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In general, The Tempest does not leave much room for the indigenous inhabitants. It is very much a 'new world' in the sense of a place where nothing is known about the inhabitants, where the coloniser is free to rule and where the old gods cannot show their splendour any more. With Prospero, however, everything has a 'new' beginning. As Ariel is a'sprite', it is stated that he/she was created by her/himself/themselves and therefore that the living is the 'natural' power, which the (hitherto) not-yet-existing Ariel belongs to. In this sense he/she/they has been created for Prospero, and he/she/they is therefore 'free' from the old gods. It is quite obvious that Ariel is supposed to represent nature and therefore is initially seen to be not under the authority of the indigenous inhabitants. Prospero's discourse of reason and art are, however, soon taken over by Ariel and the natives are subordinated to the superiority of 'white' magic. Ariel sings just like the devil-worshipping natives, but Prospero can do the same as he/she/they had once done. The 'new-world' is a place where the inhabitants know nothing about the ruler and where the ruler is free to do what he/she/they wants. The 'new world' is presented as a place of free will and of absolute power (Prospero).
1. An obvious one is that both spheres are idealised. The New World is presented as a paradise and the colonial world as a utopia (see also the following). In all the four sonnets, the world is idealised. The New World is presented as a utopian world, where the inhabitants are free of the evils of the world and are happy and peaceful: 'But, O, for a muse of fire, That could ascend the brightest heaven, A kingdom for a stage, princes to act / And monarchs to behold their glory, deeds to think, / That men should question what they fear to know' (Sonnet 79).
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