7566650
Description
Mind Map by Adrian Gray, updated more than 1 year ago
More
Characters in The Tempest
- Prospero
- rightful Duke of Milan
- Exiled by brother Antonio -
found refuge on island
- Exiled by brother Antonio -
found refuge on island
- controls magic
- Father of Miranda
- Can be seen as evil
- Never intends
to hurt anyone
- Humanity
obvious in his
treatment of
Antonio
- Also
obvious
with him,
telling
Alonso not
to
apologise
to Miranda
- "no need for amends"
- "no need for amends"
- Also
obvious
with him,
telling
Alonso not
to
apologise
to Miranda
- Humanity
obvious in his
treatment of
Antonio
- Doesn't free Caliban or Ariel
- autocratic in his treatment of Ferdinand
- Ultimately
realises
that won't
help the
courtship
- Ultimately
realises
that won't
help the
courtship
- autocratic in his treatment of Ferdinand
- enigmatic
protagonist
- emerges as more
likable in final
scenes
- love for
Miranda
- forgiveness
of his
enemies
- happy
ending of
his
schemes
- even if he originally
seem autocratic he
ultimately manages
to persuade the
audience to share
his understanding of
the world - an
achievement that is
the final goal of
every author and
every play
- love for
Miranda
- emerges as more
likable in final
scenes
- Never intends
to hurt anyone
- Surrogate of
Shakespeare
- Prospero
single-handedly
moulds the whole
plot
- enables audiance to explore
first hand the ambiguties and
ultimate wonder of the creative
endeavor
- enables audiance to explore
first hand the ambiguties and
ultimate wonder of the creative
endeavor
- Final speech likens
himself to the
playwright
- asks the
audience for
applause
- makes the play's final
scene function as a moving
celebration of creativity,
humanity and art
- makes the play's final
scene function as a moving
celebration of creativity,
humanity and art
- asks the
audience for
applause
- Prospero
single-handedly
moulds the whole
plot
- symbolic of western world
- WARTON-
personification of
consistency,
dignity and
decorum
- rightful Duke of Milan
- Miranda
- In love with Ferdinand at first sight
- "I might call him, a thing divine"
- Does not choose own husband
and gets no input in father's
decision makings
- Stands by while Prospero tells Ferdinand
not to
- "break her virgin-knot" before the wedding
- "break her virgin-knot" before the wedding
- But it is her decision to chase
after Ferdinand to offer assitance
- Stands by while Prospero tells Ferdinand
not to
- "I might call him, a thing divine"
- Been on Island since age 3
- Remembers little of before
- "rather like a dream than assurance"
- naive?
- "rather like a dream than assurance"
- Remembers little of before
- meek/emotional
- O, I have suffered/with those I saw suffer
- About the Shipwreck
- Powerful
- Challenges Prospero
- questions treatment of sailors
- defies commandment to have
nothing to do with Ferdinand
- questions treatment of sailors
- Goes against Elizabethan modesty
- "I am your wife, you
will mary me;/ If not,
I'll die your maid"
- "I am your wife, you
will mary me;/ If not,
I'll die your maid"
- Challenges Prospero
- About the Shipwreck
- O, I have suffered/with those I saw suffer
- Presented as prop in
final scene
- Unimportant
character/low in
hierarchy
- Because she's a woman?
- Feminism
- She internalises the
male hierachy
accepting her
father sibordination
as she doesn't know
any better
- LEININGER -Mirandas
treatment by Prospero is
the same as Calibans
- the sexist
attitudes are
the same as
the racist
attitudes
- ALSO "external
beauty mirrors
her inner virtue
- the sexist
attitudes are
the same as
the racist
attitudes
- She internalises the
male hierachy
accepting her
father sibordination
as she doesn't know
any better
- Feminism
- Is important
but it's subtle?
- sheer presence
- Foils
Prospero's
more
violent
insincts
- serves as a
sounding board
to move the
plot forward
- central to
fathers
revenge
- marriage is needed for
political gain
- marriage is needed for
political gain
- Michael
Neill
- Miranda's
function is
to be a
Christ figure
- she is the indicator of a
characters moral status
within the hierarchy of
the island
- Embraces Ferdinand
who is saved by her
presence
- Rejects Caliban who is
shown to be
monstrous
- Embraces Ferdinand
who is saved by her
presence
- she is the indicator of a
characters moral status
within the hierarchy of
the island
- Miranda's
function is
to be a
Christ figure
- sheer presence
- has few lines of
importance or
soliliquoys
- Most of her
interaction on stage is
dominated by males
- dictated by Prospero
- marriage to
Ferdinand
- interactions
with Caliban
- marriage to
Ferdinand
- dictated by Prospero
- Because she's a woman?
- Unimportant
character/low in
hierarchy
- "perfect and
peerless,
created of
every
creatures best
- Only female character
- Can show 2 things
- She can't be
compared to other
women because she
isn't valued and
that's unimportant
- Can't be compared because she's
so virtuous
- She can't be
compared to other
women because she
isn't valued and
that's unimportant
- Can show 2 things
- personification of chastity
- allegory for missionary
side of colonialism
- attempts to
educate Caliban
- more sympathy
for Ferdinand
- sharply contrasts
her father
- attempts to
educate Caliban
- In love with Ferdinand at first sight
- Antonio
- Prospero's younger brother
- Evil/Antagonist
- plots for Sebestian to kill his
brother -the king of Napels
- plots for Sebestian to kill his
brother -the king of Napels
- Prospero's younger brother
- Caliban
- Native of the
island - supposedly
savage
- Speaks in Iambic pentameter
- suggests
he's smarter
than he's
given credit
for
- suggests
he's smarter
than he's
given credit
for
- not distracted
by material
possessions
- shows that
he knows
knowledge
is power
- shows that
he knows
knowledge
is power
- Speaks in Iambic pentameter
- subservient to Stephano
and Trinculo
- possibly using
them for his
own advantage
- possibly using
them for his
own advantage
- Native of the
island - supposedly
savage
- Ferdinand
- Miranda's
love interest
- Prospero making him
think his father's dead
makes him cling to
Miranda more
- Prospero making him
think his father's dead
makes him cling to
Miranda more
- King of Naples
- Represents the audience
- Miranda's
love interest
- Ariel
- Second orient in the play
- represents supernatural side to
Prospero's power
- represents supernatural side to
Prospero's power
- On their heads no hair
perished, on their
garments, not a blemish
- The rhyme here emphasises
Ariel's taunt at the sailors who
thought they were condemned
to death,
- could also be a jibe at
Prospero's lack of
power- it is his magic
that enacted the
tempest, not
Prospero's?
- It also serves to convey the non malignant aspect of his
magic- he wants revenge, not to kill, but also highlights their
abuse of godly power and Prospero's choice over who lives
and dies.
- could also be a jibe at
Prospero's lack of
power- it is his magic
that enacted the
tempest, not
Prospero's?
- "Do you love me master? No?"
Portrays Ariel's sycophancy towards
Prospero, and seems almost forced
in order to get across his gratitude
(faked?) for being treated well and
more humanely than Caliban.
- He represents an aspect of how
colonisers turned natives against
one another- complicit versus
rebellious, using eachother to tear
up the society and establish the
white European as ruler. This is
seen in the novel "When Things
Fall Apart" by Chinua Achebe.
- He represents an aspect of how
colonisers turned natives against
one another- complicit versus
rebellious, using eachother to tear
up the society and establish the
white European as ruler. This is
seen in the novel "When Things
Fall Apart" by Chinua Achebe.
- Ariel and Caliban
can be regarded as
representations of
Prospero himself, to
render visible to
struggle within the
mind and soul of the
hero"- LINDLEY
- The rhyme here emphasises
Ariel's taunt at the sailors who
thought they were condemned
to death,
- Second orient in the play
- Sebastian
- shows audience
how easy it is for
Antonio to
maipulate characters
- shows audience
how easy it is for
Antonio to
maipulate characters
- Alonso
- King of Milan
- victim of one of the paralled plots
- King of Milan
- Gonzalo
- Kings advisor
- Only nice
person in
the play
- The first time we
meet Gonzalo, he's
trying to break up a
nasty argument
between the royals
and the mariners on
deck during the
tempest
- Gonzalo also makes a big utopian speech that
literary critics like to compare to a passage from
Montaigne's "Of Cannibals,"
- Gonzalo also makes a big utopian speech that
literary critics like to compare to a passage from
Montaigne's "Of Cannibals,"
- The first time we
meet Gonzalo, he's
trying to break up a
nasty argument
between the royals
and the mariners on
deck during the
tempest
- Kings advisor
Want to create your own Mind Maps for free with GoConqr? Learn more.