Prospero is one of Shakespeare’s more enigmatic protagonists. He is a sympathetic character in that he was wronged by his usurping brother, but his absolute power over the other characters and his overwrought speeches make him difficult to like. In our first glimpse of him, he appears puffed up and self-important, and his repeated insistence that Miranda pay attention suggest that his story is boring her. Once Prospero moves on to a subject other than his absorption in the pursuit of knowledge, Miranda’s attention is riveted.
The pursuit of knowledge gets Prospero into trouble in the first place. By neglecting everyday matters when he was duke, he gave his brother a chance to rise up against him. His possession and use of magical knowledge renders him extremely powerful and not entirely sympathetic. His punishments of Caliban are petty and vindictive, as he calls upon his spirits to pinch Caliban when he curses. He is defensively autocratic with Ariel. For example, when Ariel reminds his master of his promise to relieve him of his duties early if he performs them willingly, Prospero bursts into fury and threatens to return him to his former imprisonment and torment. He is similarly unpleasant in his treatment of Ferdinand, leading him to his daughter and then imprisoning and enslaving him.
Despite his shortcomings as a man, however, Prospero is central to The Tempest’s narrative. Prospero generates the plot of the play almost single-handedly, as his various schemes, spells, and manipulations all work as part of his grand design to achieve the play’s happy ending. Watching Prospero work through The Tempest is like watching a dramatist create a play, building a story from material at hand and developing his plot so that the resolution brings the world into line with his idea of goodness and justice. Many critics and readers of the play have interpreted Prospero as a surrogate for Shakespeare, enabling the audience to explore firsthand the ambiguities and ultimate wonder of the creative endeavor.
Prospero’s final speech, in which he likens himself to a playwright by asking the audience for applause, strengthens this reading of the play, and makes the play’s final scene function as a moving celebration of creativity, humanity, and art. Prospero emerges as a more likable and sympathetic figure in the final two acts of the play. In these acts, his love for Miranda, his forgiveness of his enemies, and the legitimately happy ending his scheme creates all work to mitigate some of the undesirable means he has used to achieve his happy ending. If Prospero sometimes seems autocratic, he ultimately manages to persuade the audience to share his understanding of the world—an achievement that is, after all, the final goal of every author and every play.
Gonzalo also mentions that he thinks that the Boatswain is the type of person who looks like he would die by a hanging and not by drowning.He could be suggesting that the boat would not capsize,because otherwise the boatswain would die.
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"My Lord Sebastian,
The truth you speak doth lack some gentleness,
And time to speak it in.You rub the sore
When you should bring the plaster"
In these words,Gonzalo is criticizing what Sebastian has told Alonso.In these lines,Alonso's heart is the sore,made by the loss of his son.Gonzalo says that Sebastian is "rubbing the sore" meaning that Sebastian isn't helping Alonso overcome his loss.The "plaster" is the kind,compassionate and encouraging words spoken by Gonzalo and time needed to mend Alonso's bleeding heart.... Read more→
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The minor character's story runs parallel to the main plot.The minor characters are used by Shakespeare to create humour and lighten the seriousness of the main plot.While Antonio and Sebastian were very serious and sober in plotting Alonso's and Gonzalo's death.The minor characters plan to kill Prospero when they are drunk.
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