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The Tempest: With CSEC Study Guide
The Tempest: With CSEC Study Guide
THE TEMPEST
A GRAPHIC EDITION with CSEC® Study Guide
SAMPLE
MATERIAL
Inspire students to enjoy poetry and prose while helping them to prepare effectively for the CSEC
examination; ensure coverage of all prescribed poems and texts for the revised CSEC English A
and English B syllabuses anthologies that have been compiled with the approval of the Caribbean
Examinations Council by Editors who have served as CSEC English panel members.
● Stimulate an interest in and enjoyment of poetry and prose with a wide range of themes and
subjects, a balance of well-known texts from the past and more recent works, as well as poems
from the Caribbean and the rest of the world.
● Support understanding with notes on each text and questions to provoke discussion, and a useful
checklist to help with literary analysis.
● Consolidate learning with practical guidance on how to tackle examination questions including
examples of model answers for reference.
A World of Poetry and A World of Prose are also available in Student eTextbook format via
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Act 1, Scene 2
Prospero shares his story
Miranda stands on shore and sees the sinking of the ship. She is disturbed by this
and is concerned that her father’s actions might have resulted in the death of the
passengers. Prospero then assures his daughter that no one on the ship has been
hurt. He then relates the story of how they came to be on the island.
We learn from Prospero’s story that he was once the Duke of Milan; however, he
was exiled by his brother Antonio because Antonio wanted to rule Milan himself.
From this story, the audience learns that Prospero became so involved in his study
of magic that he neglected his role as Duke. This was what gave his brother the
opportunity to betray him. Antonio, Prospero’s brother, conspired with Alonso, the
King of Naples to depose Prospero. This alliance has lasted until today as shown by
the fact that Antonio accompanied Alonso to his daughter’s wedding. Hence, he too
was on the ship that sank.
The audience also learns that Miranda and Prospero have been on the island for
twelve years and if it were not for the help of Gonzalo (who provided food, magic
books and other supplies) they would have died at sea. Once again, Gonzalo’s
strength of character is being highlighted by showcasing his good deeds.
The audience also learns that although good Gonzalo was on board the ship,
Prospero deliberately sank it because his enemies (the individuals who exiled him)
were also on board.
Shakespeare uses Prospero telling Miranda his story as a way of relating to the
audience what happened in the past. This provides a rationale for Prospero’s
actions. From this story, one can argue that Prospero’s actions are justified. This
also humanises Prospero and we see him has someone who is wronged and not as
a merciless wizard who is abusing his powers.
Ariel’s story
Prospero puts Miranda to sleep and Ariel (a spirit) enters the scene. It is important
to note that as the play progresses Miranda is never privy to the conversations
between Prospero and Ariel. She is also unaware of the full extent of Prospero’s use
of magic (for example, rendering Ariel invisible throughout the play).
The audience learns a number of things from Prospero’s conversation with Ariel.
Namely, it was Ariel who created the tempest on Prospero’s orders not Prospero
himself; that the crew of the sunken ship is alive and well; and that they have been
separated and placed around the island in different locations.
Additionally, the audience receives information about Ariel himself, from his
requests for his freedom. It is important to note how Ariel is treated by Prospero.
One might say that Ariel is Prospero’s slave; this is further reinforced when
Prospero denies Ariel his freedom. The audience learns that Ariel is indebted to
Prospero because he freed Ariel from his magical imprisonment in a pine tree by
Sycorax. Prospero, however, pledges to release Ariel once he has adequately done
his bidding. Once again, the audience is left to wonder about Prospero’s sincerity.
Visiting Caliban
Prospero and Ariel visit Caliban, the native inhabitant of the island. Caliban is
presented as being aggressive, brutish and verbally abusive. This perceived abusive
creature was enslaved by Prospero because he attempted to rape Miranda. Caliban
shows no remorse for his actions, thereby causing the audience to see him more
as a vicious being. This perception is also reinforced when the audience learns that
the wicked witch, Sycorax, is Caliban’s mother. One is left to wonder if there is any
good in Caliban having had such a mother.
From Milan
● Antonio Prospero’s brother/new Duke of Milan
● Gonzalo member of the royal court/helped Prospero to survive
Characters
Major Minor
● Prospero ● Master
● Miranda ● Boatswain
● Ariel ● Mariners
● Caliban ● Trinculo
● Alonso ● Stephano
● Antonio ● Adrian
● Ferdinand ● Francisco
● Gonzalo ● Juno
● Sebastian ● Ceres
● Iris
● Nymphs
● Spirits
● Sycorax (deceased)
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Trinculo Stephano
A jester A drunken butler
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13
15
Be patient. Remember
whom thou hast aboard.
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17
I have safely ordered that there Sit down, for thou must
is no soul – no, not so much now know further.
perdition as an hair, betid to
any creature in the vessel.
art magic
perdition loss
betid happened
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cell simple home manage management absolute Milan the only ruler of Milan
So dry he was for sway So ambitious he was for power
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PROSPERO: They durst not, so dear the love my people bore me.
They hurried us aboard a bark, ship
Bore us some leagues to sea, where they prepared
A rotten carcass of a butt, not rigged, small boat
Nor tackle, sail nor mast – the very rats
Instinctively have quit it. There they hoist us
To cry to th’ sea, that roared to us.
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21
24
miss do without
offices duties
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26
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Say what thou No, it eats, and sleeps I might call him a
seest yond. and hath such senses as thing divine.
we have. This gallant
was in the wreck.
What is’t? a
spirit?
It goes on,
I see.
gallant young man
It goes on, I see. My plan is working.
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Colonisation
Colonisation is the act of taking over another country. Throughout history, there
are well documented cases of Europeans and others travelling to and invading/
colonising other countries. Prospero represents this European force. Although
Prospero did not wilfully arrive on the island, nevertheless his dominating force is
evident. This is seen through his treatment of Caliban and even Ariel.
It is important to note that in this case the process of colonisation does not begin
immediately. In true European form, Prospero arrives on the island in a non-
threatening way. He is greeted and welcomed by the native (Caliban). However, over
time Prospero’s European values and those of the natives (Caliban) clash. Hence,
colonisation begins. In the process, the native is demonised and becomes seen as
less than human. This is how Caliban is presented and is treated.
The history is also one sided. The audience does not get the sequence of events
from Caliban’s point of view. In true historical form, the European invader is
the one who characterises and presents the story of the natives. This shows the
dominating presence of Prospero and is particularly seen in Prospero’s dominance
over Caliban (his imprisonment and torture). We see this continued dominance when
Caliban tries to come from under Prospero’s rule by making Trinculo and Stephano
his new masters.
Slavery
Slavery in the play is used to reinforce power, control and dominance. In the
traditional sense, slavery was tied to colonialism. As such, it was used to control or
to dominate the inhabitants of a country in order to use them to build and develop
whatever the coloniser wills.
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One can argue that this dominance is seen in the play. Prospero turns Caliban
into a slave and uses him to maintain the resources he needs to survive. Similarly,
Ariel is another character who can be considered a slave. He is enslaved because
Prospero needs his help to further his plans. Once again we see the coloniser’s will
taking precedence.
Freedom
The theme of freedom can also be seen as tied to colonisation. We see the
characters who are dominated (Ariel and Caliban) in pursuit of freedom.
Ariel peacefully requests his freedom and when denied he continues to please his
master by conceding to his wishes in hopes of winning his freedom. Ariel performs
the following acts in hopes of winning his freedom:
● He creates the tempest (Act 1, Scene 1)
At the end of all of these acts, Ariel wins his freedom. Caliban is the polar opposite
of Ariel. Instead of complying with Prospero’s dominance, Caliban attempts to fight
for his freedom. This is seen in the following ways:
● He curses Prospero and Miranda (Act 2)
It is also important to note that Caliban cannot conceive true freedom; instead he
pledges loyalty and servitude. In the end, Caliban is freed not by his own attempts
but instead through Prospero’s change of heart. Shakespeare uses each character
to show us how precious freedom is and the lengths people will go to in order to
overcome bondage and attain freedom.
In the epilogue, Prospero too seeks freedom as he requests the audience to set him
free with their applause as the play comes to an end.
Magic
Magic is another major theme in the play. One could argue that it is the source
of all the conflicts and also the source of all the resolution (the use of magic causes
Prospero’s enemies to repent) and reconciliation. The dual nature of magic can be seen
as good or evil. This results in some characters representing magic for good ends
(Prospero/Ariel) while others represent magic for evil ends (Sycorax and by extension
Caliban).
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Asides
In Act 3, Scene 1 there are a number of instances when Prospero uses asides. These
uses of asides enable the audience to hear Prospero’s thoughts and plans. Asides
also highlight that there are instances of deceit that are woven into Prospero’s
plans.
Dramatic irony
Dramatic irony occurs when the audience has information about the plot or
characters that other key characters in the play are not privy to. There are a
number of instances of dramatic irony in the play, namely Act 1, Scene 2 (the
audience knows that Ariel is working for Prospero and he created the tempest –
however Miranda does not know) or in Act 2 when Alonso thinks that Ferdinand is
dead but the audience knows that this is not the case.
Soliloquy
We see the use of a soliloquy in Act 5, Scene 1 when Prospero speaks to the
audience telling them that he is giving away his magic. The soliloquy allows the
audience to hear Prospero’s thoughts and feelings. The soliloquy at this point also
allows the audience to have a perspective of what has happened at the end of the
play.
Spectacle
A spectacle creates sensory details, evokes interest and adds to the excitement of
the play by using costumes, sounds, music and the voices of the actors to highlight
a grandiose event in the play. The presentation of the tempest in Act 1, Scene 1of
the play is an example of spectacle.
Stage directions
The stage directions often provide information about setting, characters and
characterisation. In the play, the stage directions provide a number of details for
us the readers. The stage directions in Act 2 enable the reader to understand that
Prospero is disguised by his magic cloak and is observing Miranda and Ferdinand’s
exchange. One also knows Prospero’s intent and plans with the assistance of the
stage directions.
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Imagery
Images are created by the use of vivid words which in turn create imagery. Imagery
helps the reader to visualise the different events in the play. Imagery is seen in
Act 1, Scene 2 when Prospero relates to Miranda the story of how they came to the
island (‘To cry, to th’sea, that roared to us; to sigh/To th’winds, whose pity sighing back
again/Did us loving wrong’). From this description the audience can picture exactly
what happened. It also appeals to the emotion of the audience, evoking feelings of
pity for Prospero.
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Characters/characterisation
1 ‘In The Tempest minor characters are often essential to the development of the
plot.’
In an essay, briefly outline the role of the following characters in the play:
Alonso, Sebastian and Gonzalo. Examine the dramatic role ONE of these
characters plays.
Total 35 marks
2 ‘Minor characters play a significant role in the play, The Tempest.’
In an essay, select ONE of the following characters (Trinculo, Stephano and
Boatswain) and examine their relationship with any MAJOR character. Comment
on their contribution to the development of the plot. Also, outline how the
character selected highlights the comedic element of the play.
Total 35 marks
3 Briefly outline Caliban’s and Ariel’s roles in the play. Examine the treatment
of Caliban and Ariel by Prospero throughout the play. State which of the TWO
characters is more deserving of his treatment.
Total 35 marks
4 ‘The thirst for power can show the true nature of people.’
In the play The Tempest, identify ONE character whose desire for power has
influenced his/her actions. Examine how this character has influenced other
characters to obtain power. Outline ONE dramatic technique Shakespeare uses
to present this desire for power.
Total 35 marks
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Plot
1 ‘Act 1, Scene 1 of The Tempest is an exciting scene.’
In an essay, describe what happens in the scene. Additionally, analyse the
dramatic importance of the first scene and comment on the use of spectacle in
The Tempest.
Total 35 marks
2 ‘The sub-plot is an essential aspect of a Shakespearean play.’
Examine the function of the sub-plot in the play The Tempest. State how the sub-
plot influences the main plot as well as its overall impact on the nature of the
play.
Total 35 marks
Themes
1 ‘Freedom is a luxury that a number of characters do not possess in the play The
Tempest.’
In an essay, choose TWO characters who do not possess freedom and explain
what accounts for this. In addition, outline how this lack of freedom affects
EACH character. Compare and contrast EACH character’s response to their
situation.
Total 35 marks
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Sample essay
1 ‘Prospero is a very complex character’
In an essay, analyse the presentation of Prospero in the play. Discuss whether
you see him as a victim or a villain and examine the dramatic techniques that
influence your decision.
In the play, The Tempest, written by William Shakespeare, Prospero can be seen as a
very complex character. This is due to the fact that he is presented to us, the audience,
in a number of ways. In fact, the audience has trouble distinguishing whether or not
Prospero is a victim or a villain. This essay will explore this question and examine how
dramatic techniques influence one’s final decision on Prospero’s character.
On first meeting Prospero, one might assume that he is a villain after discovering
that it was his order to Ariel (Act 1, Scene 1) that created the tempest and led to the
destruction of Alonso’s ship. From this, it can be argued that Shakespeare wanted one’s
initial perception of Prospero to be coloured by this terrible act.
However, by Act 1, Scene 2, Prospero shares his story of being exiled from Milan by his
brother. The nature of Prospero’s exile and his brother’s betrayal helps to create feelings
of pity and compassion for Prospero. In essence, we are now seeing Prospero as a victim;
although it can also be argued that Prospero brought his exile and his brother’s betrayal
upon himself as a result of being obsessed by magic, which might negate his victimhood.
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On the other hand, Shakespeare uses the interaction between Ariel and Prospero (Act 1,
Scene 2) to allow one to question his character and sincerity. From this interaction, we
see Prospero holding the fact that he rescued Ariel from Sycorax’s imprisonment as a
means of keeping Ariel enslaved. This leads one to question whether or not Prospero
will release his slave. This question is further reinforced because Prospero uses magic to
control and manipulate not only Ariel, Caliban (Act 3, Scene 1) and his enemies (Act 3,
Scene 2 and Act 4) but also his beloved daughter when we see him putting her to sleep
(Act 1, Scene 2) so that she is unaware of the web he is weaving to repay his enemies.
However, as the play progresses we see a shift in Prospero’s character. This shift in
character is showcased by the use of dramatic techniques. Through the use of asides
throughout the play one comes to realise Prospero’s true intention. Through the
asides in Act 2, Scene 1 one realises that Prospero’s only objective is to ascertain
whether or not Ferdinand truly loves Miranda. As such he does not mean to insult or
imprison Ferdinand but instead to test his character. Another dramatic technique that
Shakespeare uses to provide an insight into Prospero’s character is monologue. This is
seen in Act 5, Scene 1 when Prospero’s own words suggest that he pulls on the power
of nature when using his magic. This reinforces the suggestion that Prospero represents
good not evil.
There are several aspects to Prospero’s personality that makes one wonder about the
true nature of his character. However, in the end we are left with the answers to our
questions from Prospero’s acts of mercy: namely forgiving his enemies and releasing his
slaves. The dramatic techniques help one now to realise that Prospero’s acts are the by-
product of him being a victim of his circumstances.
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THE TEMPEST
A GRAPHIC EDITION with CSEC® Study Guide
These sample pages have been taken from The Tempest with CSEC® Study Notes,
ISBN 9781510430303.