THE TEMPEST GUIDING QUESTIONS
1.1 & 1.2
1.
Why are the passengers ordered below decks and how do they react to the boatswain’s
commands? What power-struggle is going on here. Who are reasonable here and who are unreasonable?
2.
Why does Miranda want her father to stop using his power (his Art)? How does her father reassure
her?
3.
How much does Miranda know about her origins? Who does she appear to be now her father tells
her at last? And he?
4.
Why did Prospero leave the business of Milan to his brother, Anthonio? What did he spend his time
doing? Do you think this is the right way for a Duke to behave?
5.
Why do you think Prospero is constantly asking whether Miranda is paying attention to him?
6.
What appears to be Anthonio’s real weak spot?
7.
My library was Dukedom enough Does he have himself to blame, would his brother be right in ‘
thinking him incapable’ ?
8.
Why is Anthonio’s business with the King of Naples even more ignoble?
9.
Why were Prospero and his daughter not killed outright? What happened instead?
10. What was the most precious gift left to Prospero by Faithful Gonzalo?
11. Give two reasons why Prospero called up the storm at that moment.
12. How does Prospero make sure Miranda does not see him conferring with Ariel?
13. What is the relationship between Prospero and Ariel?
14. How has Ariel helped to perfect Prospero’s actions?
15. Where is the King’s ship and where is the remainder of the fleet? Isn’t that a bit odd?
16. How does Ariel react when he hears there is even more work to do? What is it he wants in return
for the work he has done? What kind of servant does that make him? What do you think of the arguments
Prospero uses to make Ariel do his bidding anyhow?
17. Who was Sycorax and what had she done to Ariel?
18. What would be the ‘Argier’ she comes from? Why did they not kill her there?
19. What do we learn of Prospero’s mastery of his Art, as early as his arrival on the island?
20. What is the relationship between Caliban and Prospero? Does that make his first remark in the play
rather strange?
21. How does Prospero keep his insolent slave in line (more or less)?
22. What claim does Caliban make in response to his Master’s commands?
23. How did they start off when they first met and when did that change?
24. In what ways is it interesting that Prospero taught Caliban language and he mainly uses that gift to
curse and swear?
25. What is the purpose of Ariel’s singing to Ferdinand? Could there be reasons for the words of ‘ Full
Fathom Five’ ?
26. What is Miranda’s initial reaction to seeing Ferdinand?
27. And Ferdinand to Miranda?
28. Why does Prospero wish to make things harder for the love-struck couple? Does that make sense to
you? Think of Miranda’s upbringing.
29. Why can’t Miranda believe Ferdinand is evil?
30. What do you think of the way Prospero chides her?
2-1
31. What is Gonzalo trying to do and how is that received by the others?
32. What do you think of the wordplay between Sebastian and Anthonio? Can you imagine
Shakespeare’s audiences would have enjoyed them differently? How come, if so?
33. Where has the shipwrecked party come from? Why is that important for the plot?
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34. What do you make of the words of Sebastian to his brother about the marriage of Alonso’s
daughter, his niece? What other relationship in the play may we see mirrored here?
35.
Paraphrase Gonzalo’s speech about what he would do if he could govern this island. What kind of
agenda does he have? Do you think he is serious? Think of the things he has witnessed as counselor to
the Duke of Milan, for instance.
36. How is the drowsiness of the company induced?
37. What does Anthonio mean when he talks about ‘ ebbing men’?
38. What is the proposal he puts to Sebastian, and on what reasoning is it based?
39. Why does Ariel come back to wake the King and Gonzalo?
2-2
40. What is remarkable about the language Caliban uses to describe the way Prospero torments him?
41. What does he take Trrinculo for? Does the way he tries to hide make sense in reality? And on stage?
42. What is the first thing that comes to Trinculo’s mind when he sees Caliban? Note the ‘ Indian’ he
mentions…..
43. How would you qualify Stephano’s song? Who were meant to enjoy this in particular?
44. How does Stephano’s reasoning about what he could do with Caliban fit in with that of Trinculo?
45. How does Stephano win over Caliban. And how is he a good proof of the fact that Caliban is
mistaken about the quality of the liquor?
46. What does Caliban promise Stephano? Does that ring a bell?
47. How does Caliban see his changed allegiance to a new master?
48. How does he appear to see his future if he follows Stephano?
3-1
49. Why would someone like Ferdinand think piling up logs particularly hard work?
50. Why won’t he let Miranda help him?
51. What do we call the word-play in admir’d Miranda?
52. Who seems more reflective (if I may use that word) in the exchange between Miranda and
Ferdinand?
53. Why would Prospero be glad to see them declaring undying love to each other? Hadn’t he even
forbidden Miranda to mention her name to Ferdinand? Explain.
3-2
54. How are relationships between Stephano, Trinculo and Caliban developing?
55. How does Ariel use their frictions to rile them even more?
56. What cunning plan has Caliban devised?
57. How does Stephano’s idea of ruling the island compare with that of Gonzalo, which we read earlier
on?
58. This speech from Caliban comes out of nowhere, really. Why does it seem at odds with his
character? Should it make us think twice about our perceptions of the characters?
Be not afeard; the isle is full of noises, Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices That, if I then had waked after long sleep, Will make me sleep again: and then, in dreaming, The clouds methought would open and show riches Ready to drop upon me that, when I waked, I cried to dream again..
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59.
Have Sebastian and Anthonio given up their perfidious plans?
60.
What views on exploration and foreign creatures are expressed in the show Prospero and Ariel
put on? Do you think Shakespeare is passing on what people believed at the time or just exercising his
fancy a bit?
61.
How are the shipwrecked men punished? It is more than just being denied food….
62.
This speech by Prospero shows us that he:
A.
is ready to forgive his enemies;
B.
is quite happy to punish them for a while longer;
C.
has not yet made his mind up what he is going to do about them;
My high charms work
And these mine enemies are all knit up
In their distractions; they now are in my power;
And in these fits I leave them, while I visit Young Ferdinand, whom they suppose is drown'd, And his and mine loved darling.
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63. What does Prospero warn Ferdinand about? Is the way he does so fitting for an occasion that may,
in the context of the play, be called a betrothal? Explain.
64. What meaning could the scenes with Ceres, Juno and Isis have? Do you think Prospero only puts
them on to show off his Art to Ferdinand?
65. Whys is it odd that Prospero says he ‘ forgot’ about the conspiracy involving Caliban? How does
thinking about that plot influence him?
66. The following speech has often been quoted as a very short resume of what plays and acting is all
about. Comment.
Our revels now are ended.
These our actors, As I foretold you, were all spirits and
Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itself,
Ye all which it inherit, shall dissolve
And, like this insubstantial pageant faded, Leave not a rack behind.
We are such stuff As dreams are made on, and our little life Is rounded with a sleep.
67. Why is it interesting that Prospero mentions both nature and nurture when he speaks of Caliban
whom he is about to punish for his attempted coup?
68. How do Stephano and Trinculo botch the plan? Would it matter anyway? What is Shakespeare
making clear once more here?
69. How does Shakespeare compare himself to Ariel here, why? And what makes him opt for mercy and
reconciliation despite his anger?
Hast thou, which art but air, a touch, a feeling
Of their afflictions, and shall not myself, 3
One of their kind, that relish all as sharply, Passion as they, be kindlier moved than thou art? Though with their high wrongs I am struck to the quick, Yet with my nobler reason 'gaitist my fury
Do I take part: the rarer action is In virtue than in vengeance: they being penitent, The sole drift of my purpose doth extend Not a frown further. Go release them, Ariel: My charms I'll break, their senses I'll restore
And they shall be themselves.
70.
There is ambiguity in the scene in which Prospero abjures his art. Comment
71.
How does Prospero put his daughter’s famous comment when she first sees a whole party
of men into perspective?
72.
Is all the forgiveness at the end a logical conclusion or a bit of a let-down? Comment.
73.
Do you think Prospero’s epilogue is meant to be his ‘goodbye’ to the theatre?
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