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The Tempest Summary William Shakespeare

Everything you need to understand or teach The Tempest by William Shakespeare .

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The Tempest Overview

The tempest study guide, encyclopedia articles (1), william shakespeare biographies (5), essays & analysis (131), free book notes (1), lesson plan.

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The Tempest: Characters, Theme, and Personal Opinion Essay

Introduction, summary of the plot, analysis of characters, personal opinion, reference list.

In his drama The Tempest, Shakespeare combines the supernatural dimension with real, when describing the details of the royal intrigues in the Kingdom of Naples. Dated back to the seventeenth century, the play depicts the power of compassion and forgiveness, showing that men of real integrity can overcome betrayal, raising through confinement to spiritual freedom. A brief analysis of the story’s plot, theme, and discussion of the main characters convey the idea of personal liberation through mercy.

Shakespeare’s play The Tempest is a story of the magical loss and restoration of the man’s power, wherein actions develop in the unchronological order, simultaneously showing past and present events. According to Blair, Pettit and Page (2018), long before the present days, the ascendancy in Milan belonged to Prospero, a lawful ruler of the city. However, through corruption and deceit, Prospero’s brother, Antonio, usurped the power and exiled his relative to the remote island, where he now lives in the company of Miranda, Ariel, and Caliban (Blair, Pettit and Page, 2018). Enslaved by the deposed ruler, Ariel, a magical spirit, and Caliban, a native of the island, have to serve Prospero, following his orders.

The present action begins with Antonio, a Duke of Milan, and Alonso, King of Naples, captured on a ship in a severe storm. As explained by Blair, Pettit and Page (2018), scared by the power of the tempest, the two men do not surmise that the squall can be caused by the magical intervention of Prospero and his mystical friend. Through supernatural powers and deception, the deposed ruler hopes to shipwreck the betrayers and take revenge, eventually regaining his title.

However, when Prospero’s plans come to reality, the man unexpectedly decides to grant mercy to Antonio and Alonso in exchange for his dukedom (Blair, Pettit and Page, 2018). “Thou shalt be free /As mountain winds: but then exactly do/All points of my command” (Shakespeare, 2013, p. 92). Realizing the power of forgiveness, the man returns to Milan and blesses the marriage of his daughter, Miranda, and Alonso’s son, Prince Ferdinand (Blair, Pettit and Page, 2018). By restoring his lawful rule, Prospero defeats the evil, proving that love is stronger than hate, and forgiveness is stronger than revenge.

Relationships of the two brothers, Antonio and Prospero, lay in the core of Shakespeare’s play. The author uses sharp contrast to emphasize the distinctions in their personalities. On the one hand, Antonio is depicted as a despicable, sordid traitor with little moral principles (Blair, Pettit and Page, 2018). Willing to sacrifice the well-being of his brother in exchange for the crown, he violently seizes power from his relative. “What thou shouldst be. /Th’ occasion speaks thee, and/My strong imagination sees a crown/Dropping upon thy head” (Shakespeare, 2013, p. 118). Obsessed with the desire for power, Antonio persuades Sebastien to kill his brother, Alonso, following his example of the rule’s expropriation (Blair, Pettit and Page, 2018). Though the man’s intent never comes true, the situation demonstrates the extent of his infamy.

On the other hand, Shakespeare creates an image of Prospero, a noble and merciful ruler of Milan. Though, as stated by Blair, Pettit, and Page (2018), the duke sometimes appears delinquent to his duties, his order is lawful. When deposed after Antonio’s betrayal, the man attempts to take revenge over his brother, using magic, cruelty, and intimidation (Blair, Pettit and Page, 2018). “This thing of darkness I/ Acknowledge mine” (Shakespeare, 2013, p. 277). However, by the end of the play, he comes to the revelation that such methods confront his nature. Consequently, instead of torturing his affronters, the man grants them forgiveness, showing an example of kindness and compassion.

Apart from the reoccurring theme of forgiveness and compassion discussed at length earlier in the essay, Shakespeare conveys the topic of colonization in his work. As noted by Asif (2017), the historical context of the drama is linked to the active process of British colonization. Through relationships between Prospero and Caliban, the author condemns the unjustified inequality in conquers’ attitudes toward natives. Furthermore, Shakespeare takes a step forward, suggesting that colonization created a basis for slavery and racism. A vivid example of the statement above is Sebastian’s comment regarding Alonso’s permission for his daughter to marry an African (Asif, 2017). In The Tempest, Shakespeare thrives on explaining that native people should not be humiliated for their order of life and adherence to old traditions.

Another significant theme present in the drama is magic, illusion, and true identity. Tuglu (2016) suggested that Shakespeare’s decision to incorporate supernatural powers in the play is intended at revealing characters’ and the playwright’s true selves. From one perspective, Prospero’s magic and illusion help the audience to see the corrupt nature of Antonio and Sebastien. Another interpretation concerns the fact that The Tempest is Shakespeare’s last theatrical creation (Tuglu, 2016). Similar to the way Prospero sets his offenders free with magic, the playwright takes a final bow with the final lines of the epilogue, wherein he asks the audience to release him with their applause. “Let your indulgence set me free” (Shakespeare, 2013, p. 233). While some literary critics still argue about the relevance of this phrase to the end of Shakespeare’s career, a clear connection can be seen between the writer’s actions and the last words of Prospero.

For me, Shakespeare’s play The Tempest serves as an eternal warning for humanity regarding the danger of power. Just like Antonio, who was ready to sacrifice his brother’s life for the crown, thousands of people now put their pursuit for ascendancy before personal relationships. The play describes the horrific extent to which the illusion over dominance and mastery can extend, apprising the audience of this misapprehension. “We are such stuff as dreams are made on, and our little life is rounded with a sleep” (Shakespeare, 2013, p. 63).

In other words, individuals who consistently seek power are compared with those dreaming, which symbolizes their misconceptions. Instead of finding actual value in human relationships, they fall for the superficiality of money and authority. Apart from the adherence to material things, the endeavor for power deprives people of their inborn qualities of humanity and compassion, creating a basis for discrimination. Similar to Prospero in The Tempest, who declared his supremacy over Caliban, those disillusioned with authority might feel superior to others.

Ultimately, the topic of forgiveness and humanity constitutes the central moral component of Shakespeare’s The Tempest. A brief overview of the play’s plot and relationships between the main characters shows that an unhealthy obsession with power often deprives people of their inborn compassion and kindness. Instead of falling for the illusions of material assets, individuals should value human relationships, respecting other’s ways of life and unique personalities.

Asif, M. (2017) ‘ The Tempest : a postcolonial analysis’. Journal of Social Sciences, 8(1), pp. 192-209.

Blair, S., Pettit, M. and Page, P. (2018) Shakespeare’s The Tempest: a graphic edition with CSEC study guide. London: Hachette UK.

Shakespeare, W. (2013) The Tempest: Evans Shakespeare edition. Edited by Grace Tiffany. New York: Simon and Schuster.

Tuglu, B. (2016) ‘Identities in The Tempest , tempests in identities’ . International Journal of English and Literature , 7(5), pp. 62-68.

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IvyPanda. (2023, October 31). The Tempest: Characters, Theme, and Personal Opinion. https://ivypanda.com/essays/the-tempest-characters-theme-and-personal-opinion/

"The Tempest: Characters, Theme, and Personal Opinion." IvyPanda , 31 Oct. 2023, ivypanda.com/essays/the-tempest-characters-theme-and-personal-opinion/.

IvyPanda . (2023) 'The Tempest: Characters, Theme, and Personal Opinion'. 31 October.

IvyPanda . 2023. "The Tempest: Characters, Theme, and Personal Opinion." October 31, 2023. https://ivypanda.com/essays/the-tempest-characters-theme-and-personal-opinion/.

1. IvyPanda . "The Tempest: Characters, Theme, and Personal Opinion." October 31, 2023. https://ivypanda.com/essays/the-tempest-characters-theme-and-personal-opinion/.

Bibliography

IvyPanda . "The Tempest: Characters, Theme, and Personal Opinion." October 31, 2023. https://ivypanda.com/essays/the-tempest-characters-theme-and-personal-opinion/.

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The Tempest

Synopsis and plot overview of shakespeare's the tempest.

• In this section

TL;DR: A crew of men are shipwrecked on a magical island and tormented by an old man and his slaves.

The Tempest Summary

Prospero uses magic to conjure a storm and torment the survivors of a shipwreck, including the King of Naples and Prospero’s treacherous brother, Antonio. Prospero’s slave, Caliban, plots to rid himself of his master, but is thwarted by Prospero’s spirit-servant Ariel. The King’s young son Ferdinand, thought to be dead, falls in love with Prospero’s daughter Miranda. Their celebrations are cut short when Prospero confronts his brother and reveals his identity as the usurped Duke of Milan. The families are reunited and all conflict is resolved. Prospero grants Ariel his freedom and prepares to leave the island.

More detail: 2 minute read

Close to a Mediterranean island, a storm overcomes a ship that carries King Alonso of Naples, his son Ferdinand, and his brother Sebastian. They were on their way home home from Tunis to Italy when the storm hit and demolished their ship. Shipwrecked with them are the courtier, Gonzalo, and the Duke of Milan, Antonio. 

From the island, Prospero, the former Duke of Milan, watches the storm and shipwreck with his 15 year-old daughter, Miranda. Miranda fears for the ship's crew, but Prospero assures her that everything is fine. He decides to open up about his past, telling her how 12 years previously, his brother Antonio had deposed him in a coup. 

With the aid of Gonzalo, Prospero had escaped in a boat with the infant Miranda and his books of magic. They travelled to the island, made it their home, and enslaved the only native islander, Caliban. The only other inhabitants of the island are the spirits including Ariel, whom Prospero had rescued from imprisonment in a tree. Since Antonio was on the boat that is now shipwrecked, Prospero hopes finally to rectify his past. 

As Miranda sleeps, Prospero discusses his role in the shipwreck with Ariel. They plot about what to do with the men now that they are on the shore. 

The courtiers from the ship are cast ashore unharmed. But the King is near despair, believing that Ferdinand, his son, drowned. Ferdinand has actually arrived safely on a different part of the island where he meets Miranda and they instantly fall in love. Prospero, fearing for his daughter, captures Ferdinand and forces him to carry wood.  In the meantime, Ariel seeks his freedom. Prospero promises that he will liberate Ariel from servitude following the completion of just a few more tasks (typical). 

O brave new world that has such people in't! — The Tempest, Act 5 Scene 1

Ariel uses music to lead the courtiers astray, while Sebastian and Antonio plot to kill the King while he is asleep. Their attempt is foiled by Ariel. All the people from the ship become ever more confused as they wander around. In another part of the island, the timid court fool, Trinculo, has come ashore and discovered Caliban. Trinculo hides beside Caliban from an approaching storm, and the ship's butler, Stephano finds them.    

Stephano, Caliban, and Trinculo, at Caliban's suggestion, intend to kill Prospero and make Stephano lord of the island. They get very drunk before setting off to the cell to kill Prospero.  Ariel, who saw the whole thing in his invisible state, reports this wicked plot to his master. Meanwhile, Prospero has relented and gives his blessing for Ferdinand and Miranda's marriage. Then he entertains them with a masque of goddesses and dancing reapers before he remembers Caliban's plots.  

Prospero and Ariel then set a trap for the three plotters. Stephano and Trinculo fall for the plot and become distracted by gaudy clothes hung out for them. After they touch the clothing, they are chased away by spirits disguised as dogs.

We are such stuff As dreams are made on — The Tempest, Act 4 Scene 1

Ariel brings all the courtiers to the cell where Prospero, renouncing his magic, reveals himself. Instead of enacting his revenge, he forgives them and accepts the return of his dukedom. Ferdinand and Miranda are betrothed. Sailors come to announce that the ship is safe. Prospero fulfils his promise and frees Ariel while Caliban and the drunken servants are rebuked. The play ends as all go to celebrate their reunions, and Prospero asks the audience to release him from the play.  

Let your indulgence set me free — The Tempest, Act 5 Epilogue

For additional reading, see our blogs on The Tempest

Learn what Shakespeare has to say on the subject of life in The Tempest and other plays:  Shakespeare Quotes on Life

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The Tempest

William shakespeare, everything you need for every book you read..

A raging storm at sea threatens a ship bearing Alonso , King of Naples, and his court on their voyage home from the wedding of Alonso's daughter in Tunisia. Frustrated and afraid, the courtiers and the ship's crew exchange insults as the ship goes down.

From a nearby island, Prospero , the former Duke of Milan, and his daughter Miranda watch the ship. Miranda worries about the ship's passengers, suspects that her father has created the storm using his magical powers, and begs him to calm the waters. Prospero then reveals to Miranda the details of their past, telling how, 12 years ago, his brother Antonio betrayed and overthrew him. With the help of Alonso, Antonio arranged for Prospero and Miranda to be kidnapped and set adrift at sea. Now, Prospero says, circumstances allow him to take revenge on his enemies, and for this reason he has conjured the storm.

Prospero charms Miranda, and she falls asleep. He then summons his spirit-servant Ariel , who created the storm. Ariel says that he has made sure everyone made it to the island alive, but scattered separately, then mentions that Prospero promised to free him from servitude early in return for good service. Prospero angrily reminds the spirit that he saved him from the prison in which the witch Sycorax put him. (Sycorax was the previous ruler of the island.) Ariel apologizes and follows Prospero's orders—he makes himself invisible and goes to spy on the shipwrecked courtiers. Prospero then awakens Miranda and summons his servant Caliban , the son of Sycorax. Caliban curses Prospero, and denies that he owes Prospero anything for educating him. To prove his point, he recounts how Prospero stripped him of his rulership of the island.

Meanwhile, Ariel, still invisible, leads Ferdinand , Alonso's son, to Prospero. Ferdinand and Miranda fall immediately in love, but Prospero puts a spell on Ferdinand and takes him into custody. Elsewhere, Alonso, Gonzalo (an advisor to Alonso), Antonio, and Sebastian (Alonso's brother) awaken to find themselves safely on shore. Alonso mourns, thinking that Ferdinand has drowned in the storm. Ariel enters and plays solemn music that puts Gonzalo and Alonso to sleep. While they sleep, Antonio persuades Sebastian to try to murder Alonso and become king of Naples. Ariel wakes the sleeping men just in time to prevent the deed.

On still another part of the island, Caliban encounters Alonso's butler Stephano and jester Trinculo . He mistakes them for gods because they give him wine and get him drunk. With Ariel listening in, Caliban persuades them to help him murder Prospero with the promise that he will serve them as lords of the island.

While Ferdinand does hard labor for Prospero, he encounters Miranda. They express their affection for each other. With Prospero secretly looking on, they agree to marry.

A bit later, Antonio and Sebastian resume their plot against Alonso, but Ariel again disrupts it. Appearing as a harpy, he accuses them and Alonso of overthrowing Prospero and says that only sincere repentance can save them now. Alonso immediately repents. Antonio and Sebastian pledge to fight back, but Prospero soon enchants and traps them all.

Back at Prospero's cave, Prospero gives his blessing to Miranda and Ferdinand's marriage. He summons spirits to perform an elaborate masque (dramatic performance) for the couple. Suddenly, Prospero remembers Caliban's plot to murder him. He abruptly ends the masque and, with Ariel's help, tricks and then chases off the three would-be murderers.

In the play's final scene, Prospero, with Ariel's counsel, decides that rather than taking revenge he will instead give up his magic and forgive his enemies. He presents himself to them in the robes he wore as Duke of Milan. The courtiers are astounded. Alonso apologizes and relinquishes control of Milan, though Antonio remains silent. Alonso and Ferdinand are reunited, and Alonso gives his blessing to the marriage of Miranda and Ferdinand. Prospero summons Stephano, Trinculo, and Caliban and exposes them to general scorn. Caliban curses himself for mistaking them for gods. Prospero then charges Ariel to ensure a safe voyage back to Italy for all, and then grants Ariel his freedom. The play ends with Prospero's epilogue, in which he asks the audience to applaud and set him free.

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The Tempest Essays

One of the major characters in William Shakespeare’s play entitled The Tempest is Miranda, daughter of the magically-gifted Prospero. From the beginning scenes of the play when she was first introduced, Miranda is portrayed as a meek and kindhearted young woman who tried to tell her father to be...

The Tempest: Magic The Tempest, written in 1611, was one of William Shakespeare's last plays. It has a combination of superb characters, interesting settings, and a good plot line? all held together by the running theme of magic, and its ever- present importance. A closer examination of the magic...

The Tempest: Comparing The Cultures in The Tempest and Ours "All men are created equal" is one of the declarations that American culture is built on. This declaration means that all men no matter of race, religion, or creed are equals in the eyes of society, as well as the law. This was not always...

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The Other in the Tempest In order to understand the characters in a play, we have to be able to distinguish what exactly makes them different. In the case of The Tempest, Caliban, the sub-human slave is governed largely by his senses, making him the animal that he is portrayed to be and Prospero...

1 255 words

As an actor, select one character from ? The Tempest' and discuss how you would create the role, bearing in mind its function in the plot and its relationship to other characters. I have chosen Caliban to discuss, since, as an actor, I find him the most interesting character and thus the most...

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The Other in the Tempest In order to understand the characters in a play, we have to be able to distinguish what exactly makes them different. In the case of "The Tempest," Caliban, the sub-human slave is governed largely by his senses, making him the animal that he is portrayed to be and Prospero...

1 340 words

Lust for Power Any good story starts with an observation: an observation of the silent neighbor, the infamously loud aunt at the family reunion or the mysterious stranger, smiling at nothing. William Shakespeare always wrote of these observations. His characters in each of his plays represent some...

Prospero's Plottings After years of writing plays of history, tragedy, grand comedy and dramatic romance, William Shakespeare emerged from his darker writing of the past into the lighter, more peaceful style of his play "The Tempest. " This was Shakespeare's last complete play, and, just as he bid...

Through the use of his magic, Prospero seeks to surpass worldly values and create a utopia, or ideal society. This becomes evident in how Shakespeare portrays the innocence of Ferdinand and Miranda. He insists that Ferdinand not "Break her virgin knot before All sanctimonious ceremonies may. "(Act...

Through the years there has been much debate as to whether Shakespeare's The Tempest is an allegory to European colonization and colonial life, or if it is his "farewell to the stage" with a complete overview of the stage and a compilation of all of his characters into a few, in which the...

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Biblical Themes in Shakespeare's The Tempest Shakespeare is one of the most prolific and admired writers who ever lived. He certainly knew his craft and was familiar with all of the literature available at the time. One of the greatest books ever written was of course the bible. Written over the...

1 693 words

The Tempest raises many questions regarding the formation of authority and power. Is hierarchy understood as natural or as constructed? Also, what are the consequences when authority is usurped? This paper will attempt to answer these questions in a succinct manner using textual references to...

1 660 words

The significance and aptness of the title "The Tempest" is immense. Though not apparent at first, the title is skilfully used by the dramatist to enmesh the various themes, motifs and subplots in his play into a closely knit unit. The title is not the mere reflection of a storm that characterizes...

1 210 words

This paper shows that "The Tempest", by William Shakespeare, provides an arena for much interplay between illusion and reality. Prospero, Duke of Milan, facilitates this interplay. Prospero uses the study of magic to disillusion the other characters brought to the island by way of the tempest...

The Tempest and a Colonialist Representation The Tempest, most likely written in 1610-1611 and staged for the first time at the royal marriage of Princess Elizabeth around 1612, is the final play that Shakespeare's wrote on his own. It is shrouded in the classic ambiguity that is unique to...

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In his play The Tempest, Shakespeare uses the stage to present to the audience a microcosm of society. He minimizes the ideologies of his society so that they are represented through the characters and settings of the play. Through the use of dramatic conventions, the playwright examines human...

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The movie and the play of “The Tempest” both have many similarities in areas such as the characters, the plot, the theme, and style. Although, the issue is that there are some rather large discrepancies between the movie and the play, such as in the setting, some of the events, and even missing...

“The Tempest is more than romance, for its characters exceed the roles of villains and heroes, some of them becoming villains and heroes…The Tempest belongs not only to the world of romance, but also to the period of colonialism, written as it was in the early stages of the European exploration...

A Tempest was written by Aime Cesaire in 1969. This play is based on The Tempest by William Shakespeare. The play revolves around the theme of European colonization; however, other controversial issues such as racism can be found throughout it. Racism can be defined as “a belief or doctrine that...

1 386 words

Character Study of Prospero in The Tempest "The Tempest" is a play written by Shakespeare in 1611. It is a play about a man called Prospero who's brother (Antonio) attempts to murder him and his 3 year old daughter Miranda in order to become the Duke of Milan. Antonio plans to kill them by sending...

1 285 words

Revenge Many comparisons can be seen between Shakespeare’s novel The Tempest and the epic Beowulf. One of the strongest similarities is the idea of revenge. Shakespeare’s novel occurs basically in order for Prospero to have revenge on his enemies from usurping his dukedom. Beowulf&rsquo...

The Tempest is a play with many themes and motifs which guide the story of the play through out. One of the main and most important themes in the entire play would be the theme of Revenge. The concept of revenge is the main object fuelling the story and the reason behind Prospero's strange...

? The Tempest is the last play Shakespeare wrote. The play is about Prospero who has been overthrown from his dukedom in a very unfair and ruthless faction by his brother Antonio. Prospero has magical powers. I try to show the relationship between Prospero, Miranda, Ariel, Caliban and Ferdinand...

1 411 words

The Tempest: The Interplay between Time, Power, and Supernatural In The Tempest, William Shakespeare portrays multiple themes that are highlighted as the play progresses. He includes the recurring themes of time, struggle for power, and the supernatural. Prospero, and his servant, Ariel, magically...

1 145 words

In Shakespeare’s The Tempest and King Lear, the relationship between the father and his children affects the progression and outcome of events. Goneril and Regan oppose Lear after Cordelia’s untimely rebellion and disownment. In The Tempest, Caliban desires to overthrow Prospero for freedom...

1 173 words

Julie Taymor’s film adaptation of William Shakespeare’s ‘The Tempest’ contains many alterations from the play. These differences include how Taymor’s decision to change Prospero’s gender affects the actions and reactions of other characters. Filmic advantages...

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? Supernatural and Magical Elements Present in The Tempest William Shakespeare incorporated the underlying themes and symbols of magic and supernatural elements throughout his popular play The Tempest. There are many arguments that critics have made as to why he chose to include these recurring...

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The greatest name that comes into mind when one speaks of English literature is William Shakespeare. His works stand tall in the golden pages of English literature, influencing most people of his generation, and many more to follow. Shakespeare painted and breathed life into each character of his...

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Connelly 1 Jordan Connelly Prof Livingston English 1302 28 April, 2014 Abusing Power in The Tempest William Shakespeare uses many different elements in The Tempest to convey his different views on things. For example, he uses gender roles to show class division. He also explores the topics of love...

1 161 words

Tempest In the Tempest, written by William Shakespeare in 1611, Prospero the sorcerer was the Duke of Milan until Antonio usurped his power. Prospero is banished to an isolated island with his daughter Miranda. Here he practiced his sorcery and controlled every aspect of Miranda’s life...

2 323 words

The Tempest

By william shakespeare, the tempest essay questions.

To what extent can Prospero can be considered the protagonist of the play?

Many would agree that Prospero is the protagonist of the play, given that he starts out as a sympathetic character who has been robbed of his station and betrayed by his brother. However, Prospero is not a straightforward or traditional hero. Instead, he relies on his magic to control and manipulate others on the island while also maintaining control over his young adult daughter, Miranda. While audiences are likely to sympathize and root for Prospero's success, the play presents a rather nuanced portrait of its protagonist, leading many to compare Prospero to the playwright whose dedication to their craft outweighs their sense of social or filial duty. When Prospero renounces his magic at the end of the play, he is in many ways restored to hero status, having recognized that his ability to control others is a dangerous power to wield.

In what ways is Caliban a representation of colonization?

Caliban is the only character in the play who is native to the island on which The Tempest takes place. As such, he has long been interpreted as a figure of the effects of colonization and specifically of English imperialism. Caliban is treated by Prospero and Miranda as both a monster, a pupil, a son, and a servant: he is grateful to be able to curse Miranda in her own language, but later uses that same language with mastery and eloquence. The play stops short of expressing a direct judgement of English colonization, instead using the relationship between Prospero and Caliban to explore the complex social and filial dynamics that arise from imperial pursuits.

How does Miranda change over the course of the play?

One quality of Miranda's that is stressed throughout the play is her purity and innocence. Both Prospero and Ferdinand appear interested in preserving her virginity, if for different reasons (Ferdinand for assurance that any children they have will be biologically his, and Prospero for continued control over his surroundings). However, as the play develops, Miranda starts to show signs of budding autonomy – specifically sexual autonomy. She all but demands that Ferdinand marry her, and in so doing makes a choice on her own that reflects her growth from a girl to a woman. Prospero's preoccupation with Miranda's continued purity is therefore challenged by Miranda's own expression of love for Ferdinand, showcasing how even Prospero's magic cannot prevent his daughter from maturing.

Why must Prospero relinquish his powers at the end of the play?

At the end of the play, Prospero renounces his magical powers in order to restore his dukedom. However, he does not do so simply to return to power. Instead, Prospero comes to realize that it was his commitment to his magic that led to his usurpation and exile in the first place. When he agrees to renounce his books, he is really agreeing to be a more committed leader and to relinquish false power – his ability to control his surroundings and the experiences of others – for real and meaningful power in the form of political leadership.

Why do many see Prospero as a representative of Shakespeare himself?

Prospero is often compared to the William Shakespeare because of his dedication to his craft – specifically, the craft of creating whole worlds out of nothing, a task that parallels the role of the early modern English dramatist. Shakespeare wrote The Tempest toward the end of his career, and many see Prospero as the manifestation of the Bard's own reckoning with his departure from the theater. Indeed, Prospero's final speech – in which he asks for applause from the audience in order to be set "free" – is frequently understood as Shakespeare's personal farewell to the English stage.

The Tempest Questions and Answers

The Question and Answer section for The Tempest is a great resource to ask questions, find answers, and discuss the novel.

significance of the storm in the Opening act

In The Tempest, the storm at sea serves as the plot's inciting event. The storm washes Prospero 's enemies onto the island's shore, placing them at his mercy. In this sense the tempest or storm represents a disturbance of the social order. It also...

The Tempest, Act 1

She feels that she is on the boat herself. She has empathy, a trait that defines her through the play.

How long have Ferdinand and Miranda known each other when they decide to marry?

In Act III, Ferdinand and Miranda express their love for each other, and both express their desire to be married, though they have known each other for less than a day.

Study Guide for The Tempest

The Tempest study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About The Tempest
• The Tempest Summary
• The Tempest Video
• Character List

Essays for The Tempest

The Tempest literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The Tempest.

• Similarities Between Principal Characters in Shakespeare's The Tempest
• A Post-Colonial Interpretation of The Tempest
• The Fierce and Mighty Sea; The Dramatic Function of the Powerful and Ever Present Ocean in The Tempest
• The Sensitive Beast: Shakespeare's Presentation of Caliban
• Love and Magic Intertwined

Lesson Plan for The Tempest

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to The Tempest
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• The Tempest Bibliography

E-Text of The Tempest

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A story of shipwreck and magic, The Tempest begins on a ship caught in a violent storm with Alonso, the king of Naples, on board. On a nearby island, the exiled Duke of Milan, Prospero, tells his daughter, Miranda, that he has caused the storm with his magical powers. Prospero had been banished twelve years earlier when Prospero’s brother, Antonio—also on the doomed ship—conspired with Alonso to become the duke instead. Prospero and Miranda are served by a spirit named Ariel and by Caliban, son of the island’s previous inhabitant, the witch Sycorax.

On the island, castaways from the wreck begin to appear. First is Alonso’s son Ferdinand, who immediately falls in love with Miranda. Prospero secretly approves of their love, but tests the pair by enslaving Ferdinand. After secretly watching Miranda and Ferdinand exchange vows, Prospero releases Ferdinand and consents to their marriage.

Other castaways who appear are Trinculo and Stephano, Alonso’s jester and butler, who join forces with Caliban to kill Prospero and take over the island. The nobles from the ship search for Ferdinand and are confronted with a spectacle including a Harpy, who convinces Alonso that Ferdinand’s death is retribution for Prospero’s exile.

Having all his enemies under his control, Prospero decides to forgive them. Alonso, joyously reunited with his son, restores Prospero to the dukedom of Milan and welcomes Miranda as Ferdinand’s wife. As all except Caliban and Ariel prepare to leave the island, Prospero, who has given up his magic, bids farewell to the island and the audience.

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Author Interviews

A conversation with the author of 'there's always this year'.

NPR's Scott Detrow speaks to Hanif Abdurraqib about the new book There's Always This Year . It's a mix of memoir, essays, and poems, looking at the role basketball played in Abdurraqib's life.

SCOTT DETROW, HOST:

The new book "There's Always This Year" opens with an invitation. Here's a quote - "if you please imagine with me, you are putting your hand into my open palm, and I am resting one free hand atop yours. And I am saying to you that I would like to commiserate here and now about our enemies. We know our enemies by how foolishly they trample upon what we know as affection, how quickly they find another language for what they cannot translate as love." And what follows from that is a lyrical book about basketball but also about geography, luck, fate and many other things, too. It's also about how the career arc of basketball great LeBron James is woven through the life of the book's author, Hanif Abdurraqib, who joins us now. Welcome back to the show.

HANIF ABDURRAQIB: Thank you for having me again, Scott. It's really wonderful to be here.

DETROW: You know, I love this book so much, but I'm not entirely sure how to describe it. It's part memoir, part meditation, part poetry collection, part essay collection. How do you think about this book?

ABDURRAQIB: You know, it's funny. I've been running into that too early on in the process and now - still, when I'm asked to kind of give an elevator pitch. And I think really, if I'm being honest, that feels like an achievement to me because so much of...

DETROW: Yeah.

ABDURRAQIB: ...My intent with the book was working against a singular aboutness (ph) or positioning the book as something that could be operating against neat description because I think I was trying to tie together multiple ideas, sure, through the single - singular and single lens of basketball. But I kind of wanted to make basketball almost a - just a canvas atop which I was laying a lot of other concerns, be it mortality or place or fatherhood and sonhood (ph) in my case. I think mostly it's a book about mortality. It's a book about the passage of time and attempting to be honest with myself about the realities of time's passing.

DETROW: Yeah, it seems to me like it could also be a book about geography, about being shaped by the place you grew up in and that moment where you choose to stay or leave, or maybe leave and come back. And I was hoping you could read a passage that that deals directly with that for us.

ABDURRAQIB: Of course. Yeah. This is from the third quarter or the third act of the of the book.

(Reading) It bears mentioning that I come from a place people leave. Yes, when LeBron left, the reactions made enough sense to me, I suppose. But there was a part of me that felt entirely unsurprised. People leave this place. There are Midwestern states that are far less discernible on a blank map, sure. Even with an understanding of direction, I am known to mess up the order of the Dakotas. I've been known to point at a great many square-like landscapes while weakly mumbling Nebraska. And so I get it. We don't have it too bad. People at least claim to know that Ohio is shaped like a heart - a jagged heart, a heart with sharp edges, a heart as a weapon. That's why so many people make their way elsewhere.

DETROW: What does Ohio, and specifically, what does Columbus mean to you and who you are?

ABDURRAQIB: I think at this stage in my life, it's the one constant that keeps me tethered to a version of myself that is most recognizable. You know, you don't choose place. Place is something that happens to you. Place is maybe the second choice that is made for you after the choice of who your parents are. But if you have the means and ability, there are those of us who at some point in our lives get to choose a place back. And I think choosing that place back doesn't happen once. I mean, it happens several times. It's like any other relationship. You are choosing to love a place or a person as they are, and then checking in with if you are capable of continuing to love that place or person as they evolve, sometimes as they evolve without you or sometimes as you evolve without them. And so it's a real - a math problem that is always unfolding, someone asking the question of - what have I left behind in my growth, or what has left me behind in a growth that I don't recognize?

So, you know, Columbus doesn't look the way - just from an architectural standpoint - does not look the way it looked when I was young. It doesn't even look the way it looked when I moved back in 2017. And I have to kind of keep asking myself what I can live with. Now that, for me, often means that I turn more inward to the people. And I began to think of the people I love as their own architecture, a much more reliable and much more sturdy architecture than the architecture that is constantly under the siege of gentrification. And that has been grounding for me. It's been grounding for me to say, OK, I can't trust that this building will stay. I can't trust that this basketball court will stay. I can't trust that this mural or any of it will stay. But what I do know is that for now, in a corner of the city or in many corners of the city, there are people who know me in a very specific way, and we have a language that is only ours. And through that language, we render each other as full cities unto ourselves.

DETROW: Yeah. Can you tell me how you thought about basketball more broadly, and LeBron James specifically, weaving in and out of these big questions you're asking? - because in the first - I guess the second and third quarter, really, of the book - and I should say, you organize the book like a basketball game in quarters. You know, you're being really - you're writing these evocative, sad scenes of how, like you said, your life was not unfolding the way you wanted it in a variety of ways. And it's almost like LeBron James is kind of floating through as a specter on the TV screen in the background, keeping you company in a moment where it seems to me like you really needed company. Like, how did you think about your relationship with basketball and the broader moments and the broader thoughts in those moments?

ABDURRAQIB: Oh, man, that's not only such a good question, but that's actually - that's such a good image of LeBron James on the TV in the background because it was that. In a way, it was that in a very plainly material, realistic, literal sense because when I was, say, unhoused - right? - I...

ABDURRAQIB: ...Would kind of - you know, sometimes at night you kind of just wander. You find a place, and you walk through downtown. And I remember very clearly walking through downtown Columbus and just hearing the Cavs games blaring out of open doors to bars or restaurants and things like that, and not having - you know, I couldn't go in there because I had no money to buy anything, and I would eventually get thrown out of those places.

So, you know, I think playing and watching basketball - you know, even though this book is not, like, a heavy, in-depth basketball biography or a basketball memoir, I did spend a lot of time watching old - gosh, so much of the research for this book was me watching clips from the early - mid-2000s of...

ABDURRAQIB: ...LeBron James playing basketball because my headspace while living through that was entirely different. It's like you said, like LeBron was on a screen in the background of a life that was unsatisfying to me. So they were almost, like, being watched through static. And now when I watch them, the static clears, and they're a little bit more pleasureful (ph). And that was really joyful.

DETROW: LeBron James, of course, left the Cavs for a while. He took his talents to South Beach, went to the Miami Heat. You write - and I was a little surprised - that you have a really special place in your heart for, as you call them, the LeBronless (ph) years and the way that you...

ABDURRAQIB: Oh, yeah.

DETROW: ...Interacted with the team. What do you think that says? And why do you think you felt that way and feel that way about the LeBronless Cavs?

ABDURRAQIB: I - you know, I'm trying to think of a softer word than awful. But you know what? They were awful.

DETROW: (Laughter).

ABDURRAQIB: I mean they were (laughter) - but that did not stop them from playing this kind of strange level of hard, at times, because I think it hit a point, particularly in the late season, where it was clear they were giving in and tanking. But some of those guys were, like, old professionals. There's, like, an older Baron Davis on that team. You know, some of these guys, like, did not want to be embarrassed. And...

ABDURRAQIB: ...That, to me, was miraculous to watch where - because they're still professionals. They're still NBA players. And to know that these guys were playing on a team that just could not win games - they just didn't have the talent - but they individually did not want to - at least did not want to give up the appearance that they weren't fighting, there's something beautiful and romantic about that to me.

DETROW: It makes a lot of sense why you end the book around 2016 when the Cavs triumph and bring the championship to Cleveland. But when it comes to the passage of time - and I'll say I'm the exact same age as you, and we're both about the same age as LeBron. When it comes to the passage of time, how do you present-day feel about LeBron James watching the graying LeBron James who's paying so much attention to his lower back? - because I don't have anywhere near the intense relationship with him that you do. But, I mean, I remember reading that Sports Illustrated when it came out. I remember watching him in high school on ESPN, and I feel like going on this - my entire adult life journey with him. And I feel like weirdly protective of LeBron James now, right? Like, you be careful with him.

ABDURRAQIB: Yeah.

DETROW: And I'm wondering how you think about him today and what that leads your brain to, given this long, long, long relationship you have with him.

ABDURRAQIB: I find myself mostly anxious now about LeBron James, even though he is still - I think he's still playing at a high level. I mean, I - you know, I think that's not a controversial statement. But I - while he is still playing at a high level, I do - I'm like everyone else. So I'm kind of aware that it does seem like parts of him - or at least he's paying a bit more attention to the aches that just come with aging, right?

ABDURRAQIB: I have great empathy and sympathy for an athlete who's dedicated their life to a sport, who is maybe even aware that their skills are not what they once were, but still are playing because that's just what they've done. And they are...

ABDURRAQIB: ...In some cases, maybe still in pursuit of one more ring or one more legacy-building exploit that they can attach to their career before moving on to whatever is next. And so I don't know. And I don't think LeBron is at risk of a sharp and brutal decline, but I do worry a bit about him playing past his prime, only because I've never seen him be anything but miraculous on the court. And to witness that, I think, would be devastating in some ways.

And selfishly, I think it would signal some things to me personally about the limits of my own miracle making, not as a basketball player, of course, but as - you know, because a big conceit of the book is LeBron and I are similar in age, and we have - you know, around the same age and all this. And I think a deep flaw is that I've perhaps attached a part of his kind of miraculous playing beyond what people thought to my own idea about what miracle is as you age.

And so, you know, to be witness to a decline, a sharp decline would be fascinating and strange and a bit disorienting. But I hope it doesn't get there. You know, I hope - I would like to see him get one more ring. I don't know when it's going to come or how it's going to come, but I would like to see him get one more. I really would. My dream, selfishly, is that it happens again in Cleveland. He'll come back here and team up with, you know, some good young players and get one more ring for Cleveland because I think Cavs fans, you know, deserve that to the degree that anyone deserves anything in sports. That would be a great storybook ending.

DETROW: The last thing I want to ask about are these vignettes and poems that dot the book in praise of legendary Ohio aviators. Can you tell me what you were trying to do there? And then I'd love to end with you reading a few of them for me.

ABDURRAQIB: Yeah. I'm so glad you asked about that. I haven't gotten to talk about that as much, and that - those were the first things I wrote for the book. I wrote 30 of them...

DETROW: Really?

ABDURRAQIB: ...I think. And of course, they all didn't make it. But that was kind of an exercise, like a brain exercise. And I was trying to play with this idea of starting out with folks who were literally aviators. So it begins with John Glenn and Lonnie Carmen, and then working further and further away from aviation in a literal sense, much like the book is working further and further away from, say, basketball in this concrete sense - because ascension in my mind isn't just moving upward, it is expansion, too. It is, I think, any directional movement away from where your position is. And so I got to be kind of flexible with ideas of ascent and growth and moving upward.

DETROW: And the last aviator you did this for was you. And I'm hoping you can read what you wrote about yourself to end this.

ABDURRAQIB: Oh, gosh. OK, yeah. This is Hanif Abdurraqib, Columbus, Ohio, 1983 to present. (Reading) Never dies in his dreams. In his dreams, he is infinite, has wings, feathers that block the sun. And yet in the real living world, the kid has seen every apocalypse before it arrives, has been the architect of a few bad ones. Still wants to be alive most days. Been resurrected so many damn times, no one is surprised by the magic trick anymore.

DETROW: That's Hanif Abdurraqib, author of the new book "There's Always This Year: On Basketball And Ascension." Thank you so much.

ABDURRAQIB: Thank you, Scott. I really appreciate it.

(SOUNDBITE OF FLEETWOOD MAC SONG, "ALBATROSS")

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10 books to add to your reading list in April

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Critic Bethanne Patrick recommends 10 promising titles, fiction and nonfiction, to consider for your April reading list.

April’s book releases cover some difficult topics, including Salman Rushdie discussing his 2022 maiming, Leigh Bardugo’s fiction about the dark arts and Ada Limón’s poetry anthology about our fragile world. However, like April, there is also sunshine: Leif Enger’s wild Great Lakes love story, Helen Tworkov’s beautiful memoir of Buddhism and a collection of the inimitable Maggie Nelson’s essays. Happy reading, happy spring!

I Cheerfully Refuse: A Novel By Leif Enger Grove Press: 336 pages, $28 (April 2)

An unusual and meaningful surprise awaits readers of Enger’s latest, which takes place largely on Lake Superior, as a man named Rainy tries to reunite with his beloved wife, Lark. While the world around this couple, a dystopian near-future American where billionaires control everything, could not be bleaker, the author’s retelling of the myth of Orpheus (who went to the underworld to rescue his wife) contains the authentic hope of a born optimist.

The Familiar: A Novel By Leigh Bardugo Flatiron Books: 400 pages, $30 (April 9)

Bardugo departs from novels of dark academia in a standalone to make the hairs on your neck stand up, set in 16th century Spain. A hidden Sephardic Jew and scullery maid named Luzia Cotado matches wits with fellow servant Guillén Santángel. Luzia discovers a secret of Guillén’s, but she’s already fallen in love with him. And because he knows hers, too, they might both avoid the Spanish Inquisition. It’s a gorgeous tale of enchantments both supernatural and earthly.

The Sleepwalkers: A Novel By Scarlett Thomas Simon & Schuster: 304 pages, $28 (April 9)

A couple honeymoons at a Greek resort. What could go wrong? In Thomas’ hands, plenty – especially as the author has never written a comfortable story; her books, from “PopCo ” to “Oligarchy,” crackle with unreliable characters, as well as big philosophical ideas. In this case, the new marriage’s breakdown is chronicled through letters between the spouses, and sometimes bits of ephemera, that ultimately untangle a dark mystery relating to the title.

The Garden: A Novel By Clare Beams Doubleday: 304 pages, $28 (April 10)

Few novels of literary fiction are written as well as “The Garden,” let alone given its sadly relevant retro setting, a 1940s country-estate obstetrical program. Irene Willard walks through its gates having endured five miscarriages; pregnant again, she and her war-veteran husband George desperately hope for a live birth. But as Irene discovers more about the woman who controls all here, Dr. Bishop, she fears carrying to term as much as she once feared pregnancy loss.

Reboot: A Novel By Justin Taylor Pantheon: 304 pages, $28 (April 23)

David Crader, former teen TV heartthrob, just wants to reboot his career when his old show “Rev Beach” has a moment. His life has devolved through substance abuse, divorce and underemployment. But when he and colleagues launch a remake, devolution continues: The protagonist’s struggles are mirrored by climate-change issues, from flooding to wildfires. Despite that darkness, Taylor’s gift for satire might make this a must-read for 2024 beach bags.

You Are Here: Poetry in the Natural World By Ada Limón (Editor) Milkweed Editions: 176 pages, $25 (April 2)

A wondrous artist herself, Limón is currently poet laureate of the United States, and this anthology is part of her signature project, “You Are Here,” which will also feature poetry as public art in seven national parks. Released in conjunction with the Library of Congress, the collection features 50 previously unpublished poems by luminaries including Jericho Brown, Joy Harjo, Carl Phillips and Diane Seuss, each focusing on a piece of regional landscape.

Like Love: Essays and Conversations By Maggie Nelson Graywolf Press: 336 pages, $32 (April 2)

While all of the pieces in Nelson’s new book have previously been published elsewhere, they’re made fresh here both through being collected and through their chronological placement. Readers can practically watch Nelson’s incisive mind growing and changing as she speaks with colleagues such as Hilton Als and Judith Butler, or as she writes about queerness, motherhood, violence, the lyrics of Prince and the devastating loss of a friend.

Knife: Meditations After an Attempted Murder By Salman Rushdie Random House: 204 pages, $28 (April 16)

On Aug. 12, 2022, the author Salman Rushdie was speaking at upstate New York’s Chautauqua festival when a man rushed the stage and attempted to murder him. Rushdie, a target of Iranian religious leaders since 1989, was permanently injured. In this book, he shares his experience for the first time, having said that this was essential for him to write. In this way, he answers violence with art, once again reminding us all that freedom of expression must be protected.

Lotus Girl: My Life at the Crossroads of Buddhism and America By Helen Tworkov St. Martin’s Essentials: 336 pages, $29 (April 16)

Dworkov, founder of the magazine Tricycle, chronicles her move from a 1960s young-adult interest in Buddhism to travels through Asia and deep study in the United States of the different strands that follow the Buddha’s teachings. Tworkov mentions luminaries such as the artist Richard Serra, the composer Charles Mingus and the Dalai Lama, but she’s not name dropping. Instead, she’s strewing fragrant petals from her singular path to mindfulness that may help us find ours.

The Demon of Unrest: A Saga of Hubris, Heartbreak, and Heroism at the Dawn of the Civil War By Erik Larson Crown: 592 pages, $35 (April 30)

Even diehard Civil War aficionados will learn from Larson’s look at the six months between Lincoln’s 1860 election and the surrender of Union troops under Maj. Robert Anderson at Charleston’s Ft. Sumter. Larson details Anderson’s secret Christmas redeployment and explores this individual’s contradictions as a former slave owner who loyally follows Lincoln’s orders. The author also shares first-person perspective from the famous diaries of the upper-class Southerner Mary Chesnut. All together, the book provides a riveting reexamination of a nation in tumult.

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Guest Essay

The One Idea That Could Save American Democracy

By Astra Taylor and Leah Hunt-Hendrix

Ms. Taylor and Ms. Hunt-Hendrix are political organizers and the authors of the book “Solidarity: The Past, Present, and Future of a World-Changing Idea.”

These days, we often hear that democracy is on the ballot. And there’s a truth to that: Winning elections is critical, especially as liberal and progressive forces try to fend off radical right-wing movements. But the democratic crisis that our society faces will not be solved by voting alone. We need to do more than defeat Donald Trump and his allies — we need to make cultivating solidarity a national priority.

For years, solidarity’s strongest associations have been with the left and the labor movement — a term invoked at protests and on picket lines. But its roots are much deeper, and its potential implications far more profound, than we typically assume. Though we rarely speak about it as such, solidarity is a concept as fundamental to democracy as its better-known cousins: equality, freedom and justice. Solidarity is simultaneously a bond that holds society together and a force that propels it forward. After all, when people feel connected, they are more willing to work together, to share resources and to have one another’s backs. Solidarity weaves us into a larger and more resilient “we” through the precious and powerful sense that even though we are different, our lives and our fates are connected.

We have both spent years working as organizers and activists . If our experience has taught us anything, it is that a sense of connection and mutualism is rarely spontaneous. It must be nurtured and sustained. Without robust and effective organizations and institutions to cultivate and maintain solidarity, it weakens and democracy falters. We become more atomized and isolated, suspicious and susceptible to misinformation, more disengaged and cynical, and easily pitted against one another.

Democracy’s opponents know this. That’s why they invest huge amounts of energy and resources to sabotage transformative, democratic solidarity and to nurture exclusionary and reactionary forms of group identity. Enraged at a decade of social movements and the long-overdue revival of organized labor, right-wing strategists and their corporate backers have redoubled their efforts to divide and conquer the American public, inflaming group resentments in order to restore traditional social hierarchies and ensure that plutocrats maintain their hold on wealth and power. In white papers, stump speeches and podcasts, conservative ideologues have laid out their vision for capturing the state and using it as a tool to remake our country in their image.

If we do not prioritize solidarity, this dangerous and anti-democratic project will succeed. Far more than just a slogan or hashtag, solidarity can orient us toward a future worth fighting for, providing the basis of a credible and galvanizing plan for democratic renewal. Instead of the 20th-century ideal of a welfare state, we should try to imagine a solidarity state.

We urgently need a countervision of what government can and should be, and how public resources and infrastructure can be deployed to foster social connection and repair the social fabric so that democracy can have a chance not just to limp along, but to flourish. Solidarity, here, is both a goal worth reaching toward and the method of building the power to achieve it. It is both means and ends, the forging of social bonds so that we can become strong enough to shift policy together.

Historically, the question of solidarity has been raised during volatile junctures like the one we are living through. Contemporary conceptions of solidarity first took form after the democratic revolutions of the 18th century and over the course of the Industrial Revolution. As kings were deposed and the church’s role as a moral authority waned, philosophers and citizens wondered how society could cohere without a monarch or god. What could bind people in a secular, pluralistic age?

The 19th-century thinkers who began seriously contemplating and writing about the idea of solidarity often used the image of the human body, where different parts work in tandem. Most famously, the French sociologist Émile Durkheim put solidarity at the center of his inquiry, arguing that as society increased in complexity, social bonds between people would strengthen, each person playing a specialized role while connected to a larger whole. Solidarity and social cohesion, he argued, would be the natural result of increasing social and economic interdependence. But as Durkheim himself would eventually recognize, the industrial economy that he initially imagined would generate solidarity would actually serve to weaken its fragile ties, fostering what he called anomie, the corrosive hopelessness that accompanied growing inequality.

In the United States, solidarity never achieved the same intellectual cachet as in Europe. Since this nation’s founding, the concept has generally been neglected, and the practice actively suppressed and even criminalized. Attempts to forge cross-racial solidarity have met with violent suppression time and again, and labor organizing, effectively outlawed until the New Deal era, still occupies hostile legal ground. Decades of market-friendly policies, promoted by Republicans and Democrats alike, have undermined solidarity in ways both subtle and overt, from encouraging us to see ourselves as individual consumers rather than citizens to fostering individualism and competition over collectivity and cooperation.

As our profit-driven economy has made us more insecure and atomized — and more susceptible to authoritarian appeals — the far right has seized its opportunity. A furious backlash now rises to cut down the shoots of solidarity that sprung up as a result of recent movements pushing for economic, racial, environmental and gender justice. In response, programs that encourage diversity and inclusion are being targeted by billionaire investors, while small acts of solidarity — like helping someone get an abortion or bailing protesters out of jail — have been criminalized.

Awaiting the return of Mr. Trump, the Heritage Foundation has mapped out a plan to remake government and society, using the full power of the state to roll back what it calls “the Great Awokening” and restore a Judeo-Christian, capitalist “culture of life” and “blessedness.” “Woke” has been turned into a pejorative so that the word can be wielded to tarnish and break the solidarity that people have only just begun to experience.

Our vision of a solidarity state offers a pointed rejoinder to this project. Social democrats and socialists have been right to emphasize the need for redistribution and robust public investment in goods and services. We must restructure our economy so that it works for the many and not the few. But unlike conservatives — think, for example, of Margaret Thatcher, the prime minister of Britain who in 1981 said, “Economics are the method; the object is to change the heart and soul” — liberals and leftists have tended to downplay the role of policy in shaping public sensibilities. This is a mistake.

Laws and social programs not only shape material outcomes; they also shape us, informing public perceptions and preferences, and generating what scholars call policy feedback loops. There is no neutral state to aspire to. Policies can either foster solidarity and help repair the divides that separate us or deepen the fissures.

Today, the American welfare state too often does the latter. As sociologists including Suzanne Mettler and Matthew Desmond have detailed, lower-income people tend to be stigmatized for needing assistance, while more-affluent citizens reap a range of benefits that are comparatively invisible, mainly through tax credits and tax breaks. Both arrangements — the highly visible and stigmatized aid to the poor and the more invisible and socially acceptable aid to the affluent — serve to foster resentment and obscure how we are all dependent on the state in various ways.

Instead of treating citizens as passive and isolated recipients of services delivered from on high, a solidarity state would experiment with creative ways of fostering connection and participation at every opportunity for more Americans. What if we had basic guarantees that were universal rather than means-tested programs that distinguish between the deserving and undeserving, stigmatizing some and setting groups apart? What if, following the model of a widely admired program in Canada, the government aided groups of private citizens who want to sponsor and subsidize migrants and refugees? What if public schools, post offices, transit systems, parks, public utilities and jobs programs were explicitly designed to facilitate social connection and solidarity in addition to providing essential support and services?

We’ll get there only if we take up the challenge of building solidarity from wherever we happen to sit. Both means and end, solidarity can be a source of power, built through the day-to-day work of organizing, and our shared purpose. Solidarity is the essential and too often missing ingredient of today’s most important political project: not just saving democracy but creating an egalitarian, multiracial society that can guarantee each of us a dignified life.

Astra Taylor and Leah Hunt-Hendrix are political organizers and the authors of the book “Solidarity: The Past, Present, and Future of a World-Changing Idea.”

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