INTRODUCTIONThe Tempest is generally a romance and is frequently interpreted as Shakespeare's drama. This is one of Shakespeare's most original plays. The critical argument about “The Tempest” centers on centuries. It is he who embodies the debate on colonialism, on the clash of cultures and on the humanity of the heroes of the play: Prospero, Miranda, Ferdinand and others. No source for the central plot has been definitively identified. The Tempest is set in an unidentified era on an unnamed island, which some critics say evokes themes of European colonialism in the New World. The plot centers on the magician Prospero, exiled Duke of Milan, who has been unjustly deposed and left adrift in the ocean with his daughter Miranda. After arriving on the island, he uses magic to free the fairy Ariel and enslave her. Prospero then punishes his usurpers, his brother Antonio and King Alonso of Naples, by luring them to the island and destroying their ship in a magical storm. After exacting his revenge, Prospero closes the drama with a gesture of reconciliation by announcing the union of his daughter and Alonso's son, Prince Ferdinand. In the final scene, Prospero confronts his brother, who reigns in his place, and demands the return of his duchy. He leaves the island under Caliban's control, abandons his magical powers and returns to Milan triumphant. The character of Prospero, who some critics say represents Shakespeare himself. Analyzes of the main characters in The Tempest have often sought to understand the interpersonal dynamics of the relationships between Prospero, his servants, and his daughter. Sharon Hamilton focuses on the relationship between Prospero and Miranda and watches the play, in large format...... middle of paper ......ing in her life: Stephano and his bottle of alcohol. Soon, Caliban begs to show Stephano the island and even asks to lick his shoe. Critical approaches to The Tempest from the second half of the 20th century, including those emphasizing a conflict between nature and art. Footnotes: Contemplative attitude, pastoral tradition, multidimensional text, benevolent mage, possibly evocative, flattering, overcoming threats. big storm in act 1, scene 1: The storms of King Lear, Craig, Hardin. “Magic in the Storm”, Philological Quarterly, 47, Berger, Karol. “The Art of Prospero,” Shakespeare Studies, Vol. X. New York: Burt Franklin, 1977. Aberdeen, Eckhart (1991). “The storm and the concerns of the Restoration Court: a study of the enchanted island and the operatic storm”. Restoration: studies in English literary culture, 1660–1700