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A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S THE TEMPEST By JAMES E. McGINN, Ed.D and JEANNE M. McGLINN, Ph.D. R141,93
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A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S THE TEMPEST By JAMES E. McGINN, Ed.D and JEANNE M. McGLINN, Ph.D.
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A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S THE TEMPEST By JAMES E. McGINN, Ed.D and JEANNE M. McGLINN, Ph.D.

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  • July 12, 2024
  • 19
  • 2023/2024
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A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF


WILLIAM SHAKESPEARE’S

THE TEMPEST
By JAMES E. McGINN, Ed.D and JEANNE M. McGLINN, Ph.D.




S E R I E S E D I T O R S :

W. GEIGER ELLIS, ED.D., UNIVERSITY OF GEORGIA, EMERITUS
and
ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED

,A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s The Tempest 2



INTRODUCTION

The Tempest is generally regarded as Shakespeare’s last play, first performed in 1611 for King James I and again for the
marriage festivities of Elizabeth, the King’s daughter, to Frederick, the Elector Palatine. Scholars attribute the immediate
source of the play to the 1609 shipwreck of an English ship in Bermuda and travelers’ reports about the island and the
ordeal of the mariners. The period in which it was written, the seventeenth century age of exploration, the circumstances
of its performance at court, and the context of the playwright’s writing career suggest immediately some of its rich themes
and ambiguities.
The play can be read as Shakespeare’s commentary on European exploration of new lands. Prospero lands on an island
with a native inhabitant, Caliban, a being he considers savage and uncivilized. He teaches this “native” his language and
customs, but this nurturing does not affect the creature’s nature, at least from Prospero’s point of view. But Prospero does
not drive Caliban away, rather he enslaves him, forcing him to do work he considers beneath himself and his noble
daughter. As modern readers, sensitive to the legacy of colonialism, we need to ask if Shakespeare sees this as the right
order; what are his views of imperialism and colonialism? What are our twentieth century reactions to the depiction of
the relationship between the master and slave, shown in this play?
The theme of Utopianism is linked to the explorations of new lands. Europeans were intrigued with the possibilities
presented for new beginnings in these “new” lands. Was it possible to create an ideal state when given a chance to begin
anew? Could humans hope to recreate a “golden age,” in places not yet subject to the ills of European social order? Could
there be different forms of government? Would humans change if given a second chance in an earthly Paradise?
The play emphasizes dramatic effects. Because it was performed at court, there is a lot of stage business: music, dance,
masque-like shows. The role of the artist is explored through Prospero’s use of his magic, and parallels can be drawn to
Shakespeare’s own sense of his artistry.
Finally, knowing that this is Shakespeare’s last play, it is intriguing to explore autobiographical connections. Does he see
himself in Prospero? Does he feel somehow isolated, in need of reconciliation? How is this play a culmination of other
themes he has explored?
These questions assume an audience of students who have previously encountered Shakespeare. So, this play will be most
appropriate for high school seniors or college students. The Tempest is an excellent play for study, though, because it shows
Shakespeare’s final treatment of themes that have run through the other plays, e.g. good and evil, justice and mercy. In
addition, this play provides a primary source perspective on 17th-century attitudes about imperialism. Students of world
history might especially be interested by this view. Also, the low humor and pageantry in the play heightens its appeal to
a wider audience. Students might especially have fun with the scenes involving Caliban and the members of the crew.
In this guide we will suggest activities and discussion questions which encourage students to explore these various ideas.
Since the play may be challenging to high school students, teachers will need to carefully provide students with
background knowledge in order to insure that their reading and enjoyment of the play is as rich as possible. As in previous
Teacher’s Guides to Signet Classics, we include a detailed synopsis of the play and suggested teaching activities for before
students read, while they read, and after they read the play. A variety of activities is listed in each section, so the teacher
can choose according to the themes, interests, background, and needs of students.

OVERVIEW


CHARACTERS BY RELATIONSHIP
Prospero, the true Duke of Milan but now living on a deserted island
Miranda, his daughter
Antonio, brother of Prospero and usurper of the role of Duke of Milan
Ariel, “an airy spirit” who does Prospero’s bidding
Caliban, a savage creature controlled by Prospero
Alonso, King of Naples
Sebastian, his brother
Ferdinand, son of the King of Naples
Gonzalo, former advisor to Prospero, now principally serves Alonso

, A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s The Tempest 3



SYNOPSIS


ACT I, SCENE I
The play begins on the deck of a ship at sea in the middle of a violent tempest. Amid loud sounds of thunder and flashes
of lightning, the sailors fight to bring down the sails in order to control the ship. The passengers, Alonso, Sebastian,
Antonio, and Ferdinand, come on deck to see what is happening, but the sailors complain that they interfere with their
work and make more noise than the storm. Soon all appears lost as the ship breaks apart. The passengers and crew believe
they are about to drown.


ACT I, SCENE II
The scene changes to the island where Miranda and Prospero have viewed the plight of the storm-tossed ship through
Prospero’s magic powers. Removing his magical robe, Prospero tells Miranda the history of her birth and her true place
and value. He describes how he and Miranda, then not quite three years old, were forced to board a rotting ship and put
to sea to suffer certain death. The conspiracy to take over Prospero’s power and station was the work of his brother who
plotted with the King of Naples, Prospero’s enemy. Now “by accident most strange,” all these men have been brought
close to the island where Prospero and Miranda have been shipwrecked for the last twelve years. Through magic and the
spirit Ariel who is required to do his bidding, Prospero created the storm and chaos among the sailors and passengers so
that they would be separated and believe the others drowned. However, Prospero has protected them all from harm and
hidden the ship under a charm.
When Ariel appears reluctant to continue to serve Prospero, he reminds the spirit of its imprisonment by the witch
Sycorax and Caliban, her child, until Prospero worked his magic. (Ariel’s gender is unspecified.) Besides, Prospero
promises complete freedom in just two days time if Ariel carries out his designs.
Prospero awakens Miranda and they visit Caliban, “the slave,” who carries wood, makes fire, and serves their basic needs.
Caliban curses Prospero, his master, for usurping his rightful rule of the island, and Prospero vows to punish Caliban for
these insults and his continued insolent behavior. Prospero recalls how when he attempted to befriend Caliban and teach
him language and manners, Caliban tried to “violate the honor” of Miranda.
Meanwhile Ariel’s song and music has lured Ferdinand near to Prospero and Miranda. Miranda is immediately impressed
by Ferdinand’s good looks, and he is equally smitten by her beauty, calling her a “goddess.” Prospero lets the audience
know through the vehicle of asides that this attraction is exactly what he had planned and hoped for, and he only acts
disapproving in order to make their bond even stronger. Miranda pleads with her father to spare Ferdinand while Prospero
demands his subservience.


ACT II, SCENE I
Meanwhile Alonso, Sebastian, Antonio, and Gonzalo have washed up on another part of the island. Gonzalo councils
Alonso to see the optimistic side of their predicament. Even though Ferdinand is missing, they should rejoice that they are
alive. This is, of course, the last thing that Alonso wants to hear. Meanwhile Sebastian and Antonio ridicule Gonzalo, making
fun of his speeches. Cruelly, Sebastian even accuses Alonso of being responsible for Ferdinand’s death. They wouldn’t have
been on this journey if Alonso had allowed his daughter to marry a European prince rather than the King of Tunis.
Gonzalo counsels moderation; no one is to blame. He also calls on the company to observe the beauty of the island. Then
he begins to describe the type of government he would institute on this island. It would be a utopia of equality with no
marks of wealth or social status. All would have leisure and their needs would be met “without sweat or endeavor.”
Ariel, who is invisible, passes among the men playing music, and all of the company, except Antonio and Sebastian,
suddenly fall into a deep sleep. Antonio uses this moment to describe to Sebastian the opportunity he now has to seize
the crown from his brother.
With Alonso’s son and daughter out of the way, Sebastian can easily claim the crown; all he has to do is kill Alonso.
Antonio points to his own behavior as a model. He overthrew his brother and now enjoys success. He vows to kill Gonzalo
to prevent his interference with their plot while Sebastian kills his brother. Sebastian decides to follow Antonio’s
“precedent,” promising Antonio as his reward that he will no longer have to pay tribute to Naples.

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