The Tempest (Shakespeare): The Master-slave Dialectic

The master–slave dialectic is the common name for a famous passage of Hegel's Phenomenology of Spirit, though the original German phrase is more properly translated as Lordship and Bondage. The theme of master-slave relation has got the place in Shakespeare’s play The Tempest as well, and this late play presents an uncomfortable image of Prospero's relationship to both Ariel and Caliban.

    Before the play begins, Prospero has landed on an island governed primarily by Sycorax, Caliban's mother. Sycorax had imprisoned Ariel in a tree and dies before releasing Ariel. Prospero frees him and earns Ariel's servitude, though with a promise of eventual release. Ariel uses magic to carry out Prospero’s commands. He serves Prospero loyally, and seems to enjoy the mischievous tricks he pulls on Prospero's enemies. Ariel is the character who finally moves Prospero to release his servants and forgive his enemies.

     Caliban, who is the son of Sycorax, believes that he should be the master of this island. When Prospero initially came to the island, Caliban showed him friendship, and in return Prospero educated Caliban. But Caliban eventually came to realize that Prospero would never view him as more than an educated savage. Though capable of sensitivity and eloquence, Caliban is furious and bitter and wants nothing more than to get rid himself of Prospero. But then Caliban's attempt to rape Miranda makes Prospero furious at Caliban and he robs Caliban of his island. He then robs of Caliban’s freedom by enslaving him and forcing him to do his biding. But again the question “What are the reasons that Caliban should obey his master’s orders?” arises.

When Prospero first came to this island, he was kind to Caliban and Caliban in return showed him all the secrets of the island. Once he knows of all the qualities of this island, he no longer needs Caliban's knowledge and ensalves him and uses him as his free labour.

    Conflicts and complexities of authority are portrayed by the characters Prospero and Caliban. As one gains power, the other loses it. The relationship between these two characters is rather absurd in the sense that masters become servants and servants become masters. Caliban who is the master of the island becomes servant and Prospero becomes the master of Caliban. Freedom and love seem to be driving these servant characters, as both are striving to get freedom from Prospero. In a master-servant relationship, we know, neither freedom nor real love is possible. The play then is a contemplation on the dynamics that deny these most fundamental of human desires.