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William Shakespeare, in his play The Tempest, utilizes social arrangement, with particular reference 17th century gender stereotypes to explain the essence of the major character, Prospero. Prospero is master of the three other principal characters, with whom he shares quite different relationships. Miranda, his daughter, represents the stereotypical "submissive female" of Elizabethan times who didn't resist; she accedes to everything Prospero states. As a result, Prospero exerts a sort of passive controller in relation to Miranda, readily exercising power . Caliban, on the other hand, represents the entire opposite of Miranda, fitting an unbridled male role that represents deviation from power. Because of Caliban's digression, Prospero commands him with sheer anger and contempt, an aggressive kind of control. Fitting between the roles of Caliban and Miranda is Ariel, Prospero's servant. Ariel, a spirit who is never assigned a gender, represents the middle ground between male and female and is thus treated by Prospero with a combination of aggressiveness and passiveness. This assertive control results in a paternalistic relationship between Prospero and Ariel. Despite these differing relationships, Prospero utilizes each and every character to reach his final goal: the advancement of his political position in Milan. There's one common aspect to all of Prospero's relationships in the play: he exploits every character, despite his attempts to hide this fact. By way of example, Prospero utilizes Caliban as a slave, making him cut wood: "Hag-seed, hence! Fetch us in fuel, and be quick, thou'rt best, to answer other business - shurug'st thou, malice? If thou neglect'st, or dost unwillingly what I command, I'll rack thee with old cramps, fill all.