I tried to convey all of this in my reconstruction of Caliban by forming the shape of his body out of different images and words that were either symbolic of his own insecurities or had heavy influence on him. Prospero’s influence and Caliban’s contention with him is prevalent, with frequent appearances of the symbols of Prospero’s power, including thunderstorms, foreign objects, snippets of large kingdoms and palaces from Prospero’s past, and words like “play,” “order,” “royal,” and “magic.” A less tumultuous side of Caliban can be seen as well: his love for the island, its sounds, and his desire to “dream again” (3.2.143) are all expressed both visually and through his words. The turmoil within Caliban’s head is quite literal, and with a combination of the aforementioned influences, Caliban’s capacity for both hatred and love is demonstrated. His head in particular is filled with various words and phrases to emphasize the importance of his language, for better or for worse. When you observe the figure as a whole, you can see that Caliban’s outline has many jagged edges and that his body appears largely disfigured, the pieces being uneven and mismatched. This is symbolic of Caliban’s struggle with his own identity as he attempts to separate within himself what is truly his and what is not. Outwardly, the figure is supposed to look rather monstrous, as that is how the majority of the characters in The Tempest see Caliban. Throughout the play, however, Shakespeare shows us that Caliban is not a just a monster, but a multifaceted character who is still able to convey love and find beauty in things. The juxtaposition of the two views ties back to Ferdinand’s quote because the figure is literally constructed of as many different pieces as is Caliban figuratively.
I believe this representation of Caliban conveys the same sort of depth that Shakespeare intended for the character and that it allows us, as the audience, to also view Caliban from multiple perspectives. At the same time, this representation does not take into account Caliban's development throughout the play and may neglect the dynamic nature of his growth, especially since it is hard to say whether Prospero's influence on Caliban at the end of the play wanes or is amplified.