The Tempest as Mythological and Archetypal Elements

His attempt to ravish Miranda actuate Prospero to enchant him and enslave him. Caliban is perceived as a devil, the male child of a witch, and one who means harm to others. Prospero uses ration and conjuration to maintain control over the island, a place that Ariel tells us Ferdinand referred to as "Hell is / and all the devils are here" (Shakespeare 4).

We retard in the use of devils and Hell that Shakespeare is incorporating elements of mythology and archetypal figures into his work. In his icon of archetypes, Karl Jung maintained, especially later in his career:

archetypes of psychoid, that is, they shape be (nature) as well as the mind (psyche). Archetypes are master(a) forces which play a vital role in the establishment of the world and the human mind itself. The ancients called them elemental spirits (2).

We sure as shooting see that Ariel is one such elemental spirit that has the might to shape nature as well as the mind. Ariel whips up the oceans and winds to create the storm that will strand Ferdinand on the island. At the end of the play, when Prospero wishes to sail back to Milan, he requests of Prospero:

And promise you comfort seas, auspicious gales,

And sail so expeditious, that shall catch

Your royal fleet afar off. My Arial chick,-

That is thy charge: then to the elements (Shakespeare 22).

The Tempest involves a emergence of unive

Shakespeare, William. "The Tempest." The Complete Works. New York: Gramercy, 1975, 1-22.

In defining archetypes, Karl Jung maintained that "there are a rattling few basic archetypes of patterns which exist at the unconscious level, except there are an infinite variety of specific images which place back to these few patterns" (1). The collective unconscious of Shakespeare's time demonstrates that issues of immunity, captivity, and referee were important qualities to the individual and community. The Tempest demonstrates these qualities through the archetypes or symbols of immunity and captivity represented respectively by Prospero and Caliban.

In a way, the relationship amounts to a good versus evil interpretation of human existence, with interference by mythological elements from spirits to enchantment lots determining outcome. Caliban represents the grammatical construction of man's nature that is focused on corporeal gratification and pleasure, often ruthless and completely self-absorbed. Prospero represents the rational aspect of man's nature that acts individually in a manner that helps nourish the collective good.

In the archetype of character of Caliban, we have the graphic man whose right to freedom of abtion is being limited by his servitude to Prospero. On one level we are asked to sympathize with this cock; on the other, we are confronted with a man whose behavior is so unacceptable to civilized society that his freedom must be limited and constrained if that society is to be safe. Ariel also seeks freedom and wins it from Prospero unlike Caliban, but Arial can behave properly. Caliban is uneducated, despite Prospero's trump out attempts to educate him. He is not civilized, as his intention of raping Miranda shows. He is a savage and lacks the refinements that can raise him above the recite of brutish nature. Freedom for him means the freedom to destroy others only. This is his indwelling nature. Even Caliban seems to recognize this in his final speech of the pl
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