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i. e. "to be much mistaken"; I. ii. 443.

WINK, to close the eyes; II. i.

221. WISEST, “after the wisest,” é. B.,

“in the wisest fashion"; II. ii.

83. Woe, sorry; V. i. 139. WORKS, affects; IV. i. 144. Wound, twined about; II. ii. 13. WRANGLE, contend, quarrel; V. i.

174. WRONG; "to do oneself wrong,”

YARE, ready; I. i. 7; I. i. 39.
YARELY, alertly; I. i. 4.
Yond, there; I. ii. 409.
YOUR (=subjective genitive);

V. i. 11.

ZENITH, the highest point of

one's fortune; I. ii. 181.

STUDY QUESTIONS

By ANNE THROOP CRAIG

GENERAL

1. What are the possible sources of the play?

2. With what events of Shakespeare's times is the play obviously connected?

3. What seems probable with regard to the Epilogue?

4. What were old beliefs about the Bermudas? What has been thought of them with relation to this play?

5. To what period of the Poet's development does the play evidently belong?

6. What is the general character and atmosphere of the drama? What does Coleridge say of it?

7. What were Ariel's powers and functions? 8. Describe Caliban. Of what is he typical? 9. What philosophical elements does the play convey? 10. What is represented in Prospero? 11. What is demonstrated through Miranda ? 12. What through Sebastian and Antonio?

13. Describe the other characters and their places in the development of the theme.

14. Comment upon the dramatic movement and unity of the play.

15. What does Victor Hugo say of the relation of Shakespeare's work to the supernatural?

ACT I

16. In what way is scene i appropriate as the opening of the dramatic action?

17. Is the application of the terms and action of technical seamanship accurate in this scene?

18. What has Prospero ordered by means of his magic with regard to the wreck ?

19. What relation has the circumstance of the wreck to his condition that makes it appear a marked destiny?

20. What is his narrative to Miranda ? How does he describe his personal interests and pursuits?

21. What natural phenomenon does Ariel's line, “I flamed amazement” suggest?

22. How does Ariel describe his discharge of Prospero's commands?

23. What does he demand of Prospero? What is Prospero's answer?

24. From what fate had Prospero saved Ariel that called for gratitude?

25. How is Caliban introduced? What does Prospero relate of him, of what he had taught him, and its effect

upon him?

26. Whom does Ariel first lead to Prospero's dwelling?

27. Describe the meeting of Ferdinand and Miranda and the impression they make upon each other.

28. What is Prospero's secret intention with regard to the two?

29. What is his outward treatment of Ferdinand? For what reason is it?

ACT II

30. What reason for their voyage in this region is given by the remainder of the wrecked voyagers in scene i?

31. Where else in the literature to which the Poet might have had access is there such an idea of a commonwealth as Gonzalo presents? Does it appear to bear any relation to the allegorical element of the play?

32. What happens to this party of the characters through Ariel's doings? Who escaped his influence temporarily?

33. What do Sebastian and Antonio plot? What is its outcome?

34. What is the plaint of Caliban? Of what in his natural condition is it significant?

35. To what types of admiration and enjoyment are Caliban's analogous as awakened by Stephano and Trinculo and their liquor?

ACT III

36. What test does Prospero impose upon Ferdinand? 37. How does he bear it? How does it affect Miranda ? 38. Describe the sentiment of the scene.

39. How is the behavior of Miranda different from that of a young woman brought up in the civilized world?

40. What is plotted between Caliban, Stephano, and Trinculo?

41. What is the purpose of Ariel's interpolations in the scene?

42. How does Prospero bring the King and his companions into his power?

43. Describe the scene of the spectral banquet.

44. Of what may Ariel be considered allegorically the spokesman to the three guilty men who are come to the verge of their death? How does Alonzo's final speech deepen this impression?

ACT IV

45. How is Ferdinand rewarded for his faithfulness in enduring Prospero's test?

46. Is there especial dramatic value in the introduction of the Masque? What was the custom of the time with regard to such interludes?

47. What is Prospero's philosophical reflection on the pageant he has presented for Ferdinand and Miranda?

48. What does Ariel report of the plight of the drunken plotters and Caliban?

49. What does Prospero plan that he may further discomfit them? 50. How are they finally put to rout?

51. What are the final words of Prospero and his promise to Ariel ?

ACT V

52. What does Ariel tell Prospero of the condition of Alonso and those with him?

53. What does Prospero resolve with regard to his magic? From what is his speech, in part, borrowed? What is distinctively Shakespearean about it?

54. What is his final charm cast upon Alonso and his companions?

55. What are his reproaches to them when Ariel brings them to his cell? What do they think of their mysterious adventures?

56. What does Prospero send Ariel to the ship to perform?

57. How does he reprove Sebastian and Antonio finally? 58. How does he present Ferdinand to his father again?

59. What is noticeable in Miranda's exclamation upon seeing the newcomers?

60. Describe the resolution.

22 H

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