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ANTONIO
Let's all sink wi' th' king.
SEBASTIAN
Let's take leave of him.

As soon as things turn out of his favour, Sebastian shows he has no loyalty to his brother or his king.

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PROSPERO
O'erprized all popular rate, in my false brother
Awaked an evil nature, and my trust,
Like a good parent, did beget of him
A falsehood in its contrary as great
As my trust was, which had indeed no limit,
A confidence sans bound.

Prospero talks about how he put all his trust into his brother who later deceived and betrayed him because of his thirst of power.

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PROSPERO
By foul play, as thou sayst, were we heaved thence.

Prospero tells Miranda of his brother's betrayal that has led them to live on the island.

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CALIBAN
I say by sorcery he got this isle;
From me he got it.

According to Caliban,  Prospero seems to have won the isle from him through betrayal.

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One of the main and most important themes in the entire play would be the theme of Revenge.

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Every action committed by Prospero is deeply influenced by his desire of revenge. The Tempest itself was conjured by Prospero to bring the people on that ship to his island so he could teach them a lesson.

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CALIBAN
These be fine things, and if they be not sprites. That’s a brave god and bears celestial liquor. I will kneel to him

Caliban’s burning desire for revenge is shown by his desperation to align himself with the first humans that he meets.

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CALIBAN
If thy greatness will
Revenge it on him.

This is where Caliban starts his revenge scheme against Prospero.

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Prospero forgives Alonso, Antonio and Sebastian of their rebellion against him and taking his Dukedom.

Caliban asking for forgiveness and reconciliation, from Prospero, for thinking he could and wanting to overthrow him.

Finally Prospero asks for reconciliation from the audience which will allow him to be free.

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PROSPERO
Yet, with my nobler reason, 'gainst my fury do I take part. The rarer action is in virtue, than in vengeance.

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CALIBAN
I'll be wise hereafter, and seek for grace. What a thrice-double ass was I to take this drunkard for a god.

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The play begins with Prospero's magic (the tempest), and ends with Prospero's magic (his command that Ariel send the ship safely back to Italy). In between, the audience watches as Prospero uses visual and aural illusions to manipulate his enemies and expose their true selves.

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The play is full of examples of power taken by force, and in each case these actions lead to political instability and further attempts to gain power through violence. Antonio and Alonso's overthrow of Prospero leads to Antonio and Sebastian's plot to overthrow Alonso, just as Prospero's overthrow and enslavement of Caliban leads Caliban to seek revenge. Ultimately, it is only when Prospero breaks the cycle of violence by refusing to take revenge on Alonso, Antonio, Sebastian, or Caliban that the political tensions in the play are calmed and reconciled.

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From the opening scene of The Tempest during the storm, when the ruling courtiers on the ship must take orders from their subjects, the sailors and the boatswain.

Caliban speaks in verses. Shakespeare usually made his characters who were high in social class speak this way however, Caliban is portrayed as a slave to Prospero.

Many critics see Prospero's magical powers as a metaphor for a playwright's literary techniques. Just as Prospero uses magic to create illusions, control situations, and resolve conflicts, the playwright does the same using words. Throughout the play, Prospero often lurks in the shadows behind a scene, like a director monitoring the action as it unfolds. Prospero refers to his magic as "art." In Act 4 scene 1, Prospero literally steps into the role of playwright when he puts on a masque for Miranda and Ferdinand. In fact, many critics take an additional step, and argue that Prospero should actually be seen as a stand-in for Shakespeare himself. The Tempest was one of the last plays Shakespeare wrote before he retired from the theatre, and many critics interpret the play's epilogue, in which Prospero asks the audience for applause that will set him free, as Shakespeare's farewell to theatre.

These examples portrays the fact that power hierarchy doesn't make a difference in this play.