp his island. Miranda is moved deeply by the accusation and she begs her father to be inclined to feel her way saying, “There’s