At the center of the play’s action, and controlling it from the island where he lives in exile, is the wise magician Prospero. He conjures a storm to shipwreck his brother Antonio, usurper of his ducal throne in Milan. Prospero engineers a marriage between his daughter and the son of an enemy, King Alonso of Naples, who accompanies Antonio. The marriage would end the feud and allow Prospero to regain his dukedom.
The portrayal of the villainous characters presents a contradiction between seeming and being. Reportedly they have victimized Prospero; yet on stage we see them as Prospero’s victims. The shipwreck leaves them helpless, stranded, and separated; Alonso grieves when he thinks that his son has died in the storm.
Over all is Prospero--reportedly the victim--manipulating others’ perceptions. In the end, he reveals Alonso’s son as still living, secures the king’s repentance for supporting Antonio the usurper, and regains his dukedom.
As Prospero manages the perceptions of other characters, Shakespeare manages those of the audience, often to its confusion. For example, though Prospero is supposed to be the stock figure of the benevolent magician, Shakespeare makes him address his daughter and servants with unneeded harshness that seems out of character. Again, the stock dramatic plot calls for wrongdoers to repent, yet two who planned Alonso’s murder are pardoned without repenting. Even a Christian audience might...
(The entire section is 556 words.)
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