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The Tempest is remarkable for its extraordinary breadth of imaginative vision. The world of the play is based on magic and illusion. It contains tremendous amount spectacle, but things are not often as they seem, therefore there is a certain amount of broken communication. Most of this broken communication is shown through Prospero and Miranda. Miranda doesn't take notice of what her father tries to explain to her. This emphasizes the distance between father and daughter. We notice that her relationship is tender, yet also surprisingly one-sided. Prospero charms her to sleep, so that he can set about a plan to get her a husband although he hasn't discussed this with her. The only thing Prospero can do with his powers is to bring a man to her; he can't manipulate their feelings for each other. When she first meets Ferdinand, the prince makes perfectly clear who he is, yet Miranda not only shows no sign of connecting him with the story she has just heard, but also seems genuinely confused by her father's unfriendliness.
The play is divided into small separate plots containing different types of groups. Prospero is the only human character that may posses knowledge of all these groups spread out on the island and power over them, but they themselves are ignorant of one another's existence for most of the play. This occurs between Alonso and his son Ferdinand, who have no knowledge of one another's existence, and Miranda, who doesn't know that there are other men on the island. Also Trinculo and Stephano didn't know about each other's existence on the island.
Even within these groups of characters, the communication is imperfect. The relationship is not based upon meetings and dialogue as in most plays. The characters in the play seem equally confusing. They are given no lines to speak at all, or various words in conflicting interpretations, which precisely in this moment exceed some sort of explanation. Examples of these incommunicado moments are Prospero's words throughout the play, which reflect a variety of emotions irritation, compassion, amusement, bitterness, regret. These feelings are transmitted powerfully by Shakespeare's use of verse for Prospero. I suggest that Prospero's verses are aimed for the higher class, who speak in a more sophisticated way and can relate to what Prospero is saying. However, the causes of these verses, at a number of important moments, remain hidden and unexplained. This distance received from the main character, forms many of the problems that arise in the play.
More groups that show incommunicado moments are Prospero and Miranda, from the first scene onwards, who seem to talk between a gap. With Ferdinand, Miranda achieves an intense break down in communication as well.
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Antonio and Sebastian have some initial misunderstandings, "Do you understand me?", though these disappear quickly. They gained a communion of evil, with entire understanding, which is set as a contrary to the communion of innocence and trust between Ferdinand and Miranda.
The difficulty which people experience in understanding each other, partly arises from the abnormality of their mental condition. Which is seen firstly with Ferdinand, who is confused and traumatised. He enters the play locked up in a lonely, intensely personal world of grief. His mind has been affected even before he makes his first appearance, in abstruse ways, by the power of Ariel's music. His first impression of Miranda is that of a goddess, and he thinks he's in a dream, as he says, " As in dream, are all bound up".
Secondly, the triumvirate group of Caliban & co are artificially misunderstanding each other because of the high percentage of alcohol in their blood. We notice their communication problem from the first moment of their meeting; in act II, scene , were Caliban is frustrated with Prospero's behaviour towards him. Caliban notices Trinculo and mistakes him for one of Prospero's spirits, which is rather odd, considering he should know the difference between Prospero's spirits and real humans. Anyhow, Caliban thinks this spirit has come "to torment" him, so he hides and pretends he's a rock. This shows a great deal of misinterpretation. The second happening is when Trinculo explores Caliban, "A man or a fish? Dead or alive?", he is unable to recognize the difference between a man and a fish. Stephano is the only one who enters in a state of inebriation; therefore his misunderstanding of the situation is acceptable. He convinces Caliban to drink, converting him into a less comprehensible person, who will start to adore Stephano by misinterpreting his words, which he later on will notice as he sobers up.
I agree with the opinion that most of the misunderstandings spring from the interventions of an invisible Ariel, who stirs up the confusion. This is clearly shown in act II, scene where Caliban is telling Stephano to fulfil their plan on killing Prospero. Caliban tells how he's a "subject to a tyrant, a sorcerer, that by his cunning hath cheated" him of the island, when Ariel intervenes and says, "Thou liest". Caliban thinks Trinculo is accusing him, and so an 'argument' arises between them. Caliban keeps on saying bad comments about Prospero and of how to kill him, but Ariel intervenes again and Caliban goes back to Trinculo, this repeats itself continuously.
At the end of The Tempest, all the characters meet for the first time, and communication should be functioning, but strangely enough it is not. They don't really communicate with each other at all, and Prospero, who has ordered these revelations and discoveries, is still essentially alone. This stresses the lack of relationship between the characters.
Even for the reader there is some sort of broken interpretation, because there are many opposed ways of seeing a given event or moment in time. Therefore we know that the play is written in a very open way, and much of its quality hangs upon riddles, which cannot be resolved. Shakespeare has submerged facts about characters and situations, which he seems to have worked out in his own way, but decided not to explain in the play itself.
The whole play can be looked at as one gigantic metaphor, not giving a clear explanation of what, how and why.
The comedy is also unusually short by the Elizabethan standards, yet it gives the impression of being much bigger than it actually is when it comes to mentioning the time elapsed. Too much is happening in the course of three hours, therefore I think the only way of explaining it, is for me to suggest that the story of The Tempest is a dream. Considering it contains all aspects of a dream-like scene; spirits, magic, irrational speed, misunderstandings and mystical atmosphere. The Tempest by William Shakespeare (Penguin)
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