SHAKESPEARE S THE TEMPEST. A GRAPHIC EDITION with CSEC Study Guide SAMPLE MATERIAL. Study Guide by Sherice Blair

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1 SHAKESPEARE S THE TEMPEST A GRAPHIC EDITION with CSEC Study Guide SAMPLE MATERIAL Study Guide by Sherice Blair

2 Also available for CSEC English A World of Poetry A World of Prose Inspire students to enjoy poetry and prose while helping them to prepare effectively for the CSEC examination; ensure coverage of all prescribed poems and texts for the revised CSEC English A and English B syllabuses anthologies that have been compiled with the approval of the Caribbean Examinations Council by Editors who have served as CSEC English panel members. Stimulate an interest in and enjoyment of poetry and prose with a wide range of themes and subjects, a balance of well-known texts from the past and more recent works, as well as poems from the Caribbean and the rest of the world. Support understanding with notes on each text and questions to provoke discussion, and a useful checklist to help with literary analysis. Consolidate learning with practical guidance on how to tackle examination questions including examples of model answers for reference. A World of Poetry and A World of Prose are also available in Student etextbook format via Dynamic Learning A World of Poetry year: 7.33, 2 year: 10.99* Student etextbook year: 7.33, 2 year: 10.99* Student etextbooks are downloadable versions of the printed textbook that you can assign to students so they can: Download and view on any device or browser Add, edit and synchronise notes across 2 devices Access their personal copy on the move via the Dynamic Reader App Find out more and request a free, no obligation 30-day Dynamic Learning trials, visit What s next? Find out more and download a sample chapter at Contact your local Hodder Education representative at Subscribe to eupdates at to find out first about new publishing, and receive free resources and samples straight into your inbox

3 CONTENTS Plot overview 4 Character overview 10 Cast of characters 11 The Tempest 13 Act 1 15 Act 2 33 Act 3 45 Act 4 57 Act 5 69 Epilogue 81 Analysis of characters 83 Themes in the play 88 Dramatic techniques 92 Answering essay questions 94

4 Plot overview Act 1, Scene 1 The Tempest The play begins at sea with Alonso and his royal party coming back from his daughter s wedding. The ship is caught in a tempest and the Master asks the boatswain to direct the mariners to save the ship. It is important to note that throughout the ordeal of trying to save the ship we do not see the master again. There is then a confrontation between the Boatswain and Gonzalo. This results in the Boatswain cursing members of the royal party, who try to assert their authority through arrogance. This highlights the difference in class status between the Boatswain and the members of the royal court. Although members of the royal party wield their power and authority on land, this is disregarded by the Boatswain. Instead of cowering, the Boatswain displays his power and orders the royal party below deck. The Boatswain s actions show that he has little regard for the rank, position and class of these men. His only concern is that they are getting in the way while he is trying to save the ship. It is important to note that Gonzalo reminds calm in this situation. As the play progresses we see this aspect of his personality displayed. The scene ends with the ship sinking and the audience is left to wonder if the members of the crew are dead or alive. Act 1, Scene 2 Prospero shares his story Miranda stands on shore and sees the sinking of the ship. She is disturbed by this and is concerned that her father s actions might have resulted in the death of the passengers. Prospero then assures his daughter that no one on the ship has been hurt. He then relates the story of how they came to be on the island. We learn from Prospero s story that he was once the Duke of Milan; however, he was exiled by his brother Antonio because Antonio wanted to rule Milan himself. From this story, the audience learns that Prospero became so involved in his study of magic that he neglected his role as Duke. This was what gave his brother the opportunity to betray him. Antonio, Prospero s brother, conspired with Alonso, the King of Naples to depose Prospero. This alliance has lasted until today as shown by the fact that Antonio accompanied Alonso to his daughter s wedding. Hence, he too was on the ship that sank. 4

5 Act 1, Scene 2 The audience also learns that Miranda and Prospero have been on the island for twelve years and if it were not for the help of Gonzalo (who provided food, magic books and other supplies) they would have died at sea. Once again, Gonzalo s strength of character is being highlighted by showcasing his good deeds. The audience also learns that although good Gonzalo was on board the ship, Prospero deliberately sank it because his enemies (the individuals who exiled him) were also on board. Shakespeare uses Prospero telling Miranda his story as a way of relating to the audience what happened in the past. This provides a rationale for Prospero s actions. From this story, one can argue that Prospero s actions are justified. This also humanises Prospero and we see him has someone who is wronged and not as a merciless wizard who is abusing his powers. Ariel s story Prospero puts Miranda to sleep and Ariel (a spirit) enters the scene. It is important to note that as the play progresses Miranda is never privy to the conversations between Prospero and Ariel. She is also unaware of the full extent of Prospero s use of magic (for example, rendering Ariel invisible throughout the play). The audience learns a number of things from Prospero s conversation with Ariel. Namely, it was Ariel who created the tempest on Prospero s orders not Prospero himself; that the crew of the sunken ship is alive and well; and that they have been separated and placed around the island in different locations. Additionally, the audience receives information about Ariel himself, from his requests for his freedom. It is important to note how Ariel is treated by Prospero. One might say that Ariel is Prospero s slave; this is further reinforced when Prospero denies Ariel his freedom. The audience learns that Ariel is indebted to Prospero because he freed Ariel from his magical imprisonment in a pine tree by Sycorax. Prospero, however, pledges to release Ariel once he has adequately done his bidding. Once again, the audience is left to wonder about Prospero s sincerity. Visiting Caliban Prospero and Ariel visit Caliban, the native inhabitant of the island. Caliban is presented as being aggressive, brutish and verbally abusive. This perceived abusive creature was enslaved by Prospero because he attempted to rape Miranda. Caliban shows no remorse for his actions, thereby causing the audience to see him more as a vicious being. This perception is also reinforced when the audience learns that the wicked witch, Sycorax, is Caliban s mother. One is left to wonder if there is any good in Caliban having had such a mother. 5

6 Character overview Living on the island Prospero Miranda Ariel Caliban From the shipwreck sorcerer/dethroned Duke of Milan Prospero s daughter spirit/slave slave (son of Sycorax) From Naples Alonso the king Sebastian the king s brother Ferdinand the king s son Trinculo the king s jester Stephano the king s steward From Milan Antonio Gonzalo Prospero s brother/new Duke of Milan member of the royal court/helped Prospero to survive Major Prospero Miranda Ariel Caliban Alonso Antonio Ferdinand Gonzalo Sebastian Characters Minor Master Boatswain Mariners Trinculo Stephano Adrian Francisco Juno Ceres Iris Nymphs Spirits Sycorax (deceased) 10

7 Cast of characters Alonso King of Naples Ferdinand Alonso s son Sebastian Alonso s brother Prospero The rightful Duke of Milan Miranda Prospero s daughter Antonio Prospero s brother and Duke of Milan Ariel Prospero s servants Caliban Gonzalo Alonso s adviser 11

8 Cast of characters Trinculo A jester Stephano A drunken butler Adrian Noblemen Francisco Master Sailors Boatswain Iris Juno s messenger Juno Queen of Heaven Spirits called by Prospero s magic Ceres Goddess of Fertility 12

9 The Tempest With guided reading questions 13

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11 Act 1 Scene 1 The ship carrying Alonso, the King of Naples, is wrecked in a terrible storm. Boatswain! Speak to th mariners. Fall to t yarely or we run ourselves aground. Boatswain (pronounced bosun ) ship s officer in charge of the sails Yarely quickly 15

12 Act 1 Scene 1 Yare! Yare! Take in the topsail. Tend to the master s whistle. Good boatswain, have care. Where s the master? I pray now, keep below! Keep your cabins! You do assist the storm. Be patient. Remember whom thou hast aboard. None that I love more than myself. Out of our way, I say! You do assist the storm You re getting in the way Down with the topmast! 16

13 Act 1 Scene 1 A plague upon this howling. They are louder than the weather or our office. Again? What do you here? A pox o your throat, you bawling dog! Work you, then. Let s assist them. Hang, cur! You insolent noise-maker! I m out of patience. We split, we split, we split! Now would I give a thousand furlongs of sea for an acre of barren ground. I would fain die a dry death. Let s all sink wi th King. Let s take leave of him. They the passengers office work furlong 220 yards (about 200m) fain gladly 17

14 Act 1 Scene 2 Prospero stops the storm he created and explains to Miranda how they came to the island. If by your art, my dearest father, you have put the wild waters in this roar, allay them. I saw a brave vessel (who no doubt had some noble creature in her) dashed all to pieces. Lend thy hand and pluck my magic garment from me. I have safely ordered that there is no soul no, not so much perdition as an hair, betid to any creature in the vessel. Sit down, for thou must now know further. You have often begun to tell me what I am, but stopped. art magic perdition loss betid happened 18

15 Act 1 Scene 2 The hour s now come. Canst thou remember a time before we came unto this cell? Thou wast not out three years old. I can. Tis far off, rather like a dream. Had I not four or five women once, that tended me? And more, Miranda. What foul play had we, that we came from thence? Or blessed wast we did? My brother and thy uncle, Antonio I loved, and to him put the manage of my state. Twelve year since, thy father was the Duke of Milan and a prince of power, and thou wast my daughter and only heir. Both. The government I cast upon my brother, and I to my state grew stranger and rapt in secret studies. His ambition growing he needs will be absolute Milan. So dry he was for sway wi th King of Naples. cell simple home manage management absolute Milan the only ruler of Milan So dry he was for sway So ambitious he was for power 19

16 Act 1 Scene 2 Prospero tells of his brother s treachery and Gonzalo s kindness. PROSPERO: This King of Naples, being an enemy To me inveterate, hearkens my brother s suit, Which was that he, in lieu o th premises Of homage, and I know not how much tribute, Should presently extirpate me and mine Out of the dukedom, and confer fair Milan, With all the honours, on my brother. Whereon A treacherous army levied one midnight Fated to th purpose, did Antonio open The gates of Milan and i th dead of darkness The ministers for th purpose hurried thence Me and thy crying self. money destroy gathered MIRANDA: I, not rememb ring how I cried out then, Will cry it o er again. It is a hint That wrings mine eyes to t. PROSPERO: Hear a little further, And then I ll bring thee to the present business Which now s upon s, without the which this story Were most impertinent. pointless MIRANDA: Wherefore did they not that hour destroy us? PROSPERO: They durst not, so dear the love my people bore me. They hurried us aboard a bark, Bore us some leagues to sea, where they prepared A rotten carcass of a butt, not rigged, Nor tackle, sail nor mast the very rats Instinctively have quit it. There they hoist us To cry to th sea, that roared to us. ship small boat MIRANDA: What trouble was I then to you? PROSPERO: Thou wast that did preserve me. 20

17 Act 1 Scene 2 MIRANDA: How came we ashore? PROSPERO: Some food we had, and some fresh water, that A noble Neapolitan, Gonzalo, Out of his charity did give us, with Rich garments, linens, stuffs and necessaries. Knowing I loved my books, he furnished me From mine own library with volumes that I prize above my dukedom. MIRANDA: Would I might see that man! PROSPERO: Here in this island we arrived, and here Have I, thy schoolmaster, made thee more profit Than other princes can. taught you better MIRANDA: And now I pray you, sir, your reason For raising this sea-storm? PROSPERO: By accident most strange, fortune hath mine enemies Brought to this shore. Cease more questions, thou art inclined to sleep. Guided reading questions Act 1, Scene 1 (pages 1 3) 1 List the characters mentioned in this scene and briefly explain their role in the scene. 2 What is the dramatic effect of the storm? 3 a Describe the Boatswain s attitude towards Gonzalo. b What accounts for his attitude to Gonzalo? c Do you think his attitude was justified? 4 What does Gonzalo s reaction to the Boatswain s attitude say about him? Act 1, Scene 2 (pages 4 7) 1 We meet Miranda and Prospero in this scene. a What are your first impressions of both? b What evidence is there to support your thoughts? 2 In your own words, briefly recount the story of Prospero s exile. 3 Why do you think Prospero is telling Miranda about her past? 4 What do you think is Prospero s motivation for causing the shipwreck? 21

18 Act 1 Scene 2 This damned witch was brought with child, and here was left by th sailors. Thou, my slave, was then her servant. She died and left thee there. Then was this island (save for the son she did litter here) not honoured with a human shape. Thou wast a spirit too delicate to act her commands, refusing her she did confine thee into a cloven pine, imprisoned a dozen years. Yes, Caliban, her son. It was mine art that made gape the pine and let thee out. He, that Caliban whom now I keep in service. I thank thee, master. If thou more murmur st, I will rend an oak and peg thee in his knotty entrails till thou hast howled away twelve winters. Pardon, master; I will do my spiriting gently. cloven split litter give birth to rend tear gently without complaining Do so, and after two days I will discharge thee. 24

19 Act 1 Scene 2 What shall I do? Awake. We ll visit Caliban, my slave. Go make thyself like a nymph o th sea, invisible to every eyeball else and hither come in t. Tis a villain I do not love to look on. But as tis, we cannot miss him; he does make our fire, fetch in our wood, and serves in offices that profit us. Caliban, speak. Thou poisonous slave, come forth! miss do without offices duties 25

20 Act 1 Scene 2 Caliban complains about the way he is treated until Prospero threatens him with his magic. CALIBAN: This island s mine by Sycorax my mother, Which thou tak st from me. When thou cam st first Thou strok st me, and made much of me; wouldst give me Water with berries in t, and teach me how To name the bigger light and how the less sun moon That burn by day and night. And then I loved thee, And showed thee all the qualities o th isle: The fresh springs, brine pits, barren place and fertile. salt water Cursed be I that did so! All the charms Of Sycorax toads, beetles, bats light on you, For I am all the subjects that you have, Which first was mine own king; and here you sty me In this hard rock, whiles you do keep from me The rest o th island. PROSPERO: Thou most lying slave, Whom stripes may move, not kindness; I have used thee (Filth as thou art) with humane care and lodged thee In mine own cell, till thou didst seek to violate The honour of my child. whipping rape CALIBAN: O ho, O ho! Would t had been done; Thou didst prevent me, I had peopled else This isle with Calibans. MIRANDA: Slave, I pitied thee, Took pains to make thee speak, taught thee each hour One thing or other. When thou didst not, savage, Know thine own meaning, but wouldst gabble like A thing most brutish, I endowed thy purposes With words that made them known; but thy vile race, (Though thou didst learn) had that in t which good natures Could not abide to be with; therefore wast thou Deservedly confined into this rock, Who had deserved more than a prison. 26

21 Act 1 Scene 2 CALIBAN: You taught me language, and my profit on t Is I know how to curse. The red plague rid you For learning me your language. PROSPERO: Hag-seed, hence: Fetch us in fuel, and be quick thou rt best To answer other business. Shrug st thou, malice? If thou neglect st, or dost unwillingly What I command, I ll rack thee with old cramps, Fill all thy bones with aches, make thee roar, That beasts shall tremble at thy din. Witch s child CALIBAN: No, pray thee. I must obey; his art is of such power. Guided reading questions Act 1, Scene 2 (pages 8 11) 1 Explain the role magic plays in the scene. 2 Explain TWO (2) possible reasons why Prospero put Miranda to sleep while he talks to Ariel? 3 Why is Ariel Prospero s slave? a Do you think it is fair for Prospero to hold Ariel as a slave? b Do you pity Ariel? Explain your answer. Act 1, Scene 2 (pages 12 13) 1 Describe the relationship between Caliban and Prospero when he first arrived on the island. 2 From this scene, what caused the change in their relationship? 3 Do you think Caliban deserves to be Prospero s slave? Discuss. 27

22 Act 1 Scene 2 Ariel leads Ferdinand to Prospero and Miranda. The two young people fall in love a little too quickly for Prospero s liking! Where should this music be? I have followed it, or it hath drawn me. It begins again. This is no mortal business. Say what thou seest yond. No, it eats, and sleeps and hath such senses as we have. This gallant was in the wreck. I might call him a thing divine. What is t? a spirit? gallant young man It goes on, I see. My plan is working. It goes on, I see. 28

23 Analysis of characters Prospero Prospero can be considered a complicated character because he has many facades. These facades make Prospero one of the most fascinating characters in the play. It can be noted that a lot of the details we know about the other characters (specifically Sycorax and Antonio) come from Prospero, and therefore it is important to determine his character in order to know if his presentation of these characters is correct. The delinquent duke Although Prospero is the rightful ruler of Milan, one could say that he was delinquent in his duties and instead focused on studying magic (Act 1, Scene 2). One could then argue that Prospero shares some responsibility for his brother s betrayal. This is due to the fact that his neglect gave his brother the opportunity to betray him. The argument can be further reinforced by stating that Prospero actually asked his brother to assist him with running the city/state. The dutiful father or the manipulator It could also be argued that Prospero put his plans into motion so that Miranda would have an opportunity to have a life off the island. For example, did he carefully orchestrate the meeting between Miranda and Ferdinand with the hope that they might fall in love so that he could regain his place in Milan, or did he do it for the good of his daughter? Prospero s motives seem unclear at times in the play. Does he want revenge or does he want reconciliation? We know that Prospero loves Miranda because of his efforts to protect her throughout the play. However, is she just a pawn in his well-woven plans? This question can be asked because we see Prospero planning to return to Milan as a result of Miranda s marriage to Ferdinand. The merciful forgiver In light of what his enemies did to him, it can be said that Prospero exercised mercy in forgiving them. Prospero s merciful nature is not a one-off act; this is shown throughout the play. It is first seen in Act 1 when the members of the crew are saved in spite of the tempest that destroyed the ship. Mercy is displayed by Prospero throughout the play. In the end, we see Prospero exercising mercy through forgiveness. Instead of destroying his enemies in the flick of a finger (using magic) he chooses reconciliation. This shows his innate goodness. 83

24 Themes in the play Betrayal The theme of betrayal is woven throughout the play, and is presented in multiple levels. One can see examples of betrayal from the beginning of the play. The main act of betrayal, however, was when Antonio and Alonso usurped Prospero. This act of betrayal is related to us by Prospero and is the driving force behind the plot of the play. One can say that the tempest was created as a way for Prospero to get the enemies who betrayed him onto the island. Therefore, everything that Prospero does from the beginning of the play is motivated by betrayal. Betrayal can also be seen in Prospero s betrayal of his people by neglecting his duties in the pursuit of studying magic. Additionally, Sebastian and Antonio s plot to kill Alonso can also be seen as an act of betrayal. Colonisation Colonisation is the act of taking over another country. Throughout history, there are well documented cases of Europeans and others travelling to and invading/ colonising other countries. Prospero represents this European force. Although Prospero did not wilfully arrive on the island, nevertheless his dominating force is evident. This is seen through his treatment of Caliban and even Ariel. It is important to note that in this case the process of colonisation does not begin immediately. In true European form, Prospero arrives on the island in a nonthreatening way. He is greeted and welcomed by the native (Caliban). However, over time Prospero s European values and those of the natives (Caliban) clash. Hence, colonisation begins. In the process, the native is demonised and becomes seen as less than human. This is how Caliban is presented and is treated. The history is also one sided. The audience does not get the sequence of events from Caliban s point of view. In true historical form, the European invader is the one who characterises and presents the story of the natives. This shows the dominating presence of Prospero and is particularly seen in Prospero s dominance over Caliban (his imprisonment and torture). We see this continued dominance when Caliban tries to come from under Prospero s rule by making Trinculo and Stephano his new masters. Slavery Slavery in the play is used to reinforce power, control and dominance. In the traditional sense, slavery was tied to colonialism. As such, it was used to control or to dominate the inhabitants of a country in order to use them to build and develop whatever the coloniser wills. 88

25 Magic One can argue that this dominance is seen in the play. Prospero turns Caliban into a slave and uses him to maintain the resources he needs to survive. Similarly, Ariel is another character who can be considered a slave. He is enslaved because Prospero needs his help to further his plans. Once again we see the coloniser s will taking precedence. Freedom The theme of freedom can also be seen as tied to colonisation. We see the characters who are dominated (Ariel and Caliban) in pursuit of freedom. Ariel peacefully requests his freedom and when denied he continues to please his master by conceding to his wishes in hopes of winning his freedom. Ariel performs the following acts in hopes of winning his freedom: He creates the tempest (Act 1, Scene 1) He leads Ferdinand to Miranda (Act 1, Scene 2) He thwarts the murderous plans of Antonio and Sebastian (Act 2, Scene 1) He disrupts Caliban s plans to kill Prospero (Act 3, Scene 1) He helps to create a magical banquet (Act 4) He releases Prospero s prisoners (Act 5). At the end of all of these acts, Ariel wins his freedom. Caliban is the polar opposite of Ariel. Instead of complying with Prospero s dominance, Caliban attempts to fight for his freedom. This is seen in the following ways: He curses Prospero and Miranda (Act 2) He tries to convince Stephano and Trinculo to kill Prospero (Act 2). It is also important to note that Caliban cannot conceive true freedom; instead he pledges loyalty and servitude. In the end, Caliban is freed not by his own attempts but instead through Prospero s change of heart. Shakespeare uses each character to show us how precious freedom is and the lengths people will go to in order to overcome bondage and attain freedom. In the epilogue, Prospero too seeks freedom as he requests the audience to set him free with their applause as the play comes to an end. Magic Magic is another major theme in the play. One could argue that it is the source of all the conflicts and also the source of all the resolution (the use of magic causes Prospero s enemies to repent) and reconciliation. The dual nature of magic can be seen as good or evil. This results in some characters representing magic for good ends (Prospero/Ariel) while others represent magic for evil ends (Sycorax and by extension Caliban). 89

26 SHAKESPEARE S THE TEMPEST A GRAPHIC EDITION with CSEC Study Guide These sample pages have been taken from The Tempest with CSEC Study Notes, ISBN Understand Shakespeare s play immediately with engaging images that reinforce the text and aid preparation for the CSEC English B examination. Build understanding of the play through images and text that work together. Check understanding of the text by answering the guided reading questions at the end of each scene. Build literary knowledge with the section on comedy which explains the way Shakespeare uses comic effect in this play and others. Improve and practise essay-writing skills using CSEC-style essay questions and a sample essay. Consolidate learning and exam preparation with detailed and rigorous study notes. Graphic edition by Philip Page and Marilyn Pettit Photo credit: p9 Geraint Lewis / Alamy Stock Photo CSEC is a registered trade mark of the Caribbean Examinations Council (CXC). To find your local Hodder Education representative please visit