In Shakespeare's The Tempest, Prospero exerts a wrathful influence on the island and his servants Caliban and Ariel cannot help but cower in humble obedience. Ariel is indebted to Prospero for freeing him from the terrible darkness of the “cleft pine” (I.ii.277) into which he was banished by the witch Sycorax. For Caliban, servitude is natural, for he is born without self-control and must therefore fall under the authority of another. By examining the master-slave interactions in The Tempest, the reader can understand what Caliban and Ariel represent in the play. Some critics have suggested that Prospero's rule over the island is a gesture of colonial appropriation over the island's two natives (Parker), but Prospero's remarkable metamorphosis from an abusive to a merciful master in the latter scene complicates the relationship between Prospero and his two. servants. Prospero's actions in forgiving Caliban and freeing Ariel can be seen as an abandonment of the qualities that made him a cruel and vengeful demigod. Ariel and Caliban are perhaps manifestations of Prospero's character flaws that he has failed to admit. Shakespeare attempts to unify the roles of Prospero, Caliban, and Ariel by defining their relationship within the "great chain of being" and ironically describing them as the Holy Trinity. This unifying effect presents Prospero with the difficulty of separating himself from the faults of Caliban and Ariel. However, Prospero ultimately succeeds in recognizing these imperfect qualities by restoring himself to his original human state. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Prospero and Caliban exhibit the same "darkness" or flaw, indicating that Caliban may be an embodiment of Prospero's hidden flaws. When Caliban joins the gathering in the play's final act, Prospero says, "This thing of darkness I/recognize mine" (Vi276-277), admitting that he believes Caliban to be his slave. A colonial interpretation of the phrase might suggest that Caliban represents the subjugated native who is conquered by Prospero, an outsider who adopts a haughty Eurocentric attitude (Riggs). But more significantly, the lines reveal the role Caliban plays in the development of Prospero's character. By confessing his ownership of Caliban, fathered by the witch Sycorax, Prospero admits his own "darkness" as he prepares to consummate his plan of reconciliation, purging himself and those who have sinned against him. Prospero often exhibits qualities similar to those of Caliban, which lends credibility to the claim that Caliban is a physical manifestation of Prospero's desires. Caliban, who sought to "violate / The honor of [Prospero's] child" (I.ii.346-347), is the personification of the appetite and neglect for the law. Similarly, while still Duke of Milan, Prospero had an uncontrollable appetite for "the liberal arts" (73) and was constantly "immersed in secret studies" (77), which turns out to be hamartia which led him to neglect his political responsibilities and allow Antonio to overthrow him (Holland). Caliban's assassination plot is further metaphorically linked to Prospero's insolence and disregard for authority. Just as Caliban plots to overthrow Prospero's authority through a "vile conspiracy" (IV.i.139), Prospero displays a condescending attitude toward the king. Seeing the “wronged Duke of Milan, Prospero” (Vi107), King Alonso regrets having banished him and begs Prospero: “[I] beg you / You forgive me my wrongs” (118-19). However, Prospero ignores the king and greets Gonzalo: “First, noble friend, / Let me embrace your age, whose honor cannot / Be measured or limited” (121-23). Instead of addressing the king with humble respect, Prospero blatantly despises the monarch who has just deigned to apologize. Prosperoles' subsequent lines, however, contradict his seemingly ruthless attitude; he embraces everyone with “Welcome, my friends to all” (125). By juxtaposing Caliban's disavowal of his master with Prospero's refusal to pay homage to his king, Shakespeare reveals the characteristic similarity between Prospero and Caliban as if to show that they were a single entity. Both commit a crime punishable by death and both escape punishment. The king ignores Prospero's offense; Prospero also forgives Caliban, telling him: “While you watch / To have my forgiveness, cut him generously” (293-94). This baseless display of reconciliation highlights the complexity of Prospero's intentions in the play. Shakespeare, however, highlights this complexity by comparing Prospero and Caliban. Through his foul language, Caliban represents Prospero's frustrations. Although Caliban appears to be nothing more than a vile slave, his complexity of language is comparable to that of Prospero. Caliban directs his accusations towards Prospero, asserting: “You taught me the language, and my profit is not in that, it is that I know how to swear. The red plague got rid of you / For teaching me your language! (I.ii.363-365). Caliban, who has acquired Prospero's language, expresses his frustrations in poetic verse. Caliban's mouth has become a channel through which Prospero expresses his frustrations at the injustices and suffering he has endured. Caliban complains that he is his "own king" until Prospero "binds him / In this hard rock" and denies him "the rest of the island" (342-344). Prospero, who was denied access to his duchy, could well have used Caliban's rhetoric as a form of protest. However, Prospero, who claims to be “a prince of power” (54), prefers to conceal his inner vulnerability. He tells Miranda: “[Antonio] who is next to you / Of all the world that I have loved” (68-69). Prospero's callous appearance belies his true sensitivity and his affliction at having been betrayed by his brother, whom he loved dearly. Caliban's angry language is therefore a representation of the discontent that Prospero cannot express. He is the embodiment of Prospero's hatred and inner "darkness". The other native of the island, Ariel, embodies the speed and endurance that symbolize Prospero's unwavering motivation to carry out the complex plan that will ultimately result in the forgiveness of his enemies. As with Caliban, Prospero takes possession of Ariel when he addresses him “my brave spirit” (I.ii.206) or “my brave fairy”. However, the word "spirit" could also refer to "the mind and will" (OED). Ariel is a fairy spirit who desires freedom and justice, which Prospero also yearns for since his banishment. Therefore, Prospero expects reparation for the injustice he received from his foul brother Antonio. Paradoxically, he also seeks freedom from anger, an emotion that has imprisoned him in solitary bitterness on the island. In this regard, Ariel represents Prospero's "will" or "motivation" to pursue his vision of achieving reconciliation. Throughout the play, Ariel carries out Prospero's tedious requests so perfectly that it seems as if Prospero is carrying them out himself. For the moment, Ariel is inseparable from Prospero's existence because he personifies Prospero's "will", acting as an indentured servant who caters to his master's every whim. As Prospero's goals are realized in the lastact, his “will” is extinguished and Ariel “drinks the air before [him]” (Vi102) and dissipates into the mist. Ariel, the personification of Prospero's aspirations for the spiritual purity of forgiveness, no longer serves any purpose after the completion of Prospero's plan and therefore must disappear. The roles of Prospero, Caliban and Ariel are closely linked to the plot of the play. To better understand how Shakespeare interweaves the roles of the characters, one could read The Tempest within the framework of Empedocles' theory of the elements, which assumed that the world consisted of four mystical elements: fire, earth, air and water (IEP). Prospero is clearly the “fire” of the play as he directs his anger at Antonio, who was “so treacherous” (I.ii.68) that he betrayed his own brother. Caliban represents the “earth” element of the play because his mind and body are as dull and still as the earth itself. In fact, Prospero summons Caliban with “Thou, earth, thou!” Speak!" (313). Caliban's baseness and immorality as an earthly creature are representative of the intrinsic "darkness" of humanity. This "darkness" is the inner vice that Prospero comes to recognize at the end of the Ariel obviously serves as the “aerial” element of the play He lacks any form of autonomy and his existence seems almost dependent on the tasks assigned to him by Prospero On a literal level, the storm that Ariel evokes at the beginning. of the play illustrates the “water” element of the play More importantly, water suggests a cathartic or cleansing action, which serves to heal the emotional wounds of a tragic event (Janko As Prospero “abjures”). his "airy charm" (Vi51-54) and admits his "darkness" (276), his eyes shed "like drops" (64), forming the very tears that complete the cleansing action of Prospero's forgiveness of Caliban, Alonso and Antonio and his release of Ariel serve to purge any resentment as well as appease Prospero's anger. Prospero's Island has become a witch's brew that blends the elements of Prospero, Caliban, and Ariel and concocts a plot that culminates in a cathartic conclusion. The three characters almost seem to be an inseparable entity, each complementing the other in the workings of the plot. The natural hierarchy and order of the world is disrupted as Prospero incorporates elements of Ariel and Caliban into his character. Lovejoy claims that the Elizabethans described the order of the universe as a "great chain of beings" that places gods and kings at the top while relegating low-born humans and inanimate objects to the bottom of the hierarchy (the king). Shakespeare makes it clear from the first lines of the play that the natural order of the world has been disrupted. As the storm relentlessly rocks and heaves the ship, the passengers fall into chaos as the boatswain cries, "What care do these roarers have for the king's name?" At the cabin! Silence! Don't disturb us! (II16-18). The social hierarchy is reversed here because the kings and nobles receive orders from the sailors. This disorder is the consequence of Prospero's use of magic. Because Ariel's magical actions are at Prospero's own command, Prospero assumes a God-like role, a position far beyond the reach of human faculties. After abandoning his magical robes and “drowning his book” (Vi57), the order of the universe is restored. Prospero regains his humanity and takes his rightful place as Duke of Milan. Although Prospero's use of Ariel could be considered white magic, Prospero also uses a darker kind of magic. By absorbing the magic of Sycorax, the island's former guardian, he was able to assume total domination over the island. Prospero uses this black magic to>.