fault of the original
from one of the later editions, as translated into German in 1683
(_Noches de Invierno Winternachte aus dem Spanischen in die Deutsche
sprach versetzet_) a summary of this story was given in English for
the first time as a satisfactory source of "The Tempest" in the "First
Folio Edition" of the Play (see pp. 85-93 and Introduction; also for
an extract and summary of "The Fair Sidea," pp. 94-95).

What may be called the American half of the plot evidently owes
suggestions to pamphlet accounts of the storm and wreck and other
experiences met with by Sir Thomas Gates, Sir George Sommers and
others during their voyage of discovery to the Bermudas in 1610 (see
pp. 92, 99, and Notes pp. 114, 125-127, etc., for extracts.)

Gonzalo's speech, too, follows pretty closely a passage in Florio's
Montaigue. (For this passage see Note on II. i. 153-160).

ACT I

THE SCHEMES OF PROSPERO.

The first scene shows the storm in progress. Is there any clew given
to the reader that it is a magic tempest? What is Prospero's main
object in having the ship's crew and passengers cast upon his island?
Is it to wreak vengeance on his enemies, to work the charm of love
between Ferdinand and Miranda, or by means of that to reinstate
himself? In what way would this love work to his advantage? Notice the
natural way in which the reader is put in possession of the necessary
information about the past of Prospero and Miranda. Warburton says of
this that it is the finest example he knows of retrospective narration
for the sake of informing the audience of the plot. How much of the
plot is permitted to come out in this act? Why does Prospero so
repeatedly urge Miranda's attention? Is she abstracted, is he, or is
she already beginning to be drowsy? Why was Ferdinand the first to
quit the ship? Since Prospero already knows, why does he ask Ariel
what time it is?

POINTS. 1. Explain the nautical terms. 'Master's whistle.' In
Shakespeare's time naval commanders wore great whistles of gold. A
modern boatswain's badge is a silver whistle suspended to the neck by
a lanyard. Holt extols the excellence of Shakespeare's sea-terms, but
makes an exception of Gonzalo's 'cable,' which he says is of no use
unless the ship is at anchor, and here it is plainly sailing; to which
Furness replies, Shakespeare anchors Gonzalo's hopes on the
boatswain's 'gallows complexion,' and the cable of that anchor was the
hangman's rope. 2. 'Washing of ten