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The International Prospective Register of Systematic Reviews, better known as PROSPERO, is an open access online database of systematic review protocols on a wide range of topics. While it was initially restricted to medicine, as of 2021, it also accepts protocols in criminology, social care, education and international development, as long as there is a health-related outcome. Researchers can choose to have their reviews prospectively registered with PROSPERO. The database is produced by the Centre for Reviews and Dissemination at the University of York in England, and it is funded by the National Institute for Health Research.[1] Registration of systematic reviews in the database has been supported by PLoS Medicine,[2] BioMed Central, the EQUATOR Network, and BMJ editor-in-chief Fiona Godlee, among others.[1]

History

[edit]

After the PRISMA statement was published in 2010, the University of York responded to its recommendation for prospective systematic review registration by beginning development of an online database of systematic reviews. The resulting PROSPERO database was launched in February 2011 by Frederick Curzon, 7th Earl Howe, the Parliamentary Under-Secretary of State for Health. It was simultaneously launched at a Vancouver, Canada meeting organized by the Canadian Institutes of Health Research that month. By October 2011, the database included 200 records of systematic reviews that were being conducted at the time.[3] In October 2013, the Cochrane Collaboration began automatically including protocols of its systematic reviews in PROSPERO.[4] By October 10, 2017, the number of registered reviews in the database had increased to 26,535.[5] As of February 27, 2021, there were 106,828 registration records on the platform.[6]

Responses

[edit]

In 2017, concern was raised that some protocols in PROSPERO could be "zombie reviews" for which the protocol had been registered, but its record in the database had not been updated to indicate that it had been completed. Andrade et al. showed that only 7% of all reviews registered in PROSPERO from 2011 to 2015 had since been marked as "completed". These authors suggested that many of these reviews were either abandoned, meaning they had not been completed or published, or, if they had been completed, had not had their PROSPERO record updated to reflect this.[7] Sideri et al. (2018) showed that orthodontics-related systematic reviews that were registered in PROSPERO were on average of higher methodological quality than those not so registered.[8] Proportion of registration in systems other than PROSPERO in the systematic review protocol is 1% from 2011 to 2020.[9]

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PROSPERO

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Prospero is the protagonist and central figure in William Shakespeare's late romance play The Tempest (1611), depicted as the rightful Duke of Milan who, after being usurped by his brother Antonio with the aid of the King of Naples, Alonso, is set adrift with his infant daughter Miranda and washes ashore on a remote, enchanted island. Prospero, having brought his books of magic from Milan, possesses immense sorcerous powers, enabling him to command the island's spirits, including the airy sprite Ariel, whom he frees from imprisonment in a tree but binds to his service, and to subjugate the native inhabitant Caliban, the son of the witch Sycorax, whom he treats as a slave. Using his magic, Prospero conjures a tempest to shipwreck Alonso and his party—including Antonio, Alonso's son Ferdinand, and Prospero's old enemy, Sebastian, the brother of Alonso—drawing them to the island where he orchestrates a complex scheme of retribution, illusion, and reconciliation. Throughout the play, Prospero grapples with themes of authority, vengeance, and mercy; he initially wields his powers vengefully but ultimately chooses forgiveness, arranging Miranda's betrothal to Ferdinand and renouncing his magic by breaking his staff and drowning his book to reclaim his dukedom in Milan. This character embodies Shakespeare's exploration of colonial power dynamics, paternal control, and the redemptive potential of art and imagination, making him one of the playwright's most enigmatic and multifaceted protagonists.

Origins and Role in The Tempest

Literary sources and creation

Prospero, the central figure of William Shakespeare's , was created during the playwright's late period, with the play composed around late 1610 or early 1611 as one of his final romances. This timing aligns with Shakespeare's shift toward themes of reconciliation and redemption in works like , where figures of authority grapple with renunciation and forgiveness. A key real-world influence on the play's island setting and opening storm was the 1609 shipwreck of the off , part of a fleet bound for . Survivor William Strachey's 1610 account of the event, True Repertory of the Wracke, detailed the vessel's tempest-tossed arrival on an , providing Shakespeare with vivid motifs of and isolation that shaped the dramatic premise. This colonial expedition's perils echoed contemporary English explorations, infusing the narrative with a sense of wonder and peril. Shakespeare drew from classical literature for Prospero's magical elements and the story's structure. Ovid's inspired aspects of the spirit Ariel and the witch , with Sycorax patterned after the sorceress , whose incantations in Book 7 informed Prospero's own renunciation of magic in Act 5. Similarly, Virgil's provided shipwreck motifs, as both works begin with a storm-driven catastrophe that propels exiles toward destiny, linking Aeneas's voyage to Prospero's orchestrated trials. Prospero's character evolved from earlier Shakespearean authority figures, particularly Duke Vincentio in (1603–1604), who disguises himself to observe and manipulate justice, emphasizing mercy over strict retribution. In , this matures into a more introspective magus who ultimately renounces power, reflecting Shakespeare's deepening exploration of in his late romances.

Involvement in the plot

, the rightful of , was usurped by his brother twelve years prior to the play's events, who, with the aid of , the King of , set and his three-year-old daughter Miranda adrift at sea. Gonzalo, a counselor to , secretly provided them with provisions, including Prospero's magic books, enabling their survival on a remote island. Upon arrival, Prospero discovered the island inhabited by the spirit Ariel, whom he freed from imprisonment in a by the witch , and her son , whom he subsequently enslaved. To orchestrate his revenge and restoration, commands to raise a tempest that shipwrecks 's vessel, scattering the survivors—including , , Sebastian ('s brother), and ('s son)—across the island while ensuring no one perishes. He reveals their past to the now fifteen-year-old Miranda, who has no memory of , and uses to lead the shipwrecked group through illusions and torments, such as stabbing pains and hideous shapes, to punish and manipulate them. When Miranda encounters and they fall in love, tests 's worthiness by accusing him of and forcing him to perform menial labor, such as carrying logs, while secretly approving the match. Prospero establishes a on the island, ruling over Ariel, whom he directs in tasks like diverting the shipwrecked nobles, and Caliban, whom he confines and labors under threat of magical cramps. He thwarts Caliban's drunken with the butler Stephano and jester Trinculo to murder him and seize the island, dispatching to mislead the plotters with spirit hounds and hunter's cries. In the climax, Prospero reveals his identity to the Neapolitans in a magical banquet scene, confronting Antonio and Alonso with their betrayal, yet ultimately chooses forgiveness, pardoning his brother and restoring Alonso's sanity after Sebastian's attempted . For the resolution, Prospero stages a masque of spirits to celebrate Miranda and Ferdinand's betrothal, breaks his staff, and drowns his book of magic, renouncing his powers and freeing Ariel from service. He arranges safe passage for all to return to and , where he will reclaim his dukedom, leaving Caliban to repent and reclaim the island alone. This arc culminates in familial reunions and the promise of Miranda and Ferdinand's marriage, securing Prospero's legacy through alliance rather than retribution.

Characterization

Personality traits and motivations

Prospero is depicted as a highly intellectual figure whose deep immersion in scholarly pursuits defines much of his character. In Act 1, Scene 2 of The Tempest, he confesses to Miranda that his obsession with "secret studies" and his library caused him to neglect his ducal responsibilities in Milan, stating, "Me, poor man, my library / Was dukedom large enough" (1.2.109–110). This trait of intellectual absorption, while enabling his mastery of magic, renders him vulnerable to betrayal by his brother Antonio. Alongside his scholarly bent, exhibits a vengeful , meticulously orchestrating the play's events to punish those who wronged him twelve years earlier. His initial actions, such as conjuring to shipwreck his enemies, reflect a calculated retribution driven by the usurpation of his dukedom. Yet, this vengefulness coexists with a capacity for , as evidenced in Act 5, Scene 1, where he declares, "The rarer action is / In virtue than in vengeance" (5.1.27–28), ultimately choosing over prolonged . Scholars note this duality as central to his psychological complexity, portraying him as manipulative yet capable of ethical growth. Prospero's primary motivations revolve around revenge against his betrayers, the protection of his daughter Miranda, and a quest for personal redemption. He explicitly links his schemes to safeguarding Miranda's future, telling her, "I have done nothing but in care of thee, / Of thee my dear one, thee my daughter" (1.2.16–17), while engineering her betrothal to as a means of restoring his political standing. His toward redemption culminates in renouncing his magical powers, breaking his staff and drowning his book, symbolizing a shift from isolation and control to reintegration into human society. This transformation highlights his internal conflict between power and humanity. In his relationships, Prospero's paternal affection for Miranda contrasts sharply with his exploitative control over Ariel and , underscoring his tyrannical tendencies. He treats Ariel as a reluctant servant, threatening severe if disobeyed—"If thou more murmur’st, I will rend an oak / And peg thee in his knotty entrails till / Noon twelve" (1.2.294–296)—while similarly subjugating with threats of pinching and confinement. These dynamics reveal Prospero's initial , which softens over the play as he frees Ariel and acknowledges resistance, marking his growth toward empathy.

Magic and control

Prospero's magical abilities in The Tempest derive primarily from his extensive study of arcane knowledge, embodied in his prized books and reinforced by his staff, which serve as conduits for commanding natural elements and spirits. These sources enable him to orchestrate the play's central events, such as conjuring the tempest that strands his enemies on the island. Ariel, a delicate spirit previously imprisoned by the witch Sycorax in a pine tree, becomes Prospero's chief agent upon his liberation, executing commands with precision due to a binding oath, while Caliban, Sycorax's son, is enslaved through a combination of magical threats and physical coercion, reflecting Prospero's hierarchical dominance over both ethereal and earthly beings. Specific applications of Prospero's illustrate its role in manipulating perceptions and advancing the . He deploys illusions, such as the vanishing interrupted by Ariel in the form of a , to torment and psychologically bind figures like , Sebastian, and , forcing them to confront their guilt. The , a visionary spectacle of goddesses like Iris, Ceres, and Juno, is conjured to celebrate and symbolically bless the union of and Miranda, blending with Prospero's control to foster harmony amid chaos. Binding spells further underscore his authority, as seen in the cramps and pinches inflicted on for disobedience or the temporary paralysis of to test his worthiness. Symbolically, Prospero's magic extends his intellectual prowess, transforming abstract knowledge into tangible dominion over the island's reality, akin to a divine or alchemical force that reshapes human affairs. Rooted in occult traditions like neo-Platonism and cabbalism, it represents not mere sorcery but a instrument for retribution and redemption, ultimately leading to its voluntary renunciation. In the play's climax, Prospero abjures his "rough magic," breaking his staff and drowning his book deeper than any plummet could reach, to reclaim his Milanese dukedom and reintegrate into civilized society, signifying a triumph of mercy and human limits over unchecked power. Despite its potency, Prospero's magic reveals inherent limitations, particularly its reliance on Ariel's obedience, whose pleas for freedom occasionally strain their bond and expose Prospero's vulnerability to the spirit's potential desertion. This dependence highlights the fragility of his control, as Ariel's execution of illusions and spells is indispensable, yet contingent on mutual benefit. Moreover, the magic's efficacy wanes against unyielding wills, such as Caliban's rebellious plots, and Prospero's own emotional turmoil—evident when the masque dissolves amid his rage—underscores that supernatural power cannot fully suppress human passions or ensure lasting harmony without personal restraint.

Language and rhetoric

Prospero's language in The Tempest is characterized by its poetic eloquence and commanding tone, blending sophisticated verse with authoritative imperatives to assert control and reveal introspection. His speech often employs rich metaphors drawn from nature and transformation, such as the "cloud-capped towers" and "baseless fabric of this vision" that underscore themes of illusion and impermanence, reflecting a rhetorical style that elevates his intellectual and magical authority. Soliloquies and extended monologues further distinguish his rhetoric, allowing him to expose inner conflicts and philosophical musings, as seen in his frequent use of elevated diction that contrasts with the play's more prosaic elements. This verbose sophistication serves not only to dominate discourse but also to weave moral and existential insights into the narrative fabric. Central to Prospero's rhetorical arsenal are key speeches that exemplify his persuasive and expository prowess. In Act 1, Scene 2, his lengthy dialogue with Miranda recounts their past exile through a structured laced with imperatives like "Sit still, and hear the last of our sea-sorrow," compelling attention while framing events to shape her understanding and loyalty. The famous in Act 5 delivers a meta-theatrical for release—"Now my charms are all o'erthrown, / And what strength I have's mine own"—shifting from command to humble , using direct address to blur the boundaries between and , and emphasizing language's power to evoke and . These moments highlight his ability to manipulate emotional responses, persuading characters and viewers alike toward reconciliation. Prospero's stands in sharp contrast to that of other figures, amplifying his as the play's verbal architect. While Caliban's speech devolves into crude and —"You taught me , and my profit on't / Is, I know how to "—Prospero's refined verse maintains a commanding elevation that underscores themes of and control. Ariel's contributions, by comparison, favor lyrical songs with ethereal imagery, such as "Full fathom five thy father lies," offering poetic brevity that complements rather than rivals Prospero's expansive, imperative-driven . Through these strategies, Prospero's not only drives but also invites reflection on art's illusory nature, positioning him as a meta-theatrical commentator on the boundaries of and .

Critical Analysis

Interpretations of power and colonialism

Scholars have interpreted Prospero's dominion over the island in The Tempest as a metaphor for European colonialism, positioning him as a colonizer who subjugates the native figure of Caliban while claiming the land as his own. This reading draws on the play's depiction of Prospero's arrival and imposition of authority, mirroring historical European expansion into the New World, where invaders displaced indigenous populations under the guise of civilization. Aimé Césaire's 1969 adaptation, Une Tempête, explicitly reframes the narrative as a postcolonial allegory, portraying Prospero as an imperialist exploiter and Caliban as the oppressed colonized subject who resists through rebellion, highlighting themes of cultural erasure and resistance to domination. The power dynamics in Prospero's rule reflect cycles of usurpation, as his own displacement from parallels his subsequent control over Ariel and , suggesting a perpetuation of hierarchical rather than resolution. Critics argue that Prospero's , exercised through magical manipulation, underscores the instability of colonial power, where the colonizer's legitimacy is continually threatened by the very subjugation it enforces. This cyclical pattern illustrates how Prospero's fuels his , transforming personal loss into imperial assertion on the island. Postcolonial critiques, particularly those by , examine Prospero's as a mechanism of cultural and linguistic domination, akin to colonial imposition of European norms on . Greenblatt highlights how Prospero's control over language—teaching it to only to curse him—exemplifies the discursive strategies of , where knowledge becomes a tool for subjugation rather than enlightenment. These analyses emphasize the play's reflection of early modern imperial anxieties, with Prospero's eventual renunciation of symbolizing a fraught acknowledgment of colonial limits. Gender dimensions further complicate these interpretations, as Prospero's authority extends to female figures, reinforcing patriarchal structures intertwined with . His protective oversight of Miranda limits her agency, positioning her as a pawn in political restoration, while the vilification of Sycorax as a erases her legacy and justifies Prospero's of the island. This dual control over maternal and daughterly figures underscores how colonial power operates through gendered hierarchies, marginalizing women as threats or assets in the imperial project.

Prospero as autobiographical figure

Many literary critics have interpreted Prospero, the protagonist of William Shakespeare's , as an autobiographical projection of the playwright himself, particularly in the context of Shakespeare's late-career reflections and impending . This view posits Prospero's mastery over the island's events through magic as analogous to Shakespeare's command of the dramatic stage, where illusions and narratives are conjured to explore human experience. The play's composition around 1610–1611, near the end of Shakespeare's active writing period, supports this reading, as he appears to have begun withdrawing from theatrical life shortly thereafter. A key piece of evidence lies in Prospero's renunciation of his in Act V, where he breaks his staff, drowns his book, and vows to return to Milanese society, mirroring Shakespeare's own farewell to playwriting as he retired to around 1613. The enchanted island itself serves as a for the , a confined yet transformative space where Prospero, like Shakespeare, orchestrates spectacles and resolves conflicts among characters who represent broader human archetypes. This meta-theatrical dimension is evident in the Prospero stages in Act IV for Miranda and , a dramatic within the play that underscores the ephemeral nature of art, much like Shakespeare's own creations that vanish upon the curtain's fall. Critic Edward Dowden, in his 1875 study Shakspere: A Critical Study of His Mind and Art, advanced this autobiographical lens by arguing that "we identify in some measure with Shakespeare himself … because the temper of Prospero's mind is the temper of Shakespeare's mind late in life, when imagination has lost something of its exuberance, when the intellect has gained in clarity and power." Dowden likened Prospero's "art"—his subtle, illusionary magic—to the playwright's craft of weaving intangible narratives from words and actors. The play's further reinforces this, as Prospero steps out of character to plead directly with the audience for "freedom" through applause, echoing an actor's—or playwright's— and Shakespeare's plea for indulgence in his final works. However, not all scholars accept a fully autobiographical interpretation, noting significant divergences between Prospero's narrative and Shakespeare's biography; for instance, the duke's exile and magical powers have no direct parallel in the playwright's life as a provincial actor and shareholder in the Globe. Critics like those in traditional analyses emphasize that while thematic resonances exist, Prospero functions more as a dramatic archetype than a literal self-portrait, avoiding over-identification that could limit the play's universal scope.

Adaptations and Portrayals

Stage performances

The first recorded performance of The Tempest occurred on November 1, 1611, at Whitehall Palace before King James I, likely featuring elaborate stage effects such as thunder and swift scene changes to evoke the storm. The role of Prospero in this original production is not definitively documented, though later traditions associate it with John Lowin, a leading actor of Shakespeare's company known for tragic roles. During the Restoration era, a significant adaptation by and premiered in 1667 at Theatre, introducing female actors to roles previously played by men and adding new female characters like Miranda's sister Dorinda and Caliban's sister to expand opportunities for women on stage. attended a performance on November 7, 1667, noting the play's appeal despite its age. This version emphasized spectacle and romantic subplots, with Ariel often portrayed by a woman, influencing interpretations until the . In the 19th century, William Charles Macready's 1838 production at Covent Garden restored much of Shakespeare's original text, eliminating Restoration additions, and presented Prospero as an authoritative duke through commanding physicality and vocal delivery amid lavish scenic effects like shipwrecks and enchanted islands. This approach shifted focus to Prospero's political restoration and paternal control. The 20th century saw John Gielgud embody Prospero in multiple landmark productions, beginning with the 1930 Old Vic staging directed by Harcourt Williams, where he emphasized the character's intellectual depth and magical authority, paired opposite Ralph Richardson's earthy Caliban. Gielgud reprised the role in Peter Hall's 1973 National Theatre production, costumed as the Elizabethan scholar John Dee to highlight Prospero's scholarly isolation and inner torment, portraying him as a controlled yet agonized figure grappling with renunciation. Peter Brook's 1968 experimental production at the Round House Theatre in London adopted a minimalist style, largely abandoning dialogue for mime and symbolic gestures to explore themes of reconciliation and freedom, with Prospero's magic conveyed through sparse, evocative movement rather than props or spectacle. Modern interpretations have increasingly incorporated gender-swapped and diverse casting to interrogate Prospero's themes of power and . Patrick Stewart's 2006 Royal production, directed by and set in an icy wasteland, featured an all-male cast and depicted Prospero as a vengeful exile wielding technology-infused magic, underscoring his authoritarian control in a harsh environment. In 2018, Kate Burton played Prospera at the in , directed by Joe Dowling, reimagining the character as a resilient whose sorcery critiques patriarchal usurpation, with textual adjustments to reflect her maternal dynamics and colonial overreach. These choices, alongside diverse ethnic casting in roles like Ariel and , have highlighted postcolonial readings, transforming Prospero from a solitary magician into a figure of contested imperial legacy. More recent examples include the 2023 musical adaptation at The , directed by Laurie Woolery with as Prospera, emphasizing themes of community and redemption through song and ensemble performance, and the 2024 Jamie production at , featuring as Prospero in a stark, immersive staging that explores isolation and forgiveness via modern textual cuts and atmospheric sound design.

Film and television adaptations

One of the earliest cinematic depictions of The Tempest appeared in a 1905 silent short film directed by Herbert Beerbohm Tree and Charles Urban, which captured the opening shipwreck scene from Tree's stage production at His Majesty's Theatre, where he portrayed Prospero as a commanding figure of exile and retribution. This brief adaptation emphasized the dramatic storm as Prospero's vengeful magic, using rudimentary film techniques to convey the chaos without spoken dialogue or full character development. A more surreal interpretation emerged in Derek Jarman's 1979 film , where embodied Prospero as an ethereal, introspective magician inhabiting a dreamlike island realm blending aesthetics with punk influences. Jarman's direction highlighted Prospero's psychological depth through symbolic visuals, such as Williams reciting spells amid opulent, decaying interiors, portraying him as a weary relinquishing control. In contrast, Julie Taymor's 2010 adaptation reimagined Prospero as Prospera, played by Helen Mirren, shifting the narrative to explore matriarchal power dynamics in a visually opulent fantasy setting. Mirren's Prospera commands the island's elements with a blend of maternal authority and sorcerous intensity, underscoring themes of forgiveness and legacy through her orchestration of the storm and reconciliations. Television adaptations have often favored naturalistic portrayals, as seen in the BBC's production directed by , featuring as a restrained, dignified whose conveyed quiet authority and emotional restraint amid the island's stark realism. Hordern's interpretation emphasized Prospero's intellectual command and gradual of through subtle gestures and measured delivery, set against minimalistic designs that grounded the in human frailty. An animated rendition followed in 1992 as part of the Shakespeare: The Animated Tales series, directed by Stanislav Sokolov using stop-motion puppetry to depict as a wise, bookish exile guiding his daughter Miranda through enchanted trials. This version simplified the plot for younger audiences while preserving Shakespeare's dialogue, portraying Prospero's magic through whimsical yet faithful illusions like conjured spirits and tempests. Modern film adaptations frequently employ CGI to visualize Prospero's arcane powers, as in Taymor's work where digital effects rendered Ariel's ethereal forms and the tempest's fury, enhancing the spectacle but sometimes distancing the human core of the character. Earlier efforts, like the production, opted for naturalistic techniques—practical effects and —to underscore Prospero's internal conflicts without technological embellishment, creating a more intimate exploration of his motivations.

Audio and other media

Prospero has been portrayed in various audio adaptations of Shakespeare's The Tempest, emphasizing the character's commanding vocal presence through radio dramas and audiobooks. Early BBC radio productions in the 1940s highlighted emerging talents alongside established actors; for instance, the 1940 Home Service broadcast of scenes from the play featured Leon Quartermaine as Prospero and a young Alec Guinness as Ferdinand, capturing the play's magical elements through sound design and ensemble performances. Later radio versions, such as the 1953 Home Service adaptation directed by Raymond Raikes, starred John Gielgud as Prospero, whose nuanced delivery of the duke's soliloquies underscored themes of forgiveness and renunciation. More recent BBC Radio 3 productions include the 1974 version with Paul Scofield as Prospero, noted for its atmospheric soundscapes evoking the island's isolation, and the 2012 adaptation featuring David Warner in the role, blending classical recitation with modern audio effects. Audiobook narrations have similarly focused on Prospero's rhetorical power, with delivering key speeches like the "Our revels now are ended" to highlight his intellectual and emotional depth. The 2004 Audiobooks recording, directed by John Tydeman, features Sir as Prospero alongside Emilia as Miranda and Scott Handy as Ariel, praised for McKellen's authoritative yet vulnerable interpretation that draws on his post-Lord of the Rings gravitas. Another notable full-cast audiobook is the Shakespeare edition from 2001, with as Prospero and as , emphasizing the character's manipulative control through layered vocal dynamics and sound effects. These audio formats prioritize Prospero's language as a tool of dominion, allowing listeners to engage with his psychological complexity without visual aids. Beyond traditional audio, Prospero appears in operas and interactive media that extend the character's multimedia presence. Thomas Adès's 2004 opera The Tempest, with libretto by Meredith Oakes, premiered at the Royal Opera House in London, where baritone Simon Keenlyside portrayed Prospero in a score blending atonal dissonance with lyrical arias to reflect the duke's stormy temperament and eventual reconciliation. Keenlyside reprised the role in the 2012 Metropolitan Opera production conducted by Adès, further cementing the operatic Prospero as a figure of tormented authority. In video games and digital formats, Prospero features in interactive adaptations; the 2020 virtual reality experience The Under Presents: Tempest for Oculus headsets places players in an immersive island environment, interacting with a digitally rendered Prospero who wields magic through user-driven choices, blending Shakespeare's text with VR mechanics. Similarly, the Royal Shakespeare Company's 2016 production incorporated Intel-powered motion-capture for a digital Ariel under Prospero's command, creating real-time interactive projections that enhanced the magician's illusory powers on stage and in recorded media. Experimental forms have reimagined through and , notably in Julie Taymor's 1986-1987 stage production at Theatre for a New Audience in New York, where puppets and masks represented the island's spirits under Prospero's influence, emphasizing his role as a of fate in an abridged 90-minute format. This work, which Taymor later adapted into elements for her 2010 film, showcased Prospero's control via intricate shadow and object , influencing subsequent non-traditional interpretations that merge live performance with digital enhancements.

Cultural Legacy

Influence on literature and arts

Prospero's character from William Shakespeare's has profoundly shaped literary archetypes of the magician-creator, particularly in 19th-century works where themes of control, isolation, and supernatural power echo his dominion over the island. In Mary Shelley's (1818), Victor embodies a Prospero-like figure as a ambitious creator who wields godlike over his artificial being, only to face and reckoning, mirroring Prospero's fraught mastery over Ariel and . This parallel underscores Prospero's influence on Romantic explorations of and the perils of unchecked . Similarly, Aimé Césaire's (1969) reimagines Prospero as a symbol of colonial , transforming the original's magical isolation into a of imperial exploitation, with Prospero's spells representing linguistic and cultural domination over . In the visual arts, Prospero's enigmatic authority inspired Pre-Raphaelite depictions that emphasized his mystical aura and command over ethereal elements. John Everett Millais, in works such as Ferdinand Lured by Ariel (1850), portrayed scenes from The Tempest where Prospero's invisible influence orchestrates supernatural events, using vivid, detailed naturalism to evoke the play's enchanted island. This 19th-century fascination extended into modern graphic novels, where Steve Barlow and Steve Skidmore, illustrated by Edu Coll, in Classics in Graphics: Shakespeare's The Tempest (2022) reenvision Prospero as a commanding sorcerer amid dynamic, shadowed panels that highlight his psychological depth and magical isolation. Prospero's legacy also permeates music and ballet, reinforcing his archetype as the archetypal enchanter. Thomas Adès's opera The Tempest (2004) centers Prospero as a brooding baritone figure whose vocal lines convey both tyrannical power and poignant renunciation, drawing on the character's soliloquies to explore themes of forgiveness amid orchestral tempests. In ballet, George Balanchine's The Tempest (1955) positions Prospero as the pivotal magician, with choreography emphasizing his spectral control over dancers representing spirits and shipwrecked souls, blending neoclassical precision with Shakespearean fantasy. During the 19th-century Romantic movement, contributed to the era's preoccupation with supernatural agency, influencing poets like and in their evocation of otherworldly realms and visionary isolation. Coleridge's The Rime of the Ancient Mariner (1798) echoes Prospero's cursed exile through its mariner's supernatural , while Byron's Manfred (1817) adopts the mage's defiant autonomy, portraying a solitary protagonist who commands demonic forces akin to Prospero's island spirits. These works elevated Prospero as a for the , blending magic with introspective torment to challenge Enlightenment rationalism. Prospero's character has been parodied in science fiction cinema, most notably in the 1956 film , where Dr. Edward Morbius serves as a direct analogue to the exiled duke, wielding advanced alien technology as a substitute for Prospero's to control his environment and summon monstrous forces from his . In television, has referenced Prospero in its 2012 episode "I'm Just a Girl Who Can't Say D'oh," where Sideshow Mel leaves a production to portray the character in a stage adaptation of . In literature and comics, Neil Gaiman's The Sandman series prominently features in issue #75, "" (1993), which reimagines Shakespeare's final play as commissioned by Dream () from himself, positioning Prospero as a meta-fictional embodiment of artistic creation and renunciation, mirroring Dream's own arc. This depiction draws on Prospero's role as a bookish sorcerer to explore themes of and legacy within the series' mythological framework. Musical references to Prospero appear in rock and alternative genres, such as October Project's 1993 song "Ariel," which adopts the perspective of the spirit Ariel bidding farewell to his master Prospero, echoing the play's themes of liberation from enchantment. In contemporary fantasy role-playing games, Prospero exemplifies the wizard archetype, influencing character designs in Dungeons & Dragons as a scholarly spellcaster who commands spirits and elements through arcane study, with players frequently modeling NPCs or builds after his island-bound mastery. This archetype underscores Prospero's enduring role as a template for the reclusive, intellectually dominant mage in modern gaming narratives. Recent stage productions have brought Prospero to new audiences, including Renée Elise Goldsberry's portrayal in the Public Theater's 2023 adaptation, emphasizing musical elements from her Hamilton background, and Sigourney Weaver's gender-swapped Prospero in Jamie Lloyd's minimalist 2024 West End production at the Theatre Royal Drury Lane, which garnered international attention for its innovative staging.

References

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