AO5

• "Ariel's language is ordered and stylistic... a mind in which creativity and wit have sufficient room to develop"

  Michael O'Toole
• "by rejecting language, Caliban is rejecting knowledge itself"

  Michael O'Toole
• "he [Caliban] willingly subjugates himself to them [Stephano and Trinculo]"

  Michael O'Toole
• "Caliban thus shows himself to be incapable of autonomy"

  Michael O'Toole
• "It is Prospero who conceives the ideas for enchanting the shipwrecked Italians, but he can only carry them out with the aid of Ariel"

  Michael O'Toole
• "His [Ariel's] role as executor of Prospero's strategies makes him essential to Prospero's success"

  Michael O'Toole
• Of Ariel "a submissive, deferential subject"

  Michael O'Toole
• "Unlike Ariel, Caliban has no future promise of freedom that will justify an attitude of deference"

  Michael O'Toole
• Of Ariel's release from Sycorax "the debt that this engenders in him towards his master"

  Michael O'Toole
• "both Montaigne and Shakespeare explore the relationship between human nature and modern civilisation"

  Michael O'Toole
• "Shakespeare's cannibal [Caliban] appears to be as pathetic, crass and vulgar as any individual can possibly be portrayed"

  Michael O'Toole
• "Amongst these characters, the distinguishing characteristic of Ariel is that he is not human. He is therefore unrestricted by human nature"

  Michael O'Toole
• "Prospero wields his intelligence and modernity as oppresive forces"

  Michael O'Toole
• "When exposed to modern civilisation, the cannibals become no different than the Europeans"

  Michael O'Toole
• "Shakespeare asserts that neither the cannibals nor the Europeans deserve praise... they are both equally pathetic"

  Michael O'Toole
• "Caliban gives us images of the earth, Ariel from the air"

  Coleridge
• [Sebastian and Antonio] possessed "the grand characteristics of a villain"

  Coleridge
• Of Caliban "He partakes in the qualities of the brutes but is distinguished from the brutes"

  Coleridge
• Of the appearance of the Tempest "It is full of grace and grandeur"

  Hazlitt
• "The plot is entirely typical of Elizabethan revenge tragedy"

  Tillyard
• "Prospero is the agent of his own regeneration"

  Tillyard
• "Antonio is indeed one of Shakespeare's major villains"

  Tillyard
• "at the end of the play, Alonso and Prospero are old and worn men. A younger and happier generation is needed to secure the new state"

  Tillyard
• "in this play... are... shown the springs in the vulgar of politics - of that kind of politics which is interwoven with human nature"

  Coleridge
• "Of Miranda we may say that she possesses in herself all the ideal beauties that could be imagined by the greatest poet"

  Coleridge
• [Antonio] "scoffing and scorning"

  Coleridge
• "Shakespeare is constantly prodding us... to relate passing dialogue with other dialogues"

  Reuben A Brower
• Of the Harpy scene "the violence though increased is now religious and moral; the imagery has become expressive of the strenuous punishment and purification of the 'three men of sin'"

  Reuben A Brower
• "Delicate as the antithesis of earth points to the opposition of Ariel and Caliban"

  Reuben A Brower
• "Shakespeare has expressed an unbroken transition from actual storm to the storm of the soul"

  Reuben A Brower
• "the key metaphor of the play is change"

  Reuben A Brower
• In the 1993 Sam Mendes production, Ariel spits in Prospero's face when he is released
• In the 1998 'Un Tempete' production, both Caliban and Ariel were cast as black actors
• "you get a sense of the subplot echoing the main plot, parodying those other characters"

  Sam Mendes
• "The humour comes more from what they do than what they say"

  Hargest
• "Shakespeare clowns to a purpose"

  Coleridge