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| Question | Answer |
| 'Prospero's magic powers allow him to impose his will in situations he could not control otherwise.' | Martin Butler, Prospero is reliant on his magical powers conveys his authority is dependent on his magical attributes, it's his only method of overpowering his inferiors. |
| 'Prospero bases his right to power on moral rather than territorial legitimacy Caliban cannot rule the island because he is not really human and cannot rule himself.' | Martin Butler Evinces the mindset of the colonisers, they believed they had god given right to overtake an area, because it's inhabitants were savages. |
| 'A deflowered flower would have tainted the family.' | Martin Butler. Debauchery was abhorred, thus Prospero sexually limits Miranda, and instills in her the important of her chastity. |
| 'Europe's domestic and political arrangements depend on the compliance f its woman.' | Butler- Prospero utilises Miranda as a tool to regain his political power, he is adamant that Miranda's marriage to Ferdinand will secure his political authority and hence manipulates and administrates the couples relationship. |
| 'Coveted Prize.; | Mike Brett describes Miranda, she's desired by Ferdinand Prospero utilises her as an award for Ferdinand to procure if he complies with Prospero |
| 'He is every bit the oppressed native.' | Joanna Williams 1970 production of the Tempest as a story of colonial exploitation, director Dr Millar compared Stephano and Trinculo to foreign soldiers who bully the native population , ‘they shout loudly at people to make them understand,’ ‘Caliban was the demoralised, detribalised , dispossessed suffering field-hand.’ Millers interpretation was in sharp contrast to traditional image of Prospero. |
| 'Jacobeans saw themselves as having a duty to civilise the natives.' | Joanna Williams |
| 'Caliban has been exploited but in some respects he has brought his subjection upon himself.' | Martin Butler. |
| 'For Prospero, the price of forgiveness, is the requirement to forgo his magic.' | Prospero abandons his magic, his authority in order to forgive others. |
| 'The strings of conscience then make Alonso subject himself to Prospero.' | Butler Alonso- 'The dreadful organ pipe pronounced the name of prosper.' |
| ‘the real power lies not with the playwright, but with the viewer, not with the imagination that creates the story, but with the imagination that receives it.’ | Critic about the eplogue. |
| ‘It also requests forgiveness for the beneficent tyranny of creativity itself, in which an author, like a Prospero, moves people at his will, controls the minds of others, creates situations to suit his aims, and arranges outcomes entirely in the service of his own idea of goodness or justice or beauty.’ . | Critic about the epilogue being similar to a plead for forgiveness, mmsmskjksmaa |
| 'The island can be seen as an allegory examining the growth of the human spirit.' | Referring to the Christian idea of redemption, the characters that passed this spiritual test and repented gained rewards, each of the characters have been spiritually enlightened. -Barry Beck |
| 'It's about the growth maturing and individuation of Prospero.' | Philosphical idea, by jung Prospero matures by accepting all the different archetypes within himself. -Barry Back |
| 'Ariel is conscious directed, civilised and ordered' | This could represent Prospero's persona archetype, aspects of Ariel ar e what Prospero wants the world to perceive him as, civilised benevolent. -Barry Beck |
| 'We all need an Ariel and Caliban inside our psyche.' | Ariel is Caliban's antithesis, one represents evil and rebellion the other is an embodiment of obedience and submission. -Barry Beck |
| 'He is Prospero's id, he is a part of part of Prospero's unconscious control of the island.' | Caliban is an aspect of Prospero, he's a figment of Prospero's imagination he represents Prospero's rebellion, frustration and sexual desire. -Barry Beck |
| 'Prospero is finally owning, acknowledging and taking responsibility for Caliban his shadow.' 'In his growth and individuation, he has taken a big step towards integrating his shadow within himself.' | Jungian interpretations, Caliban is Prospero's shadow the archetype he tries to hide, but by the end he accepts this disregarded archetype within himself, shown by him forgiving Caliban his 'pardon.' -Barry Beck |
| 'He no longer needs the imaginary representations, he has taken all necessary archetypes and integrated them within himself.' | This is why all of the characters unite by the end, he no longer requires nor Caliban or Ariel and hence dispatches them. -Barry Beck |
| 'The island was a place f transformation, reconciliation, education and repentance.' | Each of these functions are focused on certain characters, Caliban education, Repentance the three men of sin, reconciliation Alonso and Prospero. -Barry Beck |
| 'He is not god unless it is the cruel anthropomorphic god of the early OLD TESTAMENT.' | In stark contrast to the nobility some of the audience would've have concerning Prospero. |
| 'If Prospero is omniscient how could Caliban exist.' | Direct argument against seeing Prospero as god, Mackie's logical probem of evil states that god cannot exist in the presence of evil, and hence Prospero cannot be god. -Barry Beck |
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