Journeys Through Bookland Volume Viii Part 56

When she first sees Ferdinand, she asks:

"What is't? A spirit?

Lord, how it looks about! Believe me, sir, It carries a brave form. But 'tis a spirit."

Again:

"I do not know One of my s.e.x; no woman's face remember, Save, from my gla.s.s, mine own; nor have I seen More that I may call men, than you, good friend."

And finally:

"How beauteous mankind is! O brave new world, That has such people in't."

She says of Caliban:

"'Tis a villain, sir, I do not love to look on."

(f) She is grateful.

When she is told of Gonzalo's services to her and her father, she exclaims:

"Would I might But ever see that man!"

(g) She is a loving, faithful woman:

While Ferdinand is at work she pleads:

"Alas, now, pray you, Work not so hard,---- Pray, set it down, and rest you: when this burns, 'Twill weep for having wearied you."

Again:

"If you'll sit down, I'll bear your logs the while."

Later Ferdinand asks, "Wherefore weep you?" Miranda answers:

"At mine unworthiness,---- ----Hence, bashful cunning!

And prompt me, plain and holy innocence!

I am your wife, if you will marry me; If not, I'll die your maid: to be your fellow You may deny me; but I'll be your servant, Whether you will or no."

(h) Lover and father both bestow unqualified praise upon her. Ferdinand says:

"Admired Miranda!

Indeed the top of admiration; worth What's dearest to the world!---- ----but you, O you, So perfect and so peerless, are created Of every creature's best!"

Her father says:

"O Ferdinand, Do not smile at me that I boast her off, For thou shalt find she will outstrip all praise, And make it halt behind her."

3. _Ferdinand._ The quotations we have made from the text seem to have answered our question as to Miranda's worthiness. Upon what sort of a man has she set her affections? Will she find in her husband the man she thinks she is to marry? Answer these questions for yourselves by reading the text and setting down the proofs as we did while studying Miranda.

4. _Ariel._ Prospero's agent Ariel is an interesting study, for the poet has drawn him with lines so clear and exact that he seems a veritable person. Will you not seek to know him, and in doing so follow these suggestions?

(a) Ariel appears in the following scenes:

ACT I SCENE II (three times) ACT II SCENE I (twice) ACT III SCENE II (once) SCENE III (once) ACT IV SCENE I (once) ACT V SCENE I (five times)

How many scenes are there in the play? In how many does Ariel appear? In what scenes does he make no appearance? What characters appear more times? What characters appear more prominently in the play?

(b) Ariel does many different things. Make a list of the things Ariel does in this plays and a second list of the things that it appears Ariel has done elsewhere.

(c) Ariel appears in different forms. What are these forms? Is Ariel ever visible to any of the characters besides Prospero? Does Ariel ever appear visibly to Prospero? If the play were to be acted on the stage, would it be necessary at any time to have a person come upon the stage to represent him?

(d) Ariel has human characteristics. What acts like those of a human being does Ariel commit? What does Ariel say that shows him to have human traits?

(e) Ariel is a spirit. What supernatural things does Ariel do? What does Ariel say that makes him seem more than human?

(f) Ariel has a many-sided character. Find in the play where the following questions are answered: Is he faithful? Does he do his duties well? Does Ariel love music? Does he feel grat.i.tude? Does he always favor the right? Is Ariel merry? Does he love fun? Does he play practical jokes? Does he love warmth and light, or cold and darkness? Is he sympathetic? Does he lessen the grief of any one? Does he lead any one to remorse for evil deeds? Does he a.s.sist love in the hearts of Ferdinand and Miranda? Do you think Prospero always treats him fairly?

Does he seem so light and inconstant that he needs some discipline? What will he do when he is released from Prospero's control? Finally, does Ariel seem lovable to you, would you like him as a friend and companion as well as a powerful servant?

5. _Caliban._ It is difficult to tell just what the slave of Prospero looked like, and it is not at all unlikely that the poet intended we should not see him very clearly. He is a hideous spectacle, scarcely human, yet resembling a man in some respects. He is called in various places villain, slave and tortoise; a moon-calf, that is, a shapeless lump; a fish, with legs like a man and fins like arms; a puppy-headed monster; a man monster; half a fish and half a monster; a plain fish; a mis-shaped knave; "as strange a thing as e'er I looked upon;" and it is said of him that his manners are as disproportioned as his shape.

Is the character of Caliban apparently in keeping with his appearance?

What does Prospero say of him? Do you place confidence in the opinion of such a man as Prospero, and do you feel that he is not unnecessarily severe? Does Caliban do anything to justify the bad character Prospero gives him early in the play? Why do you suppose Shakespeare introduces into the play such a character? Does such a character heighten the effect of the others?

6. _Other Characters._ Cla.s.sify the other characters as good or bad.

Where did you place Alonso? Is there any doubt at all as to where Gonzalo should be placed? Are there any redeeming traits in Stephano? Do you think Trinculo's jesting is really funny? Would you like the play better if Stephano and Trinculo were left out of it? What can you find in the boatswain's words to justify the opinion Gonzalo holds of him?

Which is the greater scoundrel, Sebastian or Antonio?

THE STORY or PLOT. A certain duke has been by treachery driven from his princ.i.p.ality with his infant daughter, and has found refuge on an uninhabited island. After many years those who plotted against him are thrown into his power, he recovers his dukedom and marries his daughter to the son of his king. Such, in brief, is the plot of _The Tempest_, but how wonderfully it is expanded, and how many characters have been created, how many incidents created to give interest and truthfulness to the narrative. Let us follow the play through, and by studying the relation of the incidents, one to another, learn to appreciate more fully the art of the great magician who wrote the play.

ACT I--SCENE I. _Purpose:_ To introduce the enemies of Prospero. Do we know at the time of such a person as Prospero? Do we know why the persons are on the s.h.i.+p, where they intended to go or where they are now? When do we find out these things? What idea do you get of Gonzalo in the first scene? Why is his conversation with the boatswain put into the play?

ACT I--SCENE II. _Purpose:_ To bring before us all the leading characters in the play, and to tell us enough about them to secure our interest; also to give us the history necessary to an understanding of the plot. When do we first learn that there are miracles and magic in the play? How do we learn what has happened to Prospero before the time of the storm? How do we learn Ariel's history? How are we made acquainted with Caliban? How do we learn that Prospero raised the storm?

How were the mariners confused, and by whom were all saved? What did Prospero whisper in the ear of Ariel when the latter came in after Prospero has called Caliban? What incident followed as a result of this command? How did Ariel lead Ferdinand? Are there other places in the play where Ariel leads people in the same way? What do you call the three most important incidents in this scene? What incidents could be left out of this scene without interfering with the development of the plot?

ACT II--SCENE I. _Purpose:_ To account for the presence of the plotters, and to show the character of the men. Is it necessary to the development of the main plot that Sebastian and Antonio should scheme to kill the king? Do any of the incidents of this scene have any direct bearing on the main plot? Could any of the incidents of this scene be omitted without injury to the play?

ACT II--SCENE II. _Purpose:_ To create amus.e.m.e.nt, lighten the play and by contrast make the fine parts more beautiful. Is any character in the scene absolutely essential to the completion of the story? Would you understand the story as well if the entire scene were omitted?

ACT III--SCENE I. _Purpose:_ To disclose Prospero's purpose more fully, and to secure our interest in Ferdinand and Miranda.

ACT III--SCENE II. What is the purpose of this scene? What bearing do the incidents of this scene have upon the main plot?

ACT III--SCENE III. What effect is the magic banquet to have on the persons who saw it? What was Prospero's purpose in showing it? Did it contribute in any way to the success of his general plan?

ACT IV--SCENE I. What incidents in this scene are necessary, and what are introduced to give light and beauty to the play? What is the effect of introducing Caliban and his companions right after Ariel and the spirits have been entertaining Ferdinand and Miranda? What are Mountain, Silver, Fury and Tyrant, mentioned in this scene?

ACT V--SCENE I. What is the purpose of this scene? Is the plot brought to a satisfactory conclusion? Are there any characters left unaccounted for? Does every character in the play appear in this scene? Are they all on the stage when the curtain falls?