SHAKESPEARE’S

THE TEMPEST
A GRAPHIC EDITION with CSEC® Study Guide

SAMPLE
MATERIAL

Study Guide by Sherice Blair

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 Also available for CSEC® English
A World of Poetry A World of Prose
9781510414310 9781510414327
£10.99 £10.99

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.

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 CONTENTS
Plot overview 4
Character overview 10
Cast of characters 11
The Tempest 13
Act 1 15
Act 2 33
Act 3 45
Act 4 57
Act 5 69
Epilogue 81
Analysis of characters 83
Themes in the play 88
Dramatic techniques 92
Answering essay questions 94

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 Plot overview
Act 1, Scene 1
The Tempest
The play begins at sea with Alonso and his royal party coming back from his
daughter’s wedding. The ship is caught in a tempest and the Master asks the
boatswain to direct the mariners to save the ship. It is important to note that
throughout the ordeal of trying to save the ship we do not see the master again.
There is then a confrontation between the Boatswain and Gonzalo. This results in
the Boatswain cursing members of the royal party, who try to assert their authority
through arrogance. This highlights the difference in class status between the
Boatswain and the members of the royal court.
Although members of the royal party wield their power and authority on land, this
is disregarded by the Boatswain. Instead of cowering, the Boatswain displays his
power and orders the royal party below deck. The Boatswain’s actions show that he
has little regard for the rank, position and class of these men. His only concern is
that they are getting in the way while he is trying to save the ship. It is important
to note that Gonzalo reminds calm in this situation. As the play progresses we see
this aspect of his personality displayed.
The scene ends with the ship sinking and the audience is left to wonder if the
members of the crew are dead or alive.

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.

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 Act 1, Scene 2

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.

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 Character overview
Living on the island
● Prospero sorcerer/dethroned Duke of Milan
● Miranda Prospero’s daughter
● Ariel spirit/slave

● Caliban slave (son of Sycorax)

From the shipwreck

From Naples
● Alonso the king
● Sebastian the king’s brother
● Ferdinand the king’s son
● Trinculo the king’s jester
● Stephano the king’s steward

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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 Cast of characters

Alonso Ferdinand Sebastian

King of Naples Alonso’s son Alonso’s brother

Prospero Miranda Antonio

The rightful Duke of Milan Prospero’s daughter Prospero’s brother and
Duke of Milan

Ariel Caliban Gonzalo

Prospero’s servants Alonso’s adviser

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 Cast of characters

Trinculo Stephano
A jester A drunken butler

Adrian Francisco Master Boatswain

Noblemen Sailors

Iris Juno Ceres

Juno’s messenger Queen of Heaven Goddess of Fertility

Spirits called by Prospero’s magic

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 The Tempest
With guided reading questions

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 Act 1  Scene 1
The ship carrying Alonso, the King of Naples, is wrecked in a terrible storm.

Boatswain! Speak to th’

mariners. Fall to’t yarely or we
run ourselves aground.

Boatswain  (pronounced ‘bosun’) ship’s officer in charge of the sails

Yarely  quickly

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 Act 1  Scene 1

Yare! Yare! Take in the topsail. Tend to

the master’s whistle.

Good boatswain, have care. I pray now, keep below!

Where’s the master? Keep your cabins! You
do assist the storm.

Be patient. Remember
whom thou hast aboard.

None that I love more than

myself. Out of our way,
I say!

Down with the topmast!

You do assist the storm  You’re getting in the way

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 Act 1  Scene 1

A plague upon this

howling. They are
louder than the
weather or our
office.

Again? What do A pox o’ your throat, you

you here? bawling dog!

Work you, then. Let’s assist them.

Hang, cur! You insolent I’m out of

noise-maker! patience.

We split, we split, we split! Now would I give a thousand furlongs of sea

for an acre of barren ground. I would fain die
a dry death.

Let’s all sink Let’s take leave

wi’ th’ King. of him.

They  the passengers  office  work

furlong  220 yards (about 200m)  fain  gladly

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 Act 1  Scene 2
Prospero stops the storm he created and explains to Miranda how they came to
the island.

If by your art, my dearest father, you have

put the wild waters in this roar, allay them.

I saw a brave vessel (who no

doubt had some noble creature
in her) dashed all to pieces.

Lend thy hand and

pluck my magic
garment from me.

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.

You have often begun to tell me

what I am, but stopped.

art  magic
perdition  loss
betid  happened

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 Act 1  Scene 2

The hour’s now come. I can. ’Tis far off, rather

Canst thou remember like a dream. Had I not
a time before we came four or five women once,
unto this cell? Thou wast that tended me?
not out three years old.

What foul play had we,

And more, Miranda. that we came from My brother and thy uncle,
thence? Or blessed wast Antonio I loved , and to him
we did? put the manage of my state.

Twelve year since, thy father

was the Duke of Milan and a
prince of power, and thou wast
my daughter and only heir. Both.

The government I cast upon

my brother, and I to my state
grew stranger and rapt in
secret studies.

His ambition growing

– he needs will be
absolute Milan. So
dry he was for sway
wi’ th’ King of Naples.

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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 Act 1  Scene 2
Prospero tells of his brother’s treachery and Gonzalo’s
kindness.

PROSPERO: This King of Naples, being an enemy

To me inveterate, hearkens my brother’s suit,
Which was that he, in lieu o’ th’ premises
Of homage, and I know not how much tribute, money
Should presently extirpate me and mine destroy
Out of the dukedom, and confer fair Milan,
With all the honours, on my brother. Whereon –
A treacherous army levied – one midnight gathered
Fated to th’ purpose, did Antonio open
The gates of Milan and i’ th’ dead of darkness
The ministers for th’ purpose hurried thence
Me and thy crying self.

MIRANDA: I, not rememb’ring how I cried out then,

Will cry it o’er again. It is a hint
That wrings mine eyes to’t.

PROSPERO: Hear a little further,

And then I’ll bring thee to the present business
Which now’s upon’s, without the which this story
Were most impertinent. pointless

MIRANDA: Wherefore did they not that hour destroy us?

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.

MIRANDA: What trouble was I then to you?

PROSPERO: Thou wast that did preserve me.

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 Act 1  Scene 2

MIRANDA: How came we ashore?

PROSPERO: Some food we had, and some fresh water, that

A noble Neapolitan, Gonzalo,
Out of his charity did give us, with
Rich garments, linens, stuffs and necessaries.
Knowing I loved my books, he furnished me
From mine own library with volumes that
I prize above my dukedom.

MIRANDA: Would I might see that man!

PROSPERO: Here in this island we arrived, and here

Have I, thy schoolmaster, made thee more profit taught you better
Than other princes can.

MIRANDA: And now I pray you, sir, your reason

For raising this sea-storm?

PROSPERO: By accident most strange, fortune hath mine enemies

Brought to this shore.
Cease more questions, thou art inclined to sleep.

Guided reading questions

Act 1, Scene 1 (pages 1–3)
1 List the characters mentioned in this scene and briefly explain their role in the scene.
2 What is the dramatic effect of the storm?
3 a Describe the Boatswain’s attitude towards Gonzalo.
b  What accounts for his attitude to Gonzalo?
c  Do you think his attitude was justified?
4 What does Gonzalo’s reaction to the Boatswain’s attitude say about him?
Act 1, Scene 2 (pages 4–7)
1 We meet Miranda and Prospero in this scene.
a  What are your first impressions of both?
b  What evidence is there to support your thoughts?
2 In your own words, briefly recount the story of Prospero’s exile.
3 Why do you think Prospero is telling Miranda about her past?
4 What do you think is Prospero’s motivation for causing the shipwreck?

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 Act 1  Scene 2

This damned witch was

She died and left thee there. Then
brought with child, and
was this island (save for the son
here was left by th’
she did litter here) not honoured
sailors. Thou, my slave,
with a human shape.
was then her servant.

Thou wast a spirit

too delicate to act her
commands, refusing
her – she did confine
thee into a cloven pine,
imprisoned a dozen years.

Yes, Caliban, It was mine art that made gape

her son. the pine and let thee out.

He, that Caliban whom

now I keep in service.
I thank thee, master.

If thou more murmur’st, I will Pardon, master; I

rend an oak and peg thee in will do my spiriting
his knotty entrails till thou gently.
hast howled away twelve
winters.

Do so, and after two days

cloven split  litter  give birth to  rend tear I will discharge thee.
gently  without complaining

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 Act 1  Scene 2

What shall I do? Awake. We’ll visit

Caliban, my slave.

Go make thyself like a nymph o’ th’

sea, invisible to every eyeball else
and hither come in’t.

But as ’tis, we cannot miss him; he does make

’Tis a villain I do not our fire, fetch in our wood, and serves in offices
love to look on. that profit us.

Caliban, speak. Thou poisonous slave, come forth!

miss  do without
offices duties

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 Act 1 Scene 2
Caliban complains about the way he is treated until
Prospero threatens him with his magic.

CALIBAN: This island’s mine by Sycorax my mother,

Which thou tak’st from me. When thou cam’st first
Thou strok’st me, and made much of me; wouldst give me
Water with berries in’t, and teach me how
To name the bigger light and how the less sun  moon
That burn by day and night. And then I loved thee,
And showed thee all the qualities o’ th’ isle:
The fresh springs, brine pits, barren place and fertile. salt water
Cursed be I that did so! All the charms
Of Sycorax – toads, beetles, bats – light on you,
For I am all the subjects that you have,
Which first was mine own king; and here you sty me
In this hard rock, whiles you do keep from me
The rest o’ th’ island.

PROSPERO: Thou most lying slave,

Whom stripes may move, not kindness; I have used thee whipping
(Filth as thou art) with humane care and lodged thee
In mine own cell, till thou didst seek to violate rape
The honour of my child.

CALIBAN: O ho, O ho! Would’t had been done;

Thou didst prevent me, I had peopled else
This isle with Calibans.

MIRANDA: Slave, I pitied thee,

Took pains to make thee speak, taught thee each hour
One thing or other. When thou didst not, savage,
Know thine own meaning, but wouldst gabble like
A thing most brutish, I endowed thy purposes
With words that made them known; but thy vile race,
(Though thou didst learn) had that in’t which good natures
Could not abide to be with; therefore wast thou
Deservedly confined into this rock,
Who had deserved more than a prison.

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 Act 1 Scene 2

CALIBAN: You taught me language, and my profit on’t

Is I know how to curse. The red plague rid you
For learning me your language.

PROSPERO: Hag-seed, hence: Witch’s child

Fetch us in fuel, and be quick – thou’rt best –
To answer other business. Shrug’st thou, malice?
If thou neglect’st, or dost unwillingly
What I command, I’ll rack thee with old cramps,
Fill all thy bones with aches, make thee roar,
That beasts shall tremble at thy din.

CALIBAN: No, pray thee. I must obey; his art is of such

power.

Guided reading questions

Act 1, Scene 2 (pages 8–11)
1 Explain the role magic plays in the scene.
2 Explain TWO (2) possible reasons why Prospero put Miranda to sleep while he
talks to Ariel?
3 Why is Ariel Prospero’s slave?
a  Do you think it is fair for Prospero to hold Ariel as a slave?
b  Do you pity Ariel? Explain your answer.
Act 1, Scene 2 (pages 12–13)
1 Describe the relationship between Caliban and Prospero when he first arrived
on the island.
2 From this scene, what caused the change in their relationship?
3 Do you think Caliban deserves to be Prospero’s slave? Discuss.

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 Act 1  Scene 2
Ariel leads Ferdinand to Prospero and Miranda. The two young people
fall in love – a little too quickly for Prospero’s liking!

Where should this music be?

I have followed it, or

it hath drawn me.

It begins again. This is no

mortal business.

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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 Analysis of characters
Prospero
Prospero can be considered a complicated character because he has many facades.
These facades make Prospero one of the most fascinating characters in the
play. It can be noted that a lot of the details we know about the other characters
(specifically Sycorax and Antonio) come from Prospero, and therefore it is
important to determine his character in order to know if his presentation of these
characters is correct.

The delinquent duke

Although Prospero is the rightful ruler of Milan, one could say that he was
delinquent in his duties and instead focused on studying magic (Act 1, Scene 2). One
could then argue that Prospero shares some responsibility for his brother’s betrayal.
This is due to the fact that his neglect gave his brother the opportunity to betray
him. The argument can be further reinforced by stating that Prospero actually
asked his brother to assist him with running the city/state.

The dutiful father or the manipulator

It could also be argued that Prospero put his plans into motion so that Miranda
would have an opportunity to have a life off the island. For example, did he
carefully orchestrate the meeting between Miranda and Ferdinand with the hope
that they might fall in love so that he could regain his place in Milan, or did he do it
for the good of his daughter? Prospero’s motives seem unclear at times in the play.
Does he want revenge or does he want reconciliation?
We know that Prospero loves Miranda because of his efforts to protect her
throughout the play. However, is she just a pawn in his well-woven plans? This
question can be asked because we see Prospero planning to return to Milan as a
result of Miranda’s marriage to Ferdinand.

The merciful forgiver

In light of what his enemies did to him, it can be said that Prospero exercised
mercy in forgiving them. Prospero’s merciful nature is not a one-off act; this is
shown throughout the play. It is first seen in Act 1 when the members of the crew
are saved in spite of the tempest that destroyed the ship. Mercy is displayed by
Prospero throughout the play. In the end, we see Prospero exercising mercy through
forgiveness. Instead of destroying his enemies in the flick of a finger (using magic)
he chooses reconciliation. This shows his innate goodness.

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 Themes in the play
Betrayal
The theme of betrayal is woven throughout the play, and is presented in multiple
levels. One can see examples of betrayal from the beginning of the play.
The main act of betrayal, however, was when Antonio and Alonso usurped Prospero.
This act of betrayal is related to us by Prospero and is the driving force behind the
plot of the play. One can say that the tempest was created as a way for Prospero
to get the enemies who betrayed him onto the island. Therefore, everything that
Prospero does from the beginning of the play is motivated by betrayal.
Betrayal can also be seen in Prospero’s betrayal of his people by neglecting his
duties in the pursuit of studying magic. Additionally, Sebastian and Antonio’s plot
to kill Alonso can also be seen as an act of betrayal.

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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 Magic

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)

●  He leads Ferdinand to Miranda (Act 1, Scene 2)

●  He thwarts the murderous plans of Antonio and Sebastian (Act 2, Scene 1)

●  He disrupts Caliban’s plans to kill Prospero (Act 3, Scene 1)

●  He helps to create a magical banquet (Act 4)

●  He releases Prospero’s prisoners (Act 5).

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)

●  He tries to convince Stephano and Trinculo to kill Prospero (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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 SHAKESPEARE’S

THE TEMPEST
A GRAPHIC EDITION with CSEC® Study Guide

These sample pages have been taken from The Tempest with CSEC® Study Notes,
ISBN 9781510430303.

Understand Shakespeare’s play immediately with engaging

images that reinforce the text and aid preparation for the CSEC®
English B examination.
● Build understanding of the play through images and text that
work together.
● Check understanding of the text by answering the guided
reading questions at the end of each scene.
● Build literary knowledge with the section on comedy which
explains the way Shakespeare uses comic effect in this play
and others.
● Improve and practise essay-writing skills using CSEC-style
essay questions and a sample essay.
● Consolidate learning and exam preparation with detailed and
rigorous study notes.

Graphic edition by Philip Page and Marilyn Pettit

Photo credit: p9 © Geraint Lewis / Alamy Stock Photo

CSEC® is a registered trade mark of the Caribbean Examinations Council (CXC).

To find your local Hodder Education representative

please visit www.hoddereducation.com/agents

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