Mark Quartley (left) as Ariel in the Royal Shakespeare Company's 2016 production of The Tempest
Mark Quartley (left) as Ariel in the Royal Shakespeare Company's 2016 production of The Tempest
As Prospero's servant and magical in his own right, the spirit Ariel is responsible for the magic that keeps the plot going. Ariel creates thunderstorms, appears as spirits and harpies, and is constantly interacting with the shipwrecked passengers. Does Ariel's magic and mystery go beneath the skin? Or is purely just an extension of Prospero's wishes?
It is important to note that the physical description of Ariel in The Tempest is one filled with ambiguity and fluidity. The shape, form, and gender have all become artistic interpretation and "this character has been performed in many different ways, including with several actors playing him at the same time" (Characters - Ariel). Additionally, the character of Ariel has been played by both male and female actors but Ariel is gendered twice with masculine pronouns (he/him/his):
"All hail, great master! Grave sir, hail! I come
[...] to thy strong bidding task
Ariel and all his quality" (I.II.224-228)
It is because of this self-reference made by Ariel and a stage direction that uses "his" that Ariel is often seen, cast, and thought of as male.
Priscilla Horton as Ariel, 1838. The part was played by women from the mid-1600s to about 1930. From that time, both men and women played the role.
In The Tempest, Ariel is shown as being very obedient to his master, Prospero, due to Prospero freeing Ariel from an eternity's time spent in a tree. We as the audience see Ariel carrying out all the tasks set for him by Prospero, including creating the storm that shipwrecks the group of men from Naples, tricking them into thinking that members of the group died, and leading them to Prospero.
In addition to being obedient, Ariel is trusting - almost too trusting. This trusting leads into Ariel's obedience: "one of the reasons Ariel is obedient is because Prospero has promised to set him free. Ariel works hard and without complaint hoping that Prospero will stick to his vow" (Characters - Ariel). But this trust is often abused by Prospero as he becomes angry at Ariel when ever he reminds him and questions about his freedom, which is only supposed to be a year of servitude.
Ariel is also William Shakespeare's most musical character. "Not only does he have four full songs in the play, he also plays instruments and is able to summon up music at will. He is accompanied by music on his entrances and exits" (Ariel, the Tempest).
hobnob theatre co performance of The Tempest
Ariel's songs from Act 1 Scene 2:
"Come unto these yellow sands" and "Full fathom five"
Ariel captured in the tree - Simon Russell Beale (right) as Prospero in the Royal Shakespeare Company's 2016 production of The Tempest
Ben Whishaw as Ariel in the form of a Harpy in 2010 movie production of The Tempest
Ariel is not a human being. Simply put: Ariel is an airy spirit. As a spirit, he possess great power and as Ariel explains in his first lines of he play, "not only does he have an impressive range of abilities, but he also commands a host of lesser spirits" (SparkNotes Editors). Ariel's powers include flying, making himself invisible, controlling the movements of people, and influencing the weather.
As a native of the island, he knew Sycorax and Caliban, the previous inhabitants of the island, before the arrival of Prospero and Miranda. Sycorax, an evil witch and Caliban's mother, wanted Ariel "to perform unpleasant tasks and imprisoned him in a tree when he refused" (Jamieson). Ariel's imprisonment was meant to last forever and with Sycorax's death, this timestamp looked final, but then Prospero encountered Ariel soon after landing on the island. "He found Ariel trapped in a cloven pine tree and freed the spirit from his prison. In return, Ariel promised to serve Prospero faithfully for a year, after which time Prospero would give Ariel back his freedom" (SparkNotes Editors). An important note in the time of Ariel's servitude for Prospero is that it is not exactly clear how long Ariel has been in service. As readers, we know that Prospero and Miranda have been on the island for 12 years, "so Ariel might have been in his service for many more years than their agreement required. Then again, possibly Prospero freed Ariel from the tree only a year prior to the events of the play" (SparkNotes Editors).
Ferdinand Lured by Ariel (1850) by John Everett Millais
In The Tempest, Ariel has two main relationships: he is friends with Prospero and enemies with Sycorax.
Ariel's relationship with Prospero is one in which is a result of his service to the older man. Prospero, Ariel's master, thinks very highly of the spirit and is sad to part with him at the end of the play. Ariel is able to see the good in people, this comes from the amount of time he has spent with humans, and he is able to influence Prospero's response to his traitorous brother and friends. Ariel's relationship with Prospero allows for him to suggest that the men "seem so frightened that Prospero would soften if he could see them. Ariel leads Prospero to a position of empathy for the other men" (Characters - Ariel).
"ARIEL
That is you now beheld them, your affections
Would become tender.
PROSPERO
Dost thou think so, spirit?
ARIEL
Mine would, sir, were I human" (V.I.23-26)
Ariel's relationship with Prospero is an interesting one as "Ariel's willing obedience of Prospero's wishes stands in stark contrast to Caliban's cursing and plotting against the same master" (Character Analysis Ariel).
Meanwhile, Ariel's relationship with Sycorax is one fraught with terrible actions and memories. Sycorax is an evil witch and although she "does not appear in the play, we know that she imprisoned Ariel in a tree" (Characters - Ariel). This imprisonment still haunts Ariel during the actions of the play as he becomes anxious and upset at Prospero's mentionings of placing him back into the tree.
Ben Whishaw as Ariel in 2010 movie production of The Tempest
Upon my research of the different types of characters, I have determined that Ariel is categorized as a Confidant and Deuteragonist.
According to MasterClass, a confidant is a character that "is the best friend or sidekick of the protagonist, [...] Often the protagonist's goal flows through the confidant" (MasterClass Staff). This description easily matches Ariel's character as he is the main servant of Prospero, who is considered the main protagonist of The Tempest, and helps him achieve his goals and plans by using his powers and following Prospero's orders.
A Deuteragonist is often a character that is considered second to the main protagonist, making them the second most important character. This character often acts as a companion to the protagonist or someone that actively aids the protagonist. When looking at the events of The Tempest, it is very important to note and admit that without Ariel, or rather his magic, much, if not all, of the plot would not have occurred. For instance, in the beginning of the play, the Neapolitan ship becomes caught in a storm that wrecks them onto the island for Prospero's plan of revenge - without Ariel this would not have happened. Although Prospero holds control over Ariel, it is Ariel who holds the greater power in the island. Ariel leads the shipwrecked men to Prospero using transformation, songs, and invisible whisperings. Needless to say, Prospero may be the protagonist, but his goals would not have been achieved and the plot would not have moved forward without Ariel.
Ariel's major role in the play is in keeping the plot moving. In The Tempest, "Ariel creates the storm at the start of the play and is also entrusted to make sure the weather stays calm for the ship’s return journey. He plays music that sends some characters to sleep, makes some follow him and wakes others up" (Characters - Ariel). Ariel's magic allows for him to perform these tricks and he is constantly on-and-off the stage as he appears and disappears quite often.
Ariel is part of most of The Tempest's scenes and influences characters like Prospero and the shipwrecked men. In Act 2, for example, Ariel appears "to intervene in a conspiracy to kill Alonso, the King of Naples, by his brother, Sebastian. Ariel wakes the sleeping king, thus foiling the plot to kill him in his sleep. Again, in Act 3, he foils Caliban’s plot to murder Prospero. He then appears to the royal party in a clap of thunder and rebukes Prospero’s wrongdoers. Towards the end of the play he gathers the island’s spirits to attend the wedding of Ferdinand and Miranda" (Ariel, the Tempest).
Without Ariel, the plot and play would stall and the plot would simply not exist.
Ariel's major conflict in The Tempest is that of wanting his freedom from Prospero. "Simply put, Ariel is an airy spirit attendant to Prospero. He is quite a feisty character and often asks Prospero to grant him his freedom, although he is lambasted for doing so" (Characters - Ariel). Ariel wants nothing more than his freedom, spending 12 years in a tree will do that to someone, and "Prospero has promised to set him free. Ariel works hard and without complaint hoping that Prospero will stick to his vow" (Characters - Ariel). In fact, this conflict that Ariel holds on Prospero pushes him to appeal to Prospero's emotions and "convinces Prospero to stop using magic and reconcile with his enemies. Ariel effectively manipulates Prospero by appealing to his humanity, and in doing so he ushers himself closer to freedom" (SparkNotes Editors).
Overall, Ariel's change throughout the poem comes in his relationship with Prospero.
In the beginning of The Tempest, Ariel is a servant to Prospero and does what the man wishes, whether it be creating a storm to shipwreck the old enemies and friends of his master, tricking the men into thinking others are dead, etc. But near the end of the play, there is a turn in Ariel's relationship and attitude with Prospero. This turn comes in Act 5 as "Ariel attempts to convince Prospero that his conjuring tricks have had the desired effect on his enemies. Ariel appears to take pity on the castaways, and he even tells Prospero that his own affections would be tender “were [he] human.” [...] In this sense, Ariel’s words seek to manipulate Prospero in the interest of securing his own freedom" (SparkNotes Editors). This advice to his master adds an extra layer to their relationship and seems to bring them closer as soon after Prospero, being satisfied with Ariel's obedience and wonderful work, praises him and finally sets him free. This represents Ariel's biggest change in The Tempest: becoming free and no longer being Prospero's slave.
Ariel (1800-1810) painted by Fuseli
Ariel's first lines
“Ariel, the Tempest.” No Sweat Shakespeare, 14 Sept. 2020, nosweatshakespeare.com/characters/ariel-tempest/.
“Character Analysis Ariel.” CliffNotes, www.cliffsnotes.com/literature/t/the-tempest/character-analysis/ariel.
“Characters - Ariel.” BBC News, BBC, www.bbc.co.uk/bitesize/guides/zcgqtfr/revision/5.
Jamieson, Lee. “Who Was Ariel in Shakespeare's ‘the Tempest?".” ThoughtCo, ThoughtCo, 27 Aug. 2020, www.thoughtco.com/ariel-in-the-tempest-2985274.
MasterClass Staff. “Writing 101: All the Different Types of Characters in Literature - 2021.” MasterClass, 2 Sept. 2021, www.masterclass.com/articles/guide-to-all-the-types-of-characters-in-literature#5-character-types-that-appear-in-fiction.
SparkNotes Editors. “Characters: Ariel.” Sparknotes, SparkNotes, www.sparknotes.com/shakespeare/tempest/character/ariel/.