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 own past error. Contrast Ariel with Caliban. Show the skill of Caliban's first appearance as some slow-moving thing, half of water, half of earth, in contrast with Ariel's second appearance as a nymph. What may be learned of Caliban's traits from Miranda's speech (as in the Folio, but by various editors given to Prospero): 'Abhorred slave,' etc.? Do you think this speech should be given to Prospero? What signs are there of Caliban's having a good mind? Do you think Prospero's tyranny over Caliban altogether justified? Is Caliban's penitence consistent with his nature? How far does Ariel proceed independently of Prospero? Is he really fond of him? QUERIES FOR DISCUSSION Is there any bond of love between Prospero and his servants? Do the relations between them illustrate the impossibility of gratitude? 2. THE LOVERS Is the love of Ferdinand and Miranda an enchantment caused by Prospero, or an emotion he can help, but not cause? If not caused by him, does Shakespeare depart from magic to the detriment of the play? Would it be better, for example, if a love philter was introduced for consistency's sake? (For literary use of the love philter, see Tennyson's 'Lucretius.') Does it reflect against Ferdinand's courage that he was first to quit the ship? Are Miranda's speeches about her grandmother (I, ii, 140) and to Caliban inconsistent with the maidenly innocence assumed to be characteristic of her? Do you consider her talk with Ferdinand (III, i) in character? Is she undutiful to her father? Unmaidenly in her speedy declaration of love (III, i, 67, 89, 94-106, 110)? Should she be represented as ignorant or innocent of the world, or as in love? Describe the characters and relations to each other of the lovers from all that is given about them. Compare with Florizel and Perdita in 'The Winter's Tale.' QUERIES FOR DISCUSSION