Summary of Content

Name the conflict and characterization terms

Definition Term Definition Term

Methods used by an When a character has a
Characterization
author to create a character problem with another Man vs Man
A character who parallels character; external issue
Double
another character When a character goes
How a character changes Character against a commonly held Man vs
over the course of the story Development belief/society; Society
A character who does not philosophical issue
Static A Method of
change
A character who changes Dynamic Characterization: what the Thoughts &
A character who shows character thinks/his or her Feelings
Flat emotions
only one trait
A Method of A Method of
Characterization: what the Dialogue Characterization: what the Actions
character says character does
A character who is fully The character who opposes
Antagonist
developed and shows Round the protagonist
multiple traits A character who offers a
The character who changes contrast to another Foil
the most over the course of Protagonist character
the story; main character Reactions of
The final Method of
other
Characterization
characters
When a character has a
problem with him/herself; Man vs Self
internal issue
A Method of
Physical
Characterization: what the
Description
character looks like

CHARACTERIZATION
SEE PDF/LINK “DRAMA CHARACTERIZATION, SPACE, STRUCTURE ETC.”( PAGE
113-120)
Characterization (in general) is the process of conveying information about characters; it
is the act of creating and describing characters. The method includes:
 showing the character’s physical appearance.
 Showing the character’s personality.
  displaying the character's actions.
 revealing the character’s thoughts.
 allowing the character to speak.
 getting the reactions of others.
______________________________________________________________________________
Characterization in Drama is the method used by a playwright to develop a character.
The method includes: (1) showing the character's appearance (for e.g. costume), (2)
displaying the character's actions (stage directions), (3) revealing the character's
thoughts (soliloquy/monologue), (4) letting the character speak, and (5) getting the
reactions of others.
Direct characterization: also known as explicit characterization consists of the
playwright telling the audience what a character is like.
Indirect characterization: consists of the author showing the audience what kind of
person a character is through the character’s thoughts, words, and deeds. This requires
the audience to make inferences about the character.

TYPES OF CHARACTERS

In literature, authors use many different types of characters to tell their stories. Different
types of characters fulfill different roles in the literary piece. A few types of characters
are as follows:

 Major or central characters are vital to the development and resolution of the

conflict. In other words, the plot and resolution of conflict revolves around these
characters.
 Minor characters serve to complement the major characters and help move the
plot events forward.
 Protagonist - The protagonist is the central person in a story, and is often
referred to as the story’s main character. He or she (or they) is faced with a
conflict that must be resolved. The protagonist may not always be admirable (e.g.
an anti-hero); nevertheless s/he must command involvement on the part of the
reader, or better yet, empathy.
 Antagonist - The antagonist is the character (or situation) that represents the
opposition against which the protagonist must contend. In other words, the
antagonist is an obstacle that the protagonist must overcome.
 Foil - In literature, a foil is a character that has characteristics that oppose another
character, usually the protagonist. The foil character may be completely opposite
to the protagonist, or very similar with one key difference. The foil character is
used to highlight some particular quality or qualities of the main character.
CHARACTER ANALYSIS (see attached video- how to write a character analysis
paragraph- and pdf file-character analysis example and template)

Soliloquy: A soliloquy is where a character, onstage and alone, reveals their thoughts to the
audience. [Source: http://thetempestscrapbook.blogspot.com/p/dramatic-devices.html]

CALIBAN’S SOLILOQUY
For the first time, the audience is given a close look at Caliban, who appeared only
briefly in Act I. He appears now, cursing Prospero, and so, the depth of Caliban's
animosity is quickly evident. He is very frightened by Prospero, whom he both cowers
before and hates. Prospero has made Caliban his slave. The island was originally
Caliban's, and he lived under no man's control.
Although Caliban blames Prospero for all his troubles, it is clear that nature, itself, has
turned against him. In his soliloquy that opens this scene, Caliban admits that the
animals on the island make faces at him, bite him, and hiss at him. This he blames on
Prospero, reasoning that he controls all nature. Every noise is thought to be a spirit, sent
by Prospero to torture him. Caliban represents nature, unfettered by man's domesticity
— nature, as it appears untouched by corrupt forces. And yet Caliban is not totally
innocent. Prospero has already told the audience of Caliban's attack on Miranda. His
behavior recalls the undisciplined nature of wild animals rather than that of natural
man. He has not been civilized to the rules of social discourse and, instead, functions as
the animals in the forest do — obeying the instincts of nature.

Source: Cliffsnotes

Summary of Act II

SCENE I
Meanwhile Alonso, Sebastian, Antonio, and Gonzalo have washed up on another part
of the island. Gonzalo councils Alonso to see the optimistic side of their predicament.
Even though Ferdinand is missing, they should rejoice that they are alive. This is, of
course, the last thing that Alonso wants to hear. Meanwhile Sebastian and Antonio
ridicule Gonzalo, making fun of his speeches. Cruelly, Sebastian even accuses Alonso of
being responsible for Ferdinand’s death. They wouldn’t have been on this journey if
Alonso had allowed his daughter to marry a European prince rather than the King of
Tunis.
Gonzalo counsels moderation; no one is to blame. He also calls on the company to
observe the beauty of the island. Then he begins to describe the type of government he
would institute on this island. It would be a utopia of equality with no marks of wealth
or social status. All would have leisure and their needs would be met “without sweat or
endeavor.”
Ariel, who is invisible, passes among the men playing music, and all of the company,
except Antonio and Sebastian, suddenly fall into a deep sleep. Antonio uses this
moment to describe to Sebastian the opportunity he now has to seize the crown from
his brother.
With Alonso’s son and daughter out of the way, Sebastian can easily claim the crown;
all he has to do is kill Alonso. Antonio points to his own behavior as a model. He
overthrew his brother and now enjoys success. He vows to kill Gonzalo to prevent his
interference with their plot while Sebastian kills his brother. Sebastian decides to follow
Antonio’s “precedent,” promising Antonio as his reward that he will no longer have to
pay tribute to Naples.
Just as they draw their swords, Ariel awakens Gonzalo, singing in his ear that treachery
is at hand. Sebastian and Antonio are able to avoid suspicion by saying that they too
had heard a loud noise and were protecting the king. The company now decides to
continue their search for Ferdinand.

SCENE II
On another part of the island, a parallel scene occurs between Trinculo, a jester,
Stephano, a butler, and Caliban. At first Caliban hides from Trinculo, fearing he will
torment him. For his part Trinculo cannot tell if Caliban is fish or man, but decides to
take shelter in Caliban’s garments because he fears a storm is coming. Stephano, who
has found the ship’s liquor, doesn’t know what to make of the “beast” he discovers with
four legs, two voices, and a severe case of the shakes. Finally, Trinculo and Stephano
discover each other, and Caliban is so impressed with Stephano’s “celestial liquor” that
he declares he will be his subject. Caliban promises to show Stephano all the fine points
of the island and to give him food and drink; he vows he will no longer serve Prospero.

Source: A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s The
Tempest 3

Characters and characterization in The Tempest

MAJOR CHARACTERS MINOR CHARACTERS

● PROSPERO ● MIRANDA ● ARIEL ●MASTER ● BOATSWAIN ●MARINERS

● CALIBAN ● ALONSO ● ANTONIO ●TRINCULO ● STEPHANO ●
● FERDINAND ● GONZALO ● ADRIAN ●FRANCISCO ● JUNO ●
SEBASTIAN CERES ● IRIS ●NYMPHS ● SPIRITS ●
SYCORAX (DECEASED)

ALONSO is the King of Naples and is a character that the audience remains ambivalent
about for the entire play. Although he is an enemy of Prospero, he does not take any
real vindictive action himself - he is easily persuaded into plots by others, for example
Antonio, but he can also be persuaded into good actions by his counsellor Gonzalo.
Alonso experiences intense, divisive emotions, for example when he cries over the
death of his son, as well as the fact that he has maintained a relationship with traitors
such as Sebastian and Antonio. However, Alonso is able to redeem himself by
admitting his flaws and mistakes and showing sincere remorse. For example, when the
harpy in Act 3, Scene 3 reminds him how he had wronged Prospero by banishing him.
He is genuine in his regret and sorrow, and he returns Prospero's dukedom to him at
the end of the play. Yet, we can still argue that Alonso is reluctant to confront his
mistakes, as he does not account for them until he is confronted by another person.

ANTONIO The character of Antonio can be read as a symbol of Western civilization as

foolish and hungry for power. He allows Prospero to be usurped in order to become
Duke of Milan himself. His actions are governed by envy as he desires to further his
own social position in the society. For example, he plans to kill Alonso, convincing
Sebastian to assist him, in order to take control and power from the King. Antonio
shows no sign of remorse, even at the end of the play when he has been terrified by
Prospero's spirits and when the other members of the royal entourage make amends
with Prospero. He does not attempt to reconcile the relationship with his brother, and
this may be a message from Shakespeare to suggest that Western ideals of colonization
and superiority are irrational and unreasonable ideas which divide society, and
promote selfishness.

GONZALO is referred to as an elderly counsellor to the King of Naples who is known

to be trustworthy and honest. He helped Prospero to survive, and provided him with
his magical books, when Prospero was banished from Milan. This suggests that
Gonzalo, unlike the villains of the play; Antonio and Sebastian, has integrity and is
sincere. The character of Gonzalo introduces the idea of a utopia society which is
juxtaposed against the hierarchal structure of Prospero's island. He talks of an island
'For no kind of traffic/ would I admit; no name of magistrate/ Letters should not be
known; riches, poverty/ and use of service, none;' (Act 2, Scene 1), where people do not
need to work, and the concept of money does not exist. Everyone works in harmony to
help each other.

CALIBAN The character of Caliban is a complex character and functions as one of the
main protagonists of the play. He is the son of the evil witch Sycorax, and is the only
known native of the island. He is portrayed as a dark creature, associated with nature,
and who is enslaved by Prospero initially, and secondly by Stephano. As a result of his
enslavement, and his belief that he is the rightful ruler of the island, Caliban is insolent
and rebellious, often complaining about Prospero's control. However, he fulfills his
orders because he is afraid of the pain that Prospero unleash through his magic.
Although Caliban is a native, and this may mean that he is justified in his claims for
power, he is yet another character who wishes to control the island. On the other hand,
his more sensitive side is elicited through his language. Caliban speaks some of the
most beautiful and eloquent poetry of the play, and this may be used by Shakespeare to
critique Prospero's and Stephano's attempt to control and suppress the autonomy and
individuality of the native. For example, many critics believe that the character of
Caliban is a tool for Shakespeare to criticize Western colonization which suppressed
native cultures, as Prospero 'teaches' Caliban how to speak English and both Prospero
and Stephano enslave him.

Harry Potter & Caliban

In the Harry Potter series, and later in Fantastic Beasts and Where to Find Them, J.K.
Rowling uses “mooncalf” as a playful nocturnal creature that only comes out of its
burrow during a full moon. Today, a "mooncalf" is a foolish person. The term
originally meant a deformed calf born from the influence of the full moon. In the 17th
century, it came to mean a deformed baby and, later, a hideously deformed individual,
as in The Tempest when Stephano calls Caliban a "mooncalf."

TRINCULO: He is a classic Elizabethan clown--his original costume would have been a

multicolored jester suit, making his role immediately obvious to an audience that loved
“fool” characters. Trinculo’s character type, the “silly servant,” originates in Italian
Commedia dell’arte (“comedy of craft,” or improvisation), which typically featured two
zanni (foolish servants--the English word “zany” derives from zanni). Trinculo is based
on the Italian character type of the second zanni: a simple-minded character who lacks
moral principles, but in an innocent, non-vicious manner. Italians called this character
Arlecchino, from which the English sound-alike word “Harlequin.”

STEPHANO is another of The Tempest's antagonists, but he is a comedic, drunken fool

based on the Italian comic character of the first zanni: a character who “hesitates at
nothing…He has no conscience, [and] his assistance is invaluable in executing…the
murder of a rival…All his relationships are exploitative, and he loves nobody.”. He is
the butler of the royal entourage, and his petty and greedy nature encourages him to
create a plan to kill the King and rule the island. He is yet another character used by
Shakespeare to criticize the Western ideal of colonization as Stephano's aims are purely
selfish. For example, when he first discovers the native Caliban, his first instinct is to
capture him to sell when he returns to Naples. He also imprisons Caliban to be his 'foot-
licker'. Stephano and Trinculo act as comedic counterparts to the true villains Antonio
and Sebastian, through their ridiculous, drunken attempt to kill Prospero and take
control of the island.

SEBASTIAN is Alonso's brother, who is willing to attempt murdering the King. He is

simultaneously an aggressive and cowardly character. He also presents Western
civilization as foolish and thoughtless, as he mocks Gonzalo's dreams of a utopian
society of harmony and peace.
Sources: 1. https://www.thoughtco.com/what-isliterature-740531
2. A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s The
Tempest.
3. Pittsburgh Public Theatre’s Study Guide to The Tempest
4. http://thetempestscrapbook.blogspot. com/p/themes.html