POINTS. 1. The 'Faerie' of the play. Compare with that of 'Midsummer Night's Dream.' (See 'Fairy-lore of Midsummer Night's Dream,' _Poet Lore_, Vol. III, p. 177, April, 1891.) Victor Hugo notes the contrast as follows: '"Midsummer Night's Dream" depicts the action of the invisible world on man; "The Tempest" symbolizes the action of man on the invisible world.' (See also the 'Supernatural in Shakespeare's "Midsummer Night's Dream."' in _Poet Lore_, Vol. V, p. 490, October, 1893; in Shakespeare's 'Tempest,' p. 557, November, 1893.) 2. The duration of the play. Explain how it follows the 'unities'; and in this connection show the probable equality of 'three glasses' to three hours, and Shakespeare's mistake. (Shakespeare's use of nautical terms, approved by all seamen, seems to be here at fault in supposing a 'glass' equal to one, instead of to a half, hour.) 3. The game of chess and its pertinence here: Because so wise a father would have taught his daughter so intellectual a game; because Queen Elizabeth was fond of it, and it was _par excellence_ a 'royal game'; or because Naples was the source and center of the chess _furore_ at just this time? 4. Where is the scene of the 'Tempest' laid? Is the island real or unreal? (The main conjectures for a known place are Hunter's that it was Lampedusa, and Elze's that it was Pantelaria. Both argue that each island was so situated in the Mediterranean, between Milan or its port and Algiers, 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.)