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Forcible deprivation and eventual restitution of Prospero's dukedom constitute the principal development of this play. In a way germane to this framework the seizure of supreme power which initiates the action is conspicuously present in the text with remarkable variations. For the sake of propositional convenience we will treat, in the next article, the main strand, that is, the Milanese political upheaval resulting in the protagonist's exile. Regal usurpation targeted at King of Naples, significant for its specular functioning in association with the said coup d'état, deserves scrutiny with a glimpse at its hitherto disregarded aspect of gratuitousness. Investigation of the mutinous plot intended against Prospero by the clownish figures, Caliban, Stephano and Trinculo reveals its basic property of the thematic replication in a burlesque form. In the sequence typical of a low comedy, we may be given to understand that alternative kingship has been set up opposed to Prospero's authoritarian regime; detesting the latter, Caliban transfers his allegiance as subject to Stephano, reverently calling him his king. Finally, together with his accomplices Stephano will be manipulated, by Purospero, to enact a deed of stealing and putting on his magnificent royal clothes. As elsewhere, the deed partakes of symbolic dimension. Playfully, Prospero makes Prince Ferdinand appear as usurper of his father's crown when the noble youth makes advances to Miranda introducing himself as king of his native country since he was convinced of the bereavement in the maritime tempest. The incident is accompanied by Prospero's accusing him of his intention to take away the island's lordship. Gonzalo may be taken to be guilty of the identical act in his rhapsodic tirade on the imaginary kingdom which he insists he will establish on the island as its ruler. Indeed, during his speech, his kingship is mockingly celebrated by one of the courtiers present; "'Save his Majesty!" Our subject seems to be involved even in the tempest at the very beginning of the play. The royal ship is absolutely at the mercy of the furious natural commotion, which is of Prospero's making. Thus Prospero can be said to lord it over in the scene, abrogating the regal power of his enemy, King Alonso.