Prospero

Prospero, the central figure in the play, is the rightful Duke of Milan who was overthrown by his brother Antonio. He resides on an isolated island, having drifted there with his daughter, Miranda, after being set adrift by Antonio's treachery. Prospero wields immense power over the island's inhabitants, including the spirit Ariel and the monstrous Caliban, controlling them with magic. Initially portrayed as bitter and tyrannical, he demands absolute obedience and even manipulates those around him, such as orchestrating the tempest that brings his usurpers to the island. Yet, as the narrative unfolds, Prospero's actions reveal a deeper motivation rooted in reclaiming his lost dukedom and ensuring a prosperous future for his daughter through her marriage to Ferdinand. By the play's conclusion, Prospero's journey is one of redemption and forgiveness, as he relinquishes his magical powers, pardons his adversaries, and returns to Milan, symbolically representing Shakespeare's own farewell to the stage.

Miranda

Miranda, the teenage daughter of Prospero, has spent most of her life on the island, knowing only her father and the creature Caliban. Her innocence is untainted by the corruption of worldly life. Though initially passive, she becomes assertive upon encountering Ferdinand, the prince of Naples, whom she falls in love with at first sight. This love motivates her to defy her father's authority. Her relationship with Ferdinand symbolizes the promise of new beginnings and reconciliation, culminating in their engagement, which marks an alliance between Milan and Naples.

Ariel

Ariel is a lively spirit who serves Prospero with diligence after being freed from a prolonged imprisonment in a tree by the witch Sycorax. His character is just and even-tempered, although Prospero often exploits him. Ariel plays a crucial role in the play's events, using his magical abilities to execute Prospero's commands, including conjuring the tempest that sets the play's plot in motion. Ariel's efforts are instrumental in leading Prospero towards forgiveness, as he vividly describes the suffering caused by Prospero's vengeance. The play concludes with Ariel's long-desired freedom, illustrating themes of liberation and autonomy.

Caliban

Caliban, the son of the witch Sycorax, is depicted as both a spiteful, rebellious slave and a sensitive, wronged native of the island. Bitter towards Prospero for usurping control of his ancestral home, Caliban concocts a plot to kill him. Despite his brutish nature, he speaks in eloquent verse, offering some of the most poetic lines in the play. Caliban embodies the complex nature of colonial discourse, often interpreted as a representation of indigenous peoples subjugated by European colonization. His character captures the tension between civilization and savagery, oppression and resistance.

Ferdinand

Ferdinand, the son of King Alonso of Naples, is depicted as noble and gallant, enduring arduous trials set by Prospero to prove his love for Miranda. Separated from his father during the tempest, Ferdinand is presumed dead, which adds a layer of pathos to Alonso's character. His love for Miranda is immediate and pure, leading to their eventual engagement. Ferdinand's character, through his perseverance and love, represents renewal and reconciliation, bridging gaps between past grievances and future harmony.

Antonio

Antonio, the devious brother of Prospero, is the principal antagonist in the play. His usurpation of Prospero's dukedom sets the entire narrative into motion. He is characterized by his cunning and ambition, as he not only betrays Prospero but also incites Sebastian to plot against King Alonso. By the end of the play, despite Prospero's grudging forgiveness, Antonio remains largely unrepentant, embodying the theme of unredeemed villainy and the complexity of familial betrayal.

Alonso

Alonso, the King of Naples, is complicit in Antonio's plot against Prospero. His character undergoes significant transformation, grieved by the apparent loss of his son, Ferdinand, and his daughter, Claribel, who has been married off to the King of Tunis. Through these losses, Alonso experiences genuine remorse, leading to his redemption. He is ultimately forgiven by Prospero, contributing to the play's theme of repentance and reconciliation.

Gonzalo

Gonzalo, a loyal advisor, is instrumental in Prospero and Miranda's survival, providing them with supplies as they were cast adrift. He is the embodiment of goodness and loyalty, attempting to maintain hope and optimism amidst adversity. His unwavering support contrasts with the cynicism of Antonio and Sebastian, highlighting themes of faithfulness and virtue. Gonzalo's actions and outlook help steer the play towards its reconciliatory ending.

Sebastian

Sebastian, the brother of King Alonso, exhibits a similar treacherous disposition to Antonio. He gets swept into Antonio's schemes, plotting to murder his own brother and seize the throne of Naples. His character revolves around ambition and influence, serving as a foil to the more virtuous figures in the play. Ultimately, he too is forgiven, reflecting the overarching themes of reconciliation and mercy.

Stephano

Stephano, Alonso’s drunken butler, provides comic relief in the play. Along with Trinculo and Caliban, he concocts a scheme to overthrow Prospero and rule the island, a subplot that mirrors the central political machinations. His interactions with Caliban highlight themes of power and folly, as he becomes a figure of mock allegiance. Stephano's actions reflect the absurdity of the human condition and the folly of ambition.

Trinculo

Trinculo, the jester, is Stephano’s companion in the comic subplot. As they plot with Caliban, Trinculo offers a satirical perspective on the New World and European exploration. His character underscores the play’s themes of greed and exploitation, often treating Caliban as a curiosity rather than a being. Through Trinculo, the play critiques the triviality and absurdity inherent in human pursuits of power and recognition.

Adrian

Adrian is a minor character among King Alonso’s courtiers. His optimism serves to contrast with the cynicism of Antonio and Sebastian. Throughout the play, Adrian makes efforts to uplift the spirits of Alonso and the others after the tempest, underscoring the virtue of hope amidst despair.

Francisco

Francisco, another courtier of King Alonso, similarly plays a minor role, characterized by his attempts to console the grieving king over the supposed loss of Ferdinand. Francisco’s presence highlights the loyalty and faithfulness of the king’s entourage, contributing to the theme of steadfastness in adversity.

Boatswain

The Boatswain is responsible for the safety and command of Alonso's ship amidst the storm conjured by Prospero. His pragmatic and authoritative demeanor in the face of chaos provides a glimpse into the natural order disrupted by the tempest. His bluntness serves as a reminder of the indiscriminate power of nature, which does not heed rank or title.

Master (of a ship)

The Master of the ship appears briefly during the tempest, giving orders to the Boatswain. While he has minimal dialogue, his presence is crucial in setting the scene for the storm and the shipwreck. His leadership is implied through the commands he issues in the opening scene.

Ceres

Ceres, the Roman goddess of agriculture, appears in the betrothal masque orchestrated by Prospero to celebrate the engagement of Miranda and Ferdinand. Her character introduces themes of fertility, chastity, and prosperity, reinforcing the play’s motifs of renewal and harmony.

Iris

Iris, the goddess of the rainbow, serves as the messenger in the masque. She sets the tone for celebration and harmony, emphasizing themes of purity and chastity. Iris acts as a conduit between the divine and the mortal realms, underscoring the play’s exploration of the intersection between natural and supernatural forces.

Juno

Juno, depicted as the queen of heaven, graces the masque with her presence. As the goddess of marriage, she bestows blessings upon Miranda and Ferdinand, symbolizing the sanctity and prosperity of their union. Her role underscores themes of divine approval and favor in human affairs.

Nymphs

The Nymphs are spirits that participate in the masque, embodying notions of purity and innocence. Their dance with the Reapers signifies the harmonious union of nature and labor, reinforcing the play’s ideals of balance and prosperity.

Reapers

The Reapers join the Nymphs in the masque, celebrating the impending marriage of Miranda and Ferdinand. Their inclusion highlights the interplay of work and celebration, akin to the broader themes of restoration and community woven throughout the play. Their dance is abruptly ended by Prospero’s reminder of looming danger, reflecting the tension between peace and conflict.

Mariners

The Mariners are the ship’s crew, tasked with navigating the tempest. Although their appearances are brief, they highlight the vulnerability of humanity against the forces of nature. Their survival, orchestrated by Ariel, signals hope and the possibility of redemption.

Spirits

Spirits in the play perform various magical tasks under Prospero’s command. They enhance the ethereal quality of the island, embodying the mystical and otherworldly elements that pervade the narrative. Their presence underscores Prospero’s mastery over the supernatural and his eventual choice to relinquish it.