Chapter 19

to a satisfactory conclusion? Are there any characters left unaccounted for? Does every character in the play appear in this scene? Are they all on the stage when the curtain falls?

Make a list of the incidents which to you seem unnecessary, which could be left out without injury to the real story. Make another list of incidents that could not be omitted without spoiling the story. Find two little plots that make complete stories in themselves, but that help only in a moderate degree to make the main story clearer.

POETRY AND PROSE. Do any of the characters speak always in prose? Do any speak always in poetry? Do some speak partly in prose and partly in poetry? Can you see any connection between each character and his method of speech? How many songs are sung in the play? Who sings them? Do you like any of the songs? What effect do the songs have upon the play? Can you find rhyming lines anywhere excepting in the songs? Does any character speak in rhyme?

CONCLUSION. If we study a play too long or continue to read it after our interest ceases for a time, we are liable to be prejudiced against it, and to feel that it is not worth the labor we have put upon it. If, however, a person will stop studying when he begins to lose interest and work seems a drudgery, he will come back a little later with renewed interest. Again, when we study a play minutely as we have been doing, and view it from many sides, we may lose sight for a time of the unity and beauty of the whole composition. This is peculiarly unfortunate, for the poet intends us to view his work as a whole, and to produce his effect with the whole. It is _The Tempest_ that we will remember as a work of art, and, if our studies are fruitful, that will draw us back to it at intervals for many years to come. Before we leave it, we must take it and read it through in a leisurely manner, pausing merely to enjoy its beauty, to smile at its playfulness and to feel our hearts expand under the benign influence of the grand old man Prospero. Now Miranda, Ferdinand and Ariel have passed the line of mere acquaintances, and have become to us fast friends, who, though they may be forever silent, have yet given us a fragment of their lives to cheer us on our way.

OTHER PLAYS OF SHAKESPEARE. Shakespeare wrote a great many plays, and all are not equally good; a few seem so inferior that many who study them think they were not written by the same hand that penned _The Tempest_. Some of the plays are more difficult than others, and some cannot be comprehended until the reader has had some experience in life. There are several, on the other hand, that may be read with great interest and profit by almost any one, while those who have read _The Tempest_ as we have recommended, should find some measure of enjoyment in all. _A Midsummer Night's Dream_ is a charming fairy story; _The Merchant of Venice_ is a good story, contains fine characters and shows some of Shakespeare's most beautiful thoughts, although some people are inclined to believe he has dealt too severely with the Jew. _Much Ado About Nothing_ is a jolly comedy to match with _The Comedy of Errors_. _Julius Cæsar_, _Richard III_ and _Coriolanus_ are interesting historical plays, and _Hamlet_, _Macbeth_ and _Romeo and Juliet_ are among the best of his tragedies. If a person would read just the plays mentioned in the thoughtful way we have indicated here, he would gain a benefit whose great value never can be estimated, and thereafter all reading would seem easier and more delightful.

PRONUNCIATION OF PROPER NAMES

NOTE.--The pronunciation of difficult words is indicated by respelling them phonetically. _N_ is used to indicate the French nasal sound; _K_ sound of _ch_ in German; _ü_ the sound of the German _ü_ and French _u_; _ö_ the sound of _ö_ in foreign languages.

ABOUKIR, _ah boo keer´_ ACHILLES, _a kil´ leez_ ACIS, _ay´ sis_ AIX, _ayx_ AJAX TELAMON, _ay´ jacks tel´ a mon_ ALAMO, _al´ a mo_ ALAMEDA, _ah la may´ dah_ ALAVA, _ah´ la vah_ ALGIERS, _al jeerz´_ ALGONQUIN, _al gon´ kwin_ ALLOUEZ, _al loo ay´_ ALONSO, _a lon´ zo_ ALPUXARRAS, _ahl´´ poo hahr´ ras_ ALVARADO, _ahl vah rah´ do_ ANTIGUA, _an tee´ gwa_ APHRODITE, _af ro di´ tee_ ARDENNES, _ahr den´_ ARGONAUTA, _ahr go naw´ tah_ ARIEL, _ay´ ry el_ AYACANORA, _i a kahn o´ rah_ BOABDIL, _bo ahb deel´_ CADIZ, _kay´ diz_ CANOVA, _kah no´ vah_ CASABIANCA, _kas´´ a bee an´ kah_ CHARLEVOIX, _shahr´´ lev wah´_ CHARYBDIS, _ka rib´ dis_ COLIGNI, _ko´´ leen´´ yee´_, or _ko leen´ yee_ COMMUNIPAW, _kom mun´ y paw_ CORIOLANUS, _kor y o lay´ nus_ COROMANTEES, _ko ro mahn´ teez_ CUNDINAMARCA, _koon´´ dee nam ahr´ kah_ DAMFREVILLE, _doN freh veel´_ D'AUMALE, _do mahl´_ DEMARATUS, _de mar´ a tus_ DENT BLANCHE, _doN bloN´ sh_ DIAZ, _dee´ ahs_, or _dee´ ath_ DIOGENES, _di oj´ ee neez_ DISCOBOLUS, _dis kob´ o lus_ ELIA, _ee´ ly a_ EPHIALTES, _ef y al´ teez_ EURYALUS, _u ri´ a lus_ FERROL, _fer role´_ FINISTERRE, _fin´´ is tayr´_ FLIEDNER, _fleet´ ner_ FRONTENAC, _fron´ te nak_ GALATEA, _gal a tee´ a_ GHENT, _gent_ GONZALES, _gon zah´ leez_ GONZALO, _gon zah´ lo_ GRANADA, _gran ah´ dah_ GRÈVE, _grayv´_ HERNANDO CORTES, _her nahn´ do kor tays´_ HERVÉ RIEL, _her vay´´ ree el´_ IVRY, _eev ree´_ JOLIET, _zho lee yay´_ KIKABEAUX, _kee ka bo´_ KORAN, _ko´ ran_, or _ko rahn´_ LA CHINE, _lah sheen´_ LEIGH, AMYAS, _lee, a mi´ as_ LEONIDAS, _lee on´ y das_ LETHE, _lee´ thee_ LOCHIEL, _lo keel´_ LOUVRE, _loo´ vr´_ MAELSTROM, _mayl´ strum_ MALOUINS, _mah loo aN´_ MARCO BOZZARIS, _mahr´ ko bo tsa´ rees_, popularly _bo zar´ is_ MAYENNE, _mi en´_ MEGISTIAS, _me gis´ ty as_ MIAMIS, _mi ah´ miz_ MICHILLIMACKINAC, _mee´´ shil y mack´ in ak_ MIGUEL, _mee gayl´_ MILAN, _mil´ an_, or _mil an´_ MYCENAE, _mi see´ nee_ NACOGDOCHES, _nak o do´ chez_ NAVARRE, _nah vahr´_ NOMBRE DE DIOS, _nom´ bray day de os´_ NYACK, _ni´ ak_ OETA, _ee´ ta_ OLMEDO, _ol may´ do_ ORCHOMENUS, _or kom´ ee nus_ ORDAZ, _or dath´_ PEDRILLO, _pay dreel´ yo_ PELOPONNESUS, _pel´´ o pon nee´ sus_ PERE MARQUETTE, _payr mar ket´_ PHOENICIANS, _fee nish´ anz_ PICARDY, _pik´ ar dy_ PIZARRO, _pee zahr´ ro_ PLATÆA, _pla tee´ a_ PLUTARCH, _plu´ tark_ PROSPERO, _pros´ pe ro_ PUEBLO NUEVA, _pweb´ lah nuay´ va_ ROCHEFORT, _rosh for´_ ST. GÉNÉVIÈVE, _saN zhen´´ vy ayv´_ SALTO DE ALVARADO, _sahl´´ to day ahl vah rah´ do_ SAN ANTONIO DE BEXAR, _day bay hahr´_ SANDOVAL, _sahn do vahl´_ SAN JACINTO, _san ja sin´ to_ SANTA FÉ, _san´´ ta fay´_ SAULT SAINTE MARIE, _soo saint may´ ry_ SCYLLA, _sil´ la_ SEGUIN, _se geen´_ STUYVESANT, _sti´ ves sant_ TALADEGA, _tah lah day´ ga_ TEGEA, _tee´ gee a_ TEMERAIRE, _tem e rayr´_ THERMOPYLAE, _thur mop´ y lee_ TLASCALANS, _tlahs kah´ lahns_ TOURVILLE, _toor veel´_ TRAFALGAR, _traf al gahr´_ or _tra fal´ gar_ TYROLESE, _tir ol ees´_ VIGO, _vee´ go_ VILLENEUVE, _veel neuv´_ WILHELMUS KIEFT, _vil hel´ mus keeft´_ XENIL, _hay´ neel_ XERXES, _zurks´ eez_

Transcriber's Note

Corrections

Page Error 36 bring them to me? changed to bring them to me?' 310 dreadful ery changed to dreadful cry 336 Footnote 6 was skipped in numbering the footnotes in this section. 379 his fortune changed to his fortunes 391 The marker for footnote 391-115 was missing in the original book. It was inserted based on context. 424 _CALIBAN drinks._ changed to [_CALIBAN drinks._ 430 _Aside_ to changed to _Aside to_ 430 SEBAS. [_Aside_ changed to _Sebas._ [_Aside_ 431 The _phoenix_ was changed to The _phoenix_ was 478 cherubim changed to cherubim 490 Demartus changed to Demaratus 491 Plataea was changed to Platæa

Other comments

180 Footnote for 180-3 was printed on 181 340 Footnotes 340-14 and 340-15 were printed on 341 413 Footnote 413-18 was originally printed on 414 440 Footnote 440-28 was originally printed on 441

Inconsistent spelling and hyphenation:

bowsprit / bow-sprit Cæsars / Caesars Cortés / Cortes Fe / Fé Hardkoppig / Hard-Koppig hillside / hill-side lifelong / life-long misshapen / mis-shapen Moskoestrom / Moskoe-strom negroes / Negroes Père / Pere Schermerhorns / Schermerhornes southwest / south-west spiérs / spiers Thermopylæ / Thermopylae thunderbolt / thunder-bolt thunderbolts / thunderbolts topmast / top-mast upstaring / up-staring waterside / water-side