Creation and Creativity
Critics have long focused on Prospero as a figure of creative control in The Tempest. Indeed, the entire play is bookended by Prospero's magical acts, with more illusions appearing over the course of the narrative. Most scholars agree that audiences are invited to see Prospero as an exemplar of creative energy while at the same time perceiving his relentless desire to manipulate and control. The play therefore presents the notion of creation as a type of double-edged sword, in that creativity can lead to things like beauty while at the same time placing enormous (and therefore often dangerous) power in the hands of the creator.
Gender
Readers will likely notice that there is only one female character in the entire play, Miranda. Not only that, but Miranda herself has never seen another woman and has been surrounded by only men (specifically, Prospero and Caliban) for her entire life. Miranda therefore becomes a symbol of purity, innocence, and youth – qualities that Prospero attempts to keep intact. As she is the only female character to appear on stage, she is subtly juxtaposed with Sycorax, Caliban's mother and the witch who controlled the island before Prospero took over. Sycorax's absence from the stage is significant because it challenges audiences to make judgements and interpretations about a character who is not actually in the play; she is portrayed by Prospero as an evil sorceress and the ultimate antagonist to his magic. However, some scholars read Sycorax as a victim of colonization, arguing that she represents the specific effects that colonization has on women. In this way, gender becomes an integral theme of the play largely through the absence of women and the perspective they provide.
Race and Colonization
The Tempest was likely written around 1610, two years after English settlers colonized the area of Jamestown in Virginia. As such, many interpret the island in the play as a parallel to England's colonies in North America (later the United States). However, whether the play is about this specific act of colonization is somewhat irrelevant, as the play is clearly interested in exploring questions about colonization, power, and race more generally. England had been colonizing other areas of the globe long before settlers arrived in Jamestown, and as such imperialism played an integral role in the development of the British Empire. The Tempest is famous for raising questions about the consequences of imperialism and the philosophies associated with it, largely through the figure of Caliban, a representative of native and colonized peoples.
Race
Related to the theme of colonization is the concept of race, depicted best through Caliban throughout the play. Considered a "monster" by most of the characters, Caliban is the only character who is native to the island on which Prospero is stranded (he is also, notably, Sycorax's son). Caliban is also described as being of another race at multiple times throughout the play. In early modern England, race was ideologically rooted in blood rather than skin color, as blood was the primary factor in determining one's legacy and inheritance. Miranda's reference to Caliban's "vile race" is complicated, as she equates Caliban's violent nature (and his attempted sexual assault) with his bloodline. However, the play does not necessarily portray Caliban as a mere victim of European colonization, as he remains loyal to Sycorax and serves as an antagonist toward Prospero throughout the play. Caliban's nuanced characterization therefore challenges audiences to recognize how race and colonization are intimately connected, and how English perceptions of race perpetuated British imperialism at the expense of native peoples.
Power and Authority
Despite the chaos of the opening scene, The Tempest is structured around a system of hierarchy and authority by which all characters obey. Even on the ship itself in Act One, Scene One, audiences witness the interactions between the ship's crew, organized itself into a hierarchy of command. When the political hierarchy is destabilized after Prospero loses his dukedom, he establishes a new hierarchy on the island with himself as the master power. Because of his magical abilities, nearly all the characters in the play are under his control – including his own daughter, Miranda. The play presents Prospero's authoritative control of the island as an ambiguous type of sovereignty, as he maintains power by manipulating those around him but is, in many ways, a benevolent leader. The Tempest therefore raises questions about ruling (and, implicitly, about the English monarchy) and the extent to which power is imposed, earned, or freely given.
Wonder and Beauty
Because of Miranda's innocence, she becomes a mouthpiece for expressing wonder and awe at her surroundings. When she exclaims, "O brave new world, that has such people in'it!" she expresses her wonder toward humanity (after only being surrounded by her father and Caliban for her entire life). Miranda's valuation of men is a reflection of her optimistic outlook as well as a voice of hope for what the future can bring. However, the play juxtaposes Miranda's admiration with Prospero's power, as he crafts a number of wonderful circumstances that are fundamentally meant to manipulate and disorient other characters. In this way, the "wonder" associated with newness and exploration also becomes embedded in less savory concepts like power and control.
Prospero as Playwright
Due to Prospero's role as creator, magician, and puppet-master in The Tempest, many perceive him as a representative of a playwright – someone who can manipulate audience's emotions, generate and solve conflicts, and make an entire world a reality over the course of a few hours. Indeed, Prospero is often portrayed as a silent observer of the action he himself has set in motion, like a dramatist becoming a spectator of their own work. Some critics even assert that Prospero is a stand-in for Shakespeare himself, who retired from the theater shortly after writing The Tempest. When Prospero asks for the audience's "freeing" applause at the end of the play, many interpret this request as a personal one from the bard himself as he bid goodbye to the stage.
