In addition, Prospero acts as the cruel master of Caliban.

Prospero exhibits three major : forcefulness, protectiveness and forgiveness.

As the novel progresses, however, more is learned about Prospero....

I have made you mad... you three
From Milan did supplant good Prospero,
Exposed unto the sea (which had requit it)
Him, and his innocent child.Act 3, Scene 3: 53, 58, 69-72Ariel thus leaves them in no doubt for what cause they are now to be punished with "Lingering perdition" (Line 77).

Prospero is protective of those who are close to him especially Miranda.

This is how Prospero is protective of Miranda.

Consequently, in this reading of , Nature is responding to the inner psychology of a sort of Jungian "terrible mother," who, like Prospero, makes a match for her child, but on terms that might be agreeable to many a mother-in-law.

Throughout The Tempest Prospero slowly makes sure Ferdinands and Mirandas love wont faid quickly.

Yet this is so far from the tone of Prospero's practice that he condemns, or explains, Caliban's character as the result of him having been "got by the Devil himself" (Act 1 Scene 2: 320).

Prospero even called Ferdinand a traitor just to make Miranda seem harder to get.


Prospero's true substantive goal is simply to provide for Miranda.

However, if this music he recounts is like the present music, produced by Ariel, then this charm of the island, beloved of Caliban, is actually an artifact of Prospero's presence and will disappear with him.

But, as it happens, Prospero's bark is truly worse than his bite.

At some strange music, played by Ariel, Stephano and Trinculo are alarmed, but Caliban reassures them:

Act 3, Scene 2: 131-142
We thus see the poetry that is latent in the sensitive heart of Caliban, and his love of the island, which he accuses Prospero of having stolen from him.

Indeed, Prospero is out of his reckoning.

We meet Iris, Ceres, Juno, and Naiads, whose pagan origin reminds us of the extra-Christian context of Prospero's powers, although it is presented with no sense of its possible incongruence next to the "sanctimonious ceremonies" and the "full and holy rite" that Prospero has just required of the lovers.

Prospero is called back from the extreme application of vengeance:

Many believe that Shakespeare, personified his character into Prospero, because Prospero ultimately created the entire plot of the play with his magic, which he obtained shortly after being marooned on the island....

But Prospero's vengeance doesn't really extend even that far.

Our own real "little" lives "are such stuff/As dreams are made on," and we shall all in time find that "sleep." Prospero's awareness of this is confirmed in one of his last statements in the play, after all the practical issues have been resolved:

Act 5, Scene 1: 313-314
For a play where no one has died, and a conventional happy ending has been accomplished, this is an unexpectedly harsh anticipation.

Prospero sends Ariel away to bring the court party to meet him.

In this state, he decides that Stephano, who claims to be the "Man in the Moon" (Lines 128-129), is his savior and offers to guide him to the assassination of Prospero and the assumption of the rule of the island, with whose resources he will acquaint him.