whence the sailors landed Sycorax, as to suit the
requirements. Elze further urges the name of a town on the opposite
African coast, Calibia, as suggesting Caliban's name. For an argument
that the island is vaguely placed in the Mediterranean to suit the Old
World plot and yet by many details made suggestive of the New World,
see Introduction to 'The Tempest' in First Folio Edition.)

5. The influence of the New World on the writing of 'The Tempest,' and
all allusions traceable to it. (See Notes of same edition for extracts
from pamphlets on America, etc.)

QUERIES FOR DISCUSSION

What constitutes the interest in 'The Tempest,'--character, dramatic
situations, movements, plot, poetry, or moral purpose?

VI

CHARACTER STUDIES

I. PROSPERO AND HIS SERVANTS

With the first word Shakespeare introduces Prospero as one who can
raise and calm such a tempest as scene i describes, and the magician
admits the power Miranda ascribes to him. Show from the story what his
plans and motives were likely to prove. Would a sense of his own
former neglect of duty be likely to embitter him against his brother
or make him excuse him? Does he show signs of either? Prospero's
magic, his garment, books, staff. How far is his magic in accord with
the popular notions of such art? (See 'Prospero and Magic,' _Poet
Lore_, Vol. III, p. 144, March, 1891.)

Show Ariel's qualities. What caused his first impatience? Is Prospero
unnecessarily harsh and imperious with him? Aside from the popular
supposition that spirits or familiars obeying magicians were always
reluctant to serve longer than one hour (and, therefore, says Scot's
'Discovery of Witchcraft,' 'the magician must be careful to dismiss
him'), how can you explain this quarrel,--as a dramatic expedient
giving occasion for telling Ariel's story, or revealing the characters
of both Prospero and Ariel? Note, also, its further use in introducing
Prospero's second servant, Caliban, and his story. How do you explain
Ariel's irrelevant rejoinder: 'Yes, Caliban, her son'; and Prospero's
angry, 'Dull thing, I say so,' etc.? Do you think Moulton right in
supposing that Prospero governs 'this incarnation of caprice by
outcapricing him'; Rolfe, in supposing that Prospero is irritable
because under the strain and suspense of conducting affairs within
three hours perfectly, and upon which accuracy hangs his future and
the happiness of his daughter? This was also his only chance of
retrieving his