Power

Women were considered inferior to men in the Jacobean era. _The Tempest_ reflects this repressive society.

_The Tempest_ explores issues of kingship, treason and betrayal.

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Power of Women

Women were considered inferior to men in the Jacobean era. The Tempest reflects this repressive society.

Miranda is the only female character who appears on stage and says little in comparison to the male leads.
This is symbolic of the lack of a voice women had in Jacobean England.

Sycorax is absent. All we know about her is through the lens of other characters.
Sycorax is referred to as a 'blue-eyed hag' and her use of black magic highlights the negative opinions people had for women in power.
Sycorax could be a reference to the late Queen Elizabeth I’s role in British society.
Sycorax is overthrown by Prospero upon his arrival on the island. This form of male control is also reflected in Prospero’s relationship with Miranda.

Prospero loves his 'cherubin' Miranda.
- This a form of materialistic affection - Miranda is like a commodity (object to be bought and sold) to him.
He is able to trade her in for a reinstated position in Milan.

In The Epilogue, Prospero refers to his 'charms…overthrown' which could be a metaphor for his magic, the island, or his daughter.
Prospero should have treasured Miranda because she was his main companion for the past 12 years.
But he still uses her as an object to fulfill his own ambitions - she is handed over to Ferdinand because Prospero manipulates his place back into power.

The Tempest explores issues of kingship, treason and betrayal.

Antonio’s thirst for power is highlighted when Prospero tells his story of woe to Miranda. He refers to his brother’s 'ambition' and 'foul play.'
Prospero is clearly disgusted at his brother's betrayal through Machiavellian (cunning, scheming, and corrupt, especially in politics) tactics that forced him out of his position onto an isolated island.
It is ironic that Prospero accuses his brother of being so obsessed with power that it 'made such a sinner' because he himself is similarly obsessed.

Prospero enhances the dirty and ungodly tactics that Antonio uses through the verb 'stooping'. This is when he is telling Miranda how her Uncle went to King Alonso for support with Prospero’s usurpation (taking someone’s power or property by force).
The King’s association with such a dirty deed seems bad, so it is important in the play that the king is characterised more positively than the villainous Antonio.

Antonio’s antagonism (hostility) is further highlighted when he manipulates and encourages Sebastian to commit regicide (killing the King) and kill his brother, King Alonso, while sleeping: 'What a sleep were this / For your advancement.'
The fact that the King is sleeping and unable to protect himself makes the act cowardly.

It is important that the audience dislike the two characters carrying out this crime because it was going directly against the divine order and God’s wishes.
Shakespeare had to show support for the King. Given that the Gunpowder Plot was fresh in people's minds, the play is almost a reminder to the audience that committing such a crime was wrong.

Many characters, including Prospero and Antonio, try to manipulate and control others.

We are told that Antonio did not dare to be seen to harm Miranda and Prospero because of the 'love my [Prospero’s] people bore me.'
Antonio is presented as a follower of Niccolo Machiavelli’s principles. These essentially promote cunning and ruthlessness to gain and maintain political power.

Prospero’s metaphor encompasses these ideas of manipulation. The line 'with colours fairer painted their foul ends' best encompasses this.
The oxymoron of 'fairer' and 'foul' indicates that Antonio understood the importance of manipulation and image in politics. He made his 'foul' deed seem 'fairer' by getting King Alonso on board and by highlighting to the people of Milan that their Duke (Prospero) had 'neglected' them.