INTRODUCTION The Tempest is generally a love story and often interpreted as Shakespeare's dramatic art. It contained one of Shakespeare's most original works. The critical argument about "The Tempest" has been around for centuries. It is he who embodies the debate on colonialism, the clash of cultures and the humanity of the heroes of the work: Prospero, Miranda, Ferdinand and others. No source for the central plot has been definitively identified. The Tempest is set in an unidentified era on an unnamed island, which some critics have suggested evokes themes of European colonialism in the New World. The plot centers on the wizard Prospero, the exiled Duke of Milan, who has been unjustly deposed and left adrift in the ocean with his daughter Miranda. After arriving on the island he uses magic to free the fairy Ariel and enslave her. Prospero then punishes his usurpers, his brother Antonio and King Alonso of Naples, by luring them to the island and destroying their ship in a magical storm. Having accomplished his revenge, Prospero closes the play with a gesture of reconciliation by announcing the union of his daughter and Alonso's son, Prince Ferdinand. In the final scene, Prospero confronts his brother, who rules in his place, and demands his dukedom back. He leaves the island under Caliban's control, abandons his magical powers and returns triumphant to Milan. The character of Prospero, who some critics believe represents Shakespeare himself. Analyzes of The Tempest's main characters have often sought to understand the interpersonal dynamics of the relationships between Prospero, his servants, and his daughter. Sharon Hamilton focuses on the relationship between Prospero and Miranda and sees the play, in a large piece of paper, in her life: Stephano and his bottle of liquor. Soon Caliban begs to show Stephano the island and even asks him to lick his shoe. Critical approaches to The Tempest from the second half of the 20th century, including those that emphasize a conflict between nature and art. Footnotes: Contemplative attitude, pastoral tradition, multidimensional text, benevolent magician, possibly evocative, servile, overcoming threats. References: The great storm in Act 1, Scene 1: The storms in King Lear, Craig, Hardin. “Magic in the Storm”, Philological Quarterly, 47, Berger, Karol. "The Art of Prospero", Shakespeare Studies, vol. X. New York: Burt Franklin, 1977. Aberdeen, Eckhart (1991). “The Storm and the Concerns of the Restoration Court: A Study of the Enchanted Island and the Operatic Storm.” Restoration: Studies in English Literary Culture, 1660–1700