Act 1, scene 2 Analysis
Prospero tells Miranda their history as a way to inform the audience of this important information. In addition, the audience needs to know what events motivate Prospero’s decision to stir up the storm and why the men onboard the ship are his enemies — several share responsibility for Prospero’s isolation. By sharing this information, Miranda — and the audience — can conclude that Prospero is justified in seeking retribution. At the very least, Prospero must make Miranda sympathetic to this choice. It is also important that Prospero gain the audience’s sympathy because his early treatment of both Ariel and Caliban depict him in a less than sympathetic light.
Ariel and Caliban are both little more than slaves to Prospero’s wishes, and, in the initial interactions between Prospero and Ariel and Prospero and Caliban, the audience may think Prospero to be callous and cruel. He has clearly promised Ariel freedom and then denied it, and he treats Caliban as little more than an animal. The audience needs to understand that cruel circumstance and the machinations of men have turned Prospero into a different man than he might otherwise have been. But Prospero’s character is more complex than this scene reveals, and the relationship between these characters more intricate also.
During the course of the story, Prospero repeatedly asks Miranda if she is listening. This questioning may reveal her distraction as she worries about the well-being of the ship’s passengers. Miranda is loving toward her father, but at the same time, she does not lose sight of the human lives he is placing at risk. However, his questioning is equally directed toward the audience. Prospero also wants to make sure that the audience is listening to his story, since he will return to the audience in the Epilogue and seek their judgment.
It is clear from Prospero’s story that he had been a poor ruler, more interested in his books than in his responsibilities. Prospero, therefore, is not entirely blameless in the events that occurred in Milan. Antonio could not so easily seize power from an involved and attentive ruler. This information mitigates Antonio’s actions in seizing his brother’s place and is important because this play is not a tragedy. In order for the comedic or romantic ending to succeed, none of the villains can be beyond redemption or reconciliation. It is equally important that Prospero not be beyond redemption. Prospero must be heroic, and this he cannot be if he is perceived as vengeful. Ariel reassures the audience (as well as Prospero) that the ship and its crew have been saved and the passengers are safely on the island. No one has been hurt or lost at sea.
In addition to relating the past, this act also helps define the main characters and anticipate the future. Prospero has been injured, and he intends to serve justice on his captives. He delves in magic and has developed powers beyond those of his enemies. He is also intelligent enough and strong enough to control the spirits on the island; for example, he can control Caliban, who is not without power of his own. Prospero uses the magic of nature, a white, beneficent magic that does no harm. He does not use the black magic of evil. Prospero has learned of this magic, not through the use of witches or evil spells (as did the witches in Macbeth), but through his studies. Prospero’s white magic has supplanted the black, evil magic of Caliban’s mother, Sycorax, because Prospero, himself, is good.
Any initial concern that the audience might have because of Caliban’s enslavement evaporates at the news that he attempted to rape Miranda. His subsequent behavior will further prove his character, but he can be redeemed, and his redemption is necessary if the play is to succeed. Furthermore, Caliban, who is initially bad and represents the black magic of his mother, serves as a contrast to the goodness of Ferdinand and Miranda. The young lovers are instantly attracted to one another, each one a mirror image of the other’s goodness. It is their goodness that facilitates the reconciliation between Prospero and his enemies. In this reconciliation lies Ariel’s freedom and Caliban’s redemption.
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