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"Come on, obey"

Prospero challenges masculinity by speaking to him as and associating him with children.

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"Thou strok'st me, teach me how to name the bigger light"

A sense of affection, however it also manipulative and suggests a derogatory tone towards Caliban insinuating that Caliban is subhuman as we usually associate "stroking" with animals, especially domesticated animals, not humans.

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The Struggle for Power in Shakespeare’s The Tempest 

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The Struggle for Power in Shakespeare’s The Tempest 

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While reduced in political power, he now rules through magic. Prospero’s control extends to those on the island, Ariel and Caliban- Firdaus

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Critical Reading for Power - RSI

"Instead of rhapsodizing the European rape of the island, then the text provides as counter-metaphor another rape"

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“allay them […] O, I have suffer’d/ with those that I saw suffer”

“O dear father make not too rash a trial for him”

“Your tale sure would cure deafness”

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“Thou strok’st me, teach me how to name the bigger light”

“Thy false uncle”

“the ivy which had hid my princely trunk,/and suck’d my verdure out on’t”

“What foul play had we that we came from thence?”

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“Thou shalt be as free/ as mountain winds; but then exactly do/all points of my command.”
“It was mine art”
“Full fathom five thy father lies,/Of his bones are coral made;”
“Sweet air about this isle”
“foul witch Sycorax”

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“Thou shalt be as free/ as mountain winds; but then exactly do/all points of my command.”

“Deservedly confin’d into this rock,/who hadst deserv’d more than a prison.”

“[Aside] I must obey.”

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“It was mine art”

“Full fathom five thy father lies,/Of his bones are coral made;”

“Sweet air about this isle”

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“Thou shalt be as free/ as mountain winds; but then exactly do/all points of my command.”

“Deservedly confin’d into this rock,/who hadst deserv’d more than a prison.”

“[Aside] I must obey.”

“It was mine art”

“Come on, obey”

“what cares these roarers for the/name of king”

“when thou cam’st first/thou strok’st me and made much of me;”

“a tempestuous noise of thunder and lightning heard”

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“The context of exhibition that Trinculo quotes serves to frame the new and bring it under his dominion. […] Alive or dead, Caliban fulfils the role of spectacular other and, throughout the comic process of recognition by which Stephano and Trinculo discover him, occupies an abject position. His monstrosity corresponds quite neatly to the European’s expectations.p.47-48Fuchs, Barbara (1997) ‘Conquering Islands: Contextualizing The Tempest’ Shakespeare Quarterly, 48:1 pp.45-62