Miranda soon becomes uninterested with what her father is saying and she drifts off into her own thoughts. Prospero quickly orders Miranda to “Obey and be attentive”. From this Shakespeare shows the reader that Prospero is a powerful character; at this stage in the text Shakespeare shows the reader that the relationship between Prospero and Miranda is based around power, and not love. This is obvious, as Prospero is demanding his daughter understands he is powerful and that she realises his status. Prospero continues to give orders as if he is still the Duke of Milan; his mind set is that of a commanding individual. Throughout the scene Miranda seems to have a problem listening to her father, this time Prospero tells her to “mark me” as she drifts off again. The magician orders his daughter to listen to him five times in act 1 scene 2. Prospero uses a spell to hypnotise Miranda once he has finished speaking to her. Shakespeare uses this to show that Prospero is obviously becoming annoyed with Miranda.
In the introduction, written by Anne Barton she says that “Prospero’s explanation to Miranda of the illusory nature of the wreck should come as a complete surprise to the audience.” The only surprise is that Miranda can’t remember what her father is capable of doing when using his magic.
Shakespeare uses Prospero as the puppet master, the ex Duke plays with his ‘toys’ when he wants to, when he has finished he just drops them, and picks up the next item. There is no consideration or emotion shown by the ex Duke toward the other being. It is not only hypnotising his daughter that shows the audience this, it is evident at the beginning of act 4 scene 1 when property and legality are the focus of the play. Prospero talks to Ferdinand as if he owns Miranda; Prospero speaks with authority as Ferdinand asks Prospero’s permission to marry his daughter. The magician’s dominance is reinforced by the fact that characters around him feel threatened and scared.
When Prospero is talking to Ferdinand and Miranda about the marriage Prospero tells Ferdinand that he may take Miranda “as my gift“, an indication that Prospero is obsessive over his status and his power, and that he sees his daughter as a possession, not a person. He doesn’t say anything about his happiness for the couple; just that Ferdinand is now worthy of what once ‘belonged’ to himself, Miranda.
From this Prospero plans to regain the power and status he once held in Milan, and by offering his daughter as a gift to Ferdinand, the son of the King of Naples’. This gives Prospero the opportunity to achieve power in the state, In addition to the authority that he holds in Milan. Prospero plans to use his daughter’s marriage to Ferdinand as a chance to elevate his own status, and to gain power in Naples. When Prospero is speaking to Ferdinand Shakespeare hints that Prospero is using his daughter to “make this contract grow”. Instead of going back to Milan and regaining his title as Duke, Prospero desires more, and he creates his chance by the manipulation of Miranda. Prospero does not show any evidence to prove he is happy for the young couple, the entire time we see that the magician is thinking how the outcome of the event will benefit his own aspirations.
Acts 1 scene 2 Prospero and Ariel.
Shakespeare has shown the reader that Prospero uses his status to gain power over other characters in his relationships with them. For example, Ariel is a spirit that Prospero freed from the trunk of a tree whilst on the island. He did this so that the spirit could serve him, and help develop his art. The first time the reader sees the relationship between Ariel and Prospero, in Act 1 Scene 2 the spirit addresses Prospero as “great master“, without being prompted by the magician. When calling Ariel, shortly beforehand Prospero calls “servant come! I am ready now. ” We immediately see the connection between these characters, and the part of the relationship that the spirit will fulfil throughout the play. It is again Prospero that has taken the governing roll in the relationship between him and another character.
Ariel addresses her master as sir on countless occasions during the scene, but not once is she/he prompted to do this by Prospero, nor is she ordered to obey, unlike Miranda who is constantly reminded that she is in the presence of her father, who was once Duke of Milan, Someone who she is expected to serve, and tender.
Ariel is not ordered to obey, but the spirit is ordered what to do by Prospero, who controls the actions of Ariel. He controls what she does and when she does it, this is evident when Prospero calls the spirit in Act 1 Scene 2, and “Come forth, I say!” enter Ariel like a water nymph.” Ariel is constantly entering and leaving scenes in the play at the request of her master who sounds forceful at times. Prospero becomes very angry with Ariel, he orders her to do something for him, Prospero scares Ariel into obeying him, and he has power over Ariel. Shakespeare uses Prospero as a symbol of power when Prospero constantly blackmails Ariel
“Dost thou forget
From what a torment I did free the?”
Prospero uses this to his advantage and says that he will not free the spirit unless she does what he wants him to.
Act 4 Scene 1 Property, power, money, law.
In act four, scene one power and property are at the forefront of events in the play, with Shakespeare showing the reader that the different characters are unknowingly revealing their arrogance and self-righteousness to the people they are with. Although displaced on the island, in this scene Shakespeare makes sure that the sense of power and ownership is instantly recognisable. It is the strongest that we see the theme in the play. In the first 30 lines in the scene, there are over 10 words that are related to Property, Power, Money, and Law in one way or another. When Prospero is talking to Ferdinand about Miranda he tells Ferdinand “all thy vexations were but my TRIALS of thy love “This gives us a strong indication into what Shakespeare wants the reader to think about the characters, and the way they think. This involves why they act in the manner that they do. It is clear that Shakespeare doesn’t plan to change the way Prospero thinks. Even after spending 12 years on the island, the magician’s primary thoughts are circled round ownership, status and power.
Prospero is not the only character that is guilty of this but in the early stages of the scene the focus is on him when power is mentioned. However Ferdinand echo’s Prospero’s imagery of his life with the ex Dukes daughter and reassures that they will remain happy and together in years to come. This seems to be like they passing on of a possession, Prospero has taken care of Miranda and now it is the turn of Ferdinand to uptake the task.
In conclusion, it is clear that Prospero is the most dominant and powerful character in the Tempest, as we are constantly shown, but there are many more characters that are involved with the force of ownership throughout the play. It seems strange that after so little time on the island, the relationships between the islanders are formed around the idea of power and ownership, and what they can do at the expense of their companions to benefit themselves.
The characters still believe they have the same status and responsibilities on the island as they did when they were in Naples and Milan, all though there is no government and no dynasty where this can be reflected there is still a class system where this is enforced.
The characters are not disturbed in the slightest by what has happened to them in the previous few hours, or what may happen to them in the next few. Shakespeare shows us that, because of their arrogance they believe they are still of the same significance on the island as back on the main land of Europe. They may never see Italy again but this does not cross the minds of the majority of islanders, and this is why Prospero is able to use power and ownership with such a significant effect in the Tempest, because he, as master and creator is able to focus on manipulating the other characters to provide him with what he wants. All the magicians’ requirements are met by the other characters even though they are unaware of them doing so.
