The character of Prospero has given rise to a strange medley discussion

among the critics. Some are of the opinion that Prospero is a mere
symbol a metaphysical abstraction having little hold on life and
reality. Others have identified Prospero with his creator Shakespeare,
and it has been said that Shakespeare speaks here in his own person
through the mouth of Prospero. Whatever the critics might say, there is
no doubt that Prospero is an intensely human being, with human
failings and weakness, with that touch of nature which makes the
whole world kin.

As Duke of Milan, Prospero was held in the highest esteem

for his goodness and for his great knowledge of the liberal arts. But he
made the great mistake of neglecting his primary duty which was to
govern and administer his state. He put too much faith in his brother
Antonio whose character he did not correctly judge. A neglect of duty,
whatever be the case, is bound to be followed by unpleasant
consequences. Finding him too engrossed in books, Antonio seized this
opportunity to acquire more and more power and, ultimately,
succeeded in driving out Prospero from the state with the active help of
the King of Naples with whom he had entered into a conspiracy.

It is often said in that in portraying Prosperos character

Shakespeare has, to a large extent, revealed himself. In other words,
Prospero is regarded as a kind of self-portrait. This is, of course, an
exaggeration. But the fact remains that the progress in wisdom made
by Prospero before his exile, and Prospero of the island does reflect to
some extent the mental development of Shakespeare himself.

The advance of the age and the experience of adversity

did not in any way embitter Prospero or make him cynical. He retained
his tenderness and his sympathetic nature which we clearly see in his
dealings with his daughter and with Ariel. His love for Miranda was
boundless:-

I have done nothing but in care of thee,

Of thee, my dear on, thee, my daughter.

His love for her consoled in his darkest hours and enabled him to
endure his misfortune. She was the angel whose smile inspired him
with an exceptional courage. Prospero always uses terms of great
endearment for Miranda. He calls her a beloved darling, dear heart
a rich gift a third of his own life. Talking to Ferdinand, he lavishes
the highest praise upon his daughter and says that no amount of praise
can do justice to her.

In spite of the exceptional tenderness, we cannot help

perceiving in him an occasional impatience, irritability, and even a
certain harshness of feeling. His severe treatment of Caliban might
been justified, but the language I which he addresses the monster and
threats that he uses seem to be the result of a kind of petty tyranny. On
learning of Calibans plot against his life, he is as violently disturbed as
any ordinary human being would be. His manner towards Ariel when
the latter demands his liberty also seems somewhat arbitrary and
tyrannical.

Prospero shows a great shrewdness in dealing with

persons and spirits on the island. In fact, he becomes watchful and
vigilant now as he used to be trustful and unsuspecting when he was
the Duke of Milan. He now takes cares to protect himself against the
possibility of evil. He has learnt to know human nature and its
potentialities for evil. Even Caliban has taught him something. He has
come to know that no amount of education and training can cure a
person of his innate and inborn wickedness. Prospero no longer puts his
trust in appearance or in the oaths which a man may take.

Prospero does not use his supernatural powers for any evil
purpose. He makes us of his powers only to bring about the best result.
He causes the ship-wreck to bring Ferdinand and Gonzalo as well as his
enemies under his influence. He leads Ferdinand to Miranda and leaves
the rest to nature. He foils the plot of the traitors and afterwards tells
them that he was conscious of it. Similarly, he frustrates the plot of
Caliban, Stephano and Trinculo. He makes Antonio, Sebastian and
Alonso repent of their sins and regains his dukedom. He has no other
object in the practice of his art but that of bringing about their
retributive justice.

His forgiving nature is perhaps the most pleasant and most

noble characteristic of Prospero. Having unlimited power to punish his
enemies, he yet treats them with an exceeding leniency. He believes
that the rarer action is in virtue than in vengeance. The completeness
of Prosperos forgiveness clearly appears in his words to Alonso when
the latter speaks of asking Mirandas pardon. This is what Prospero says
to Alonso on that occasion:

There, sir, stop,

Let us not burthen our remembrance
With a heaviness thats gone.