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Prospero and Ariel in The Tempest by William Shakespeare Throughout the years as The Tempest was first published in the 1623 Folio, there's been much disagreement among Shakespeare's contemporaries and critics regarding the importance of the figure of Prospero and other major characters featured at job. Within this paper, I want to inspect the figure of Prospero and his connection with the character Ariel. By doing this, I want to show how Prospero is a guess for the artist, the way Ariel is a figure for the poetic imagination, and the way the relationship between Prospero and Ariel investigates the connection between the artist and her or his poetic imagination. By demonstrating this, I want to argue that Shakespeare's aim in portraying Prospero and Ariel in this relationship would be to comment on the worth of their Humanist Renaissance in England as well as the role and responsibility of the poet in expressing those values. From The Tempest, Prospero is a magician who can carry out a variety of enchantments and charms throughout the use of his books, his staff, and his spirits of character he's able to control, the most essential spirit being Ariel, for his novels. Through the play, Prospero controls the majority of the events and drama which happen to another characters wandering in his island. Prospero continually calls this his "artwork". He uses said artwork to create and control events and people to perform or happen the way he wants them to occur. In the next lines, Prospero expresses this idea: "Spirits, which by mine art / that I have from their confines called to reevaluate / My present fancies" (4.1.21-22). In the special scene that the traces are taken out of, Prospero's "fancies" demand the masque he has put on for Miran...