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Declaration

35 This is to certify that Manpreet Shaw, student of Master in English has carried out this

Dissertation Project titled,Gender Roles in The Tempest : Explore the power dynamic

between men and women: societal norms under the supervision and guidance of Associate

Prof. Tamalika Das, Department of English, Rishi Bankim Chandra College, Naihati. The

work submitted is original to the best of our knowledge and has not been carried out

elsewhere in any other University or Institute.

(Signature of the student) Department of English PG, Rishi Bankim Chandra College,

Naihati-743165, WB, India.

Supervisor's 33 Certificate

This is to certify that Manpreet Shaw, student of Master in English has carried out this

Dissertation project titled, Gender Roles in The Tempest: Explore the power dynamic

between men and women: societal norms under the supervision and guidance of Associate

Prof. Tamalika Das , Department of English, 36 Rishi Bankim Chandra College, Naihati.

The work submitted is original to the best of our knowledge and has not been carried out

elsewhere in any other University or Institute.

(Signature of the supervisor) Department of English PG, Rishi Bankim Chandra College,

Naihati-743165, WB, India.

Acknowledgement
I would like to express my utmost gratitude towards everyone concerned with my paper for

their valuable insights and contribution. 9 I would like to thank my paper supervisor

Associate Professor of English Department PG studies, Tamalika Das , Rishi Bankim

Chandra College, affiliated to WBSU for accepting my project work.

I would also like to thank our Principal and other faculty members for assisting me and

encouraging me for such project works.

Last but not the least, I would also like to show my utmost gratitude towards my fellow

class mates who has been a constant support for me to complete this dissertation paper.

Introduction

William Shakespeare, 2 one of the most celebrated playwrights and poets in history, lived

during the late 16th and early 17th centuries, a period known as the Elizabethan and

Jacobean eras in England. This era, named after Queen Elizabeth I and her successor,

King James I, was a time of significant cultural, political, and social change, profoundly

influencing Shakespeare's work and the theater of his time.

The Elizabethan era (1558-1603), under Queen Elizabeth I's reign, was marked by a

flourishing of English culture, arts, and literature. This period saw the establishment of

England as 34 a major European power in politics, commerce, and the arts. 2 The defeat

of the Spanish Armada in 1588 solidified England's naval dominance and boosted national

pride. This newfound stability and prosperity allowed the arts to thrive, with the theater

becoming an important form of entertainment and social commentary.

The period was also characterized by the Renaissance's influence, which had begun in

Italy and spread throughout Europe. The Renaissance brought a renewed interest in

classical learning, humanism, and scientific exploration. Humanist ideals emphasized the

potential and value of individuals, which can be seen in Shakespeare's complex characters

and exploration of human nature.

Theatrical performances were immensely popular during this time, with plays being

performed in venues ranging from royal courts to public theaters like the Globe Theatre,

where 14 many of Shakespeare's plays were staged. The Globe, an open-air 2 theater

on the south bank of the River Thames, became synonymous with Shakespeare's work. It

was here that audiences from all social classes could gather to watch performances,

reflecting the broad appeal of his plays.

Shakespeare's career continued into the Jacobean era (1603-1625), named after King

James I. This period continued many of the Elizabethan trends but was also marked by

increasing political and social tensions. The Gunpowder Plot of 1605, a failed attempt to

assassinate the king and blow up the Parliament, reflected underlying religious and political

conflicts. These tensions are evident in some of Shakespeare's later works, which often

explore themes of power, betrayal, and moral ambiguity.

Economically, this era saw the beginnings of England's transformation into a global trading

power. 19 The expansion of trade and colonization efforts, including the establishment of

the Virginia Colony in 1607, were beginning to shape England's future. This burgeoning

global perspective is mirrored in the exotic locales and diverse characters found in

Shakespeare's plays.

Socially, the period was marked by a rigid class structure, although the rise of a wealthy

merchant class began to challenge traditional aristocratic dominance. Education became

more accessible, and literacy rates improved, contributing to a greater public engagement

with literature and drama.

Religiously, the Protestant Reformation continued to influence English society. While

England was officially Protestant, there were ongoing conflicts between different religious

factions. Shakespeare's works often reflect these religious tensions subtly, using them to

deepen his exploration of human experience.

In summary, the time period in which William Shakespeare lived was one of dynamic

change and growth, significantly shaping his writing and the development of English

theater. The Elizabethan and Jacobean eras were times of cultural renaissance, political

intrigue, and social evolution, providing a rich backdrop for Shakespeare's enduring works.

23 The Tempest," one of William Shakespeare's most acclaimed plays, is a timeless tale

of magic, betrayal, revenge, and redemption. Believed 2 to have been written in

1610-1611, it is often considered one of Shakespeare's later works and showcases his

mature style and mastery of dramatic structure.

The play is 3 set on a remote island, where the protagonist, Prospero, the rightful Duke of

Milan, has been stranded for twelve years with his daughter, Miranda. Prospero, a learned

magician, uses his knowledge of the supernatural to control 38 the island and its

inhabitants, including the spirit Ariel and the monstrous Caliban.

The plot begins with a powerful 39 storm, or tempest, conjured by Prospero's magic, which

causes a ship carrying his usurping brother Antonio and other nobles to wreck on the

island. As the story unfolds, themes of power, authority, justice, and forgiveness are

explored. Prospero's manipulation of events on the island allows him to confront his past

enemies, test their repentance, and ultimately decide their fates.

Central to the narrative are the themes of colonization and the nature of power, reflected in

Prospero's 30 control over the island and its inhabitants. The complex relationship

between Prospero and Caliban, who considers himself the rightful ruler of the island, can

be interpreted as a commentary on European colonialism and the treatment of indigenous

peoples.

The play also delves into the theme of illusion versus reality, with Prospero's magical

abilities blurring the lines between what is real and what is fantastical. This motif is

emphasized through the elaborate masques and spectacles Prospero conjures, which

serve both to entertain and to manipulate the other characters.

"The Tempest" is notable for its rich language, lyrical beauty, and memorable characters.

Prospero, with his blend of wisdom and vengefulness, Miranda's innocence and

compassion, Ariel's ethereal obedience, and Caliban's raw resentment, create a dynamic

and multifaceted cast.

The play's conclusion, where 4 Prospero forgives his enemies and renounces his magical

powers, offers a powerful message of reconciliation and humanity. Prospero's epilogue,

where he 24 asks the audience for their applause to set him free, is often interpreted as

Shakespeare's farewell to the stage, adding a poignant layer to the play's legacy.

Overall, "The Tempest" stands as a testament to Shakespeare's genius, blending elements

of romance, comedy, and drama into a captivating narrative that continues to resonate with

audiences and scholars alike.

Power dynamic William Shakespeare explore between men and women in tempest
In "The Tempest," William Shakespeare delves into various power dynamics 2 between

men and women, primarily through the relationships and interactions between characters.

Key aspects of these dynamics include:

Prospero and Miranda: Prospero wields significant control over his daughter Miranda. He

dictates her actions and decisions, including her relationship with Ferdinand. This dynamic

showcases the paternal authority and control often exerted over women during

Shakespeare's time.

Miranda and Ferdinand: While 25 Miranda and Ferdinand's relationship is more equitable

compared to others in the play, it still reflects traditional gender roles. Ferdinand views

Miranda as a prize to be won, and their interactions often emphasize her purity and

submissiveness.

Sycorax and Caliban: Though Sycorax is a powerful witch, her story is told through the

perspective of men (Prospero and Caliban). Her power and influence are both feared and

condemned, reflecting the suspicion and marginalization of powerful women.

Prospero and Ariel: While Ariel is not human, the dynamic 26 between Prospero and Ariel

also reflects power and control. Prospero's dominance over Ariel mirrors the broader

themes of servitude and freedom, applicable to the relationships 2 between men and

women as well.

Overall, Shakespeare uses 17 "The Tempest" to explore and critique the hierarchical and

often patriarchal power structures between men and women, highlighting themes of

control, authority, and resistance.

What are the challenging traditional societal norms in the tempest by William Shakespeare
In "The Tempest" by William Shakespeare, several traditional societal norms are

challenged:

Hierarchy and Authority: The play examines the legitimacy of authority and the right to rule.

Prospero's overthrow by his brother Antonio questions the divine right of kings, while

Prospero's own rule over the island and its inhabitants (Caliban and Ariel) is also

scrutinized.

Colonialism and Slavery: The relationship 4 between Prospero and Caliban can be seen

as a critique of colonialism. Caliban, the native inhabitant, is subjugated and oppressed by

Prospero, reflecting the dynamics between colonizers and indigenous peoples.

Gender Roles: Miranda, 27 the only female character in the play, is portrayed with more

agency and intelligence than typical female characters of the time. Her role challenges the

passive and submissive stereotype of women in Elizabethan society.

Forgiveness and Revenge: The play questions the societal norm of seeking revenge for

wrongdoings. Prospero ultimately chooses forgiveness over vengeance, suggesting a

more progressive approach to justice and reconciliation.

These themes make "The Tempest" a rich text for examining and questioning traditional

societal norms.

Literature Review
The American Journal of Economics and Sociology Professor Francis Neilson. In his work

Shakespeare and The Tempest, he illustrates the situation.Even while we now know a

great deal more about Shakespeare than scholars did even twenty years ago, it is still all of

that. Many of our drowsy dramatic literature critics were shocked by Brandes's statement

when he said: In terms of sadness and humour, Shakespeare is on par with Cervantes and

Michael Angelo. This in and of itself 11 provides us with a benchmark for gauging the

extent and height of his abilities.

Professor Paul Yachnin is a Critical Journal that is Multidisciplinary. Shakespeare and the

Concept of Obedience: Gonzalo in "The Tempest"_ was reviewed by him. Throughout the

Renaissance, there was much debate over 2 the extent to which subjects had to submit

to their kings. Conflicts between Protestants and the Catholic Church during the

Reformation brought the frequently conflicting claims of political obedience and conscience

into sharp focus and brought the issue of obedience closer to the centre of the polemical

conflicts that raged from Luther's day until Milton's.

Professor Meredith Anne Skura reviewed 12 the way in which his hard-on magical power

enabled him to re-educate the shipwrecked Italians to heal their civil war and, even more

importantly, to triumph over his own vengefulness by giving his enemies they had exercise

the way he achieve, if not a holy brave, then at least a harmoniously reconciled and world

in his book "Discourse and the individual: The case of colonialism in "The Tempest"_.

The Tempest was reviewed by Professor Charles Frey 13 on an island in the

Mediterranean, halfway between Naples and Tunis, for his work The Tempest and the New

World. However, it seems that the play makes at least a few glances in the direction 14 of

the new world.

According to the book William Shakespeare, Conservative, Donald Neil Friesner Many

commentators on Shakespeare oscillate 6 between two equally dangerous extremes: the

temptation to "bring Shakespeare down to earth," which often results in a likeness

suspiciously made in the sculptor's own image, and the tendency to make Shakespeare a

disembodied spirit that hovered over Stratford-upon-Avon and London and miraculously

left us immortal sonnets, plays, and miscellaneous poems. 18 In an attempt to suggest

Shakespeare's political ideas, I propose to choose a moderate route between these two

extremes.

Thomas M. McCann and Joseph M. Flanagan* reviewed Gerald Graff's proposal that

students become highly engaged in examining literature when they participate in debates

about contentious issues related to the text in their book _A "Tempest" Project:

Shakespeare and Critical Conflicts_ Beyond the Culture Wars. According to Graff, the task

of getting students to attentively read any major work and have an intellectual discussion

about its merits and significance is more essential than the matter of which body of

literature they should study.

Shakespeare's plays, according to Dean Ebner, reviewed in his book 31 The Tempest:

Rebellion and the Ideal State by VIRGIL K. WHITAKER, show a growing interest in

philosophical concepts, particularly in relation to a number of political issues, such as the

appropriate dynamic between a subject and his sovereign. Additionally, he notes that

Shakespeare began to have a greater interest in the philosophical-theological

understanding of life found in the Christian tradition 2 at the turn of the century.

Shakespeare in India_ by *Professor K. R. Srinivasa Iyengar One of the greatest

universalists is Shakespeare. The political reason behind Britain's 1947 disengagement

from India hasn't had a significant impact on the study of Shakespeare and English
literature in our institutions and universities.

Reviewing in his book "Rounded with a Sleep" was Hugh H. Davis: The Tempest by Derek

Jarman: Prospero's Dream The Tempest's cinematic legacy 28 has been one of

metamorphoses that start over and see the play from fresh angles. One movie that

dissects Shakespeare's work and suggests Derek Jarman's The Tempest (1979), a low

budget film that has not gotten the full scholarship it deserves, offers new options in its

interpretation.

Julia Reinhard Lupton reviewed in 29 Birth Places: Shakespeare's Beliefs / Believing in

Shakespeare Henry James's novella The Birthplace centers on Mr. and Mrs. Morris

Gedge, a middle-aged couple who are both financially strained and intellectually ambitious.

The Gedges, 15 stuck in a librarian post in "Blackport-on-Dwindle, all granite, fog, and

female fiction," are presented with an amazing opportunity to take up the maintenance of

the Birthplace, the historic childhood house of a certain well-known author. Shakespeare is

addressed as "He" with reverence (8, passim).

Research Methodology

20 Current issues are now on the Chicago Journals website. 7 Read the latest issue.

Since its inception in 1912, Isis has featured scholarly articles, research notes and

commentary on the history of science, medicine, and technology, and their cultural

influences. 5 Review essays and book reviews on new publications in the field are also

included. An official publication of the History of Science Society, this is the oldest (and

most widely circulating) English-language journal in the field. 1 With a new Editor and

editorial office in the Netherlands, the Press would like to acknowledge the following

supporters: Ammodo Foundation; Descartes Centre, Utrecht University; Faculty of

Humanities, Utrecht University; Huygens Institute for the History of the Netherlands;
Museum Boerhaave, Dutch National Museum for the History of Science and Medicine.

Subscriptions to Isis are concurrent with membership in the History of Science Society. All

individual and student subscribers are automatically enrolled as HSS members, with all

attendant benefits.

Methodology in william shakespeare's the tempest

Shakespeare's The Tempest employs a variety of methodologies, including thematic

exploration, character development, and structural techniques, which contribute to its

enduring impact.

Here are some key methodologies used:

Magic and Supernatural Elements:

Central to the plot, magic is used by Prospero to control events and other characters. 3 It

serves as a metaphor for power and influence, allowing Shakespeare to explore themes of

authority and manipulation.

Allegory and Symbolism:

The play is rich in allegory and symbolism. For instance, the tempest itself symbolizes the

turmoil and chaos that precedes the restoration of order. The island represents a

microcosm of society, where power dynamics and human nature are examined.

Characterization:

Shakespeare develops complex characters whose interactions and transformations drive

the narrative. Prospero's journey from vengeance to forgiveness, Ariel's quest for freedom,

and Caliban's resistance to colonization 11 are central to the play's thematic depth.

Themes of Colonization and Power.

The relationship 4 between Prospero and Caliban reflects the dynamics of colonization

and the struggle for power. This can be seen as a critique of European colonial practices

and the exploitation of native populations.

Metatheatricality.

The play frequently references its own nature as a theatrical work. Prospero's control over

the events on 23 the island mirrors the playwright's control over the narrative, highlighting

the artificiality and constructed nature of the story.

Language and Poetry:

Shakespeare's use of eloquent language, verse, and prose helps convey the characters'

emotions and statuses. The lyrical quality of the dialogue adds to the play's enchanting

atmosphere and deepens its emotional impact.

Restoration and Forgiveness:

A key methodology 4 is the theme of reconciliation and forgiveness. By the end, Prospero

forgives his enemies, and order is restored. This aligns with the conventions of

tragicomedy, where conflicts are resolved, and harmony is reestablished.

Use of Dramatic Structure:

The play follows a classical five-act structure, each contributing 3 to the development of

the plot and themes. The 16 exposition sets the scene, the rising action builds tension, the

climax peaks with major revelations, the falling action leads towards resolution, and the

denouement wraps up the narrative threads.

By weaving these methodologies together, Shakespeare crafts a rich and multifaceted play

that explores profound themes and engages the audience on multiple levels.

Chapter 1

Class conflict and secrecy

In "The Tempest" by William Shakespeare, class conflict and secrecy play significant roles

in the narrative and thematic structure of the play.

Class Conflict:

Hierarchy and Power:

The play highlights the rigid class structures of the time. Prospero, as the 4 former Duke

of Milan, represents the ruling class, while characters like Caliban and Ariel represent the

subjugated and the marginalized.

Caliban’s servitude and resentment towards Prospero epitomize the tension between the

colonizer and the colonized. Caliban's famous lines, "This island's mine, by Sycorax my

mother, / Which thou takest from me" (Act 1, Scene 2), underscore the theme of

dispossession and exploitation.

Servitude and Rebellion:

Ariel’s relationship with Prospero also reflects the dynamics of master and servant. Ariel

serves Prospero in exchange 19 for the promise of freedom, highlighting the theme of

conditional loyalty and the desire for liberation.

The subplot involving Trinculo, Stephano, and Caliban also showcases class conflict. The

drunken butler and jester’s attempt to exploit Caliban’s knowledge for their gain satirizes

social mobility and the incompetence of the lower class attempting to rise above their

station.

Marriage and Social Order:

The proposed union 11 between Miranda and Ferdinand serves as a means to restore

social and political order. Their marriage symbolizes the reconciliation of class differences

and the reestablishment of social hierarchies disrupted by Prospero’s exile.

Secrecy:

Prospero’s Manipulation:

Prospero’s use of magic to control 17 events on the island is shrouded in secrecy. He

orchestrates the shipwreck and manipulates other characters through illusions, keeping his

true intentions concealed.

His backstory, revealed through dialogue with Miranda and Ariel, is gradually uncovered,

emphasizing the theme of hidden truths and past grievances influencing present actions.

Hidden Identities:

Several characters adopt disguises or conceal their true identities. For example, Ferdinand

pretends to be a lowly worker to win Prospero’s approval for marrying Miranda.

Prospero himself disguises his true power and motives until the final act, where he reveals

his identity to the shipwrecked nobles and forgives his usurpers.

Intrigues and Plots:

The play features various conspiracies and secret plots, such as Antonio and Sebastian’s

plan to murder Alonso and seize the throne of Naples. These schemes highlight the theme

of betrayal and the precariousness of power.

Caliban’s conspiracy with Trinculo and Stephano to overthrow Prospero adds another layer

of secret machinations, though it is ultimately portrayed as comically inept.

Overall, "The Tempest" uses class conflict and secrecy to explore themes of power,

control, and 10 the complexities of human relationships. 37 The interplay between these

elements drives the plot and deepens the characters' interactions, offering a rich

commentary on social hierarchies and the nature of authority.

Chapter 2

Power Colonization

10 In William Shakespeare's The Tempest, themes of power and colonization are central

to the narrative, with various characters embodying different aspects of these themes.

Here's a breakdown of how power and colonization manifest in the play:

Power Dynamics

Prospero's Authority: 3 Prospero, the rightful Duke of Milan, wields significant power on

the island through his knowledge of magic. His control 8 over the island and its

inhabitants, particularly Ariel and Caliban, is a key aspect of his character. Prospero's

magic symbolizes his intellectual and political power.

Control Over Others: 26 Prospero's relationship with Ariel and Caliban highlights different

aspects of power. Ariel is bound to serve Prospero until he earns his freedom, representing

a form of benevolent dictatorship. In contrast, Caliban's subjugation is harsher and more

exploitative, reflecting colonial attitudes toward indigenous peoples.

Political Power: The play also deals with traditional notions of political power. The

usurpation of Prospero 8 by his brother Antonio, and the political machinations of the

nobles shipwrecked on the island, mirror the real-world power struggles of Shakespeare's

time.

Colonization

The Island: The island itself can be seen as a microcosm of the New World, with Prospero

as the colonizer who imposes his will upon the land and its original inhabitants. His rule

over the island and his attempt to "civilize" Caliban parallel European colonization efforts.

Caliban's Subjugation: Caliban, the 32 son of the witch Sycorax and the island's original

inhabitant, represents the colonized subject. Prospero's treatment of Caliban, including his

attempts to educate and control him, 22 reflects the attitudes of European colonizers

towards indigenous peoples. Caliban's resistance and claim to the island highlight the

theme of native resistance to colonization.

Language and Culture: The imposition of language is another form of colonization in the

play. Prospero teaches Caliban his language, thereby exerting cultural dominance.

Caliban's famous line, "You taught me language, and my profit on't / Is, I know how to

curse," underscores the ambivalence of this cultural imposition.

10 In The Tempest, Shakespeare explores the complexities of power and colonization

through the interactions of Prospero, Ariel, and Caliban. The play critiques the ethical

implications of authority and colonial domination, while also reflecting the contemporary

issues of Shakespeare's own time regarding exploration and empire. The dynamics

between the characters offer a rich commentary 14 on the nature of power and the impact
of colonization.

CONCLUSION

In William Shakespeare's "The Tempest," gender roles are intricately woven into the play's

22 exploration of power dynamics, ultimately challenging traditional societal norms.

Through characters like Miranda and Prospero, Shakespeare illustrates the limitations

placed on women, with Miranda's obedience and innocence contrasting Prospero's

authoritative control. However, the play also subverts these roles, particularly in Miranda's

assertiveness and agency in 11 her relationship with Ferdinand, highlighting a shift

towards more equitable dynamics. Additionally, the presence of powerful female figures,

such as the absent yet influential Sycorax, underscores the latent potential of women to

wield power. By portraying these complex interactions, "The Tempest" not only reflects the

gender expectations of its time but also subtly critiques and reimagines them, suggesting a

more progressive view of gender relations 10 and the potential for women to transcend

traditional boundaries of power and influence.

Thesis

In William Shakespeare's "The Tempest," several central themes can serve as potential

thesis topics.

The Nature of Power and Authority:

"In 'The Tempest,' Shakespeare explores the dynamics of power and authority through the

characters of Prospero, Caliban, and Ariel, illustrating how control and manipulation are

exercised and the implications of their use."

Colonialism and Exploration:

"Shakespeare's 'The Tempest' can be interpreted as a critique of colonialism, with the

island representing the New World and the relationships between Prospero, Caliban, and

Ariel reflecting the complexities and consequences of European colonization."

Forgiveness and Redemption

"The theme of forgiveness and redemption is central to 'The Tempest,' as evidenced by

Prospero's journey from vengeance to reconciliation, highlighting the transformative power

of mercy and forgiveness."

Illusion and Reality:

"Through the use of magic and theatricality in 'The Tempest,' Shakespeare blurs the line

between illusion and reality, questioning the nature of truth and the role of art in shaping

human experience."

The Role of Nature and Nurture:

"In 'The Tempest,' Shakespeare examines the influence of nature versus nurture through

the characters of Caliban and Miranda, suggesting that environment and education play

crucial roles in the development of an individual's character and morality."

Each of these theses can be expanded with textual evidence and analysis 16 to create a

compelling argument about the central themes in "The Tempest."

Work cited

Frey, Charles. “The Tempest and the New World.” Shakespeare Quarterly, vol. 30, no. 1,

1979, pp. 29–41. https://doi.org/10.2307/2869659.

Skura, Meredith Anne. “Discourse and the Individual: The Case of Colonialism in ‘The

Tempest.’” Shakespeare Quarterly, vol. 40, no. 1, 1989, pp. 42–69.

https://doi.org/10.2307/2870753.

YACHNIN, PAUL. “Shakespeare and the Idea of Obedience: Gonzalo in ‘The Tempest.’”

21 Mosaic: A Journal for the Interdisciplinary Study of Literature, vol. 24, no. 2, 1991, pp.

1–18.http://www.jstor.org/stable/24780501.

Friesner, Donald Neil. “William Shakespeare, Conservative.” Shakespeare Quarterly, vol.

20, no. 2, 1969, pp. 165–78.https://doi.org/10.2307/2869003.

McCann, Thomas M., and Joseph M. Flanagan. “A ‘Tempest’ Project: Shakespeare and

Critical Conflicts.” The English Journal, vol. 92, no. 1, 2002, pp.

29–35.https://doi.org/10.2307/821943.

Wilson-Okamura, David Scott. “Virgilian Models of Colonization in Shakespeare’s

Tempest.” ELH, vol. 70, no. 3, 2003, pp. 709–37. http://www.jstor.org/stable/30029896

Carey-Webb, Allen. “Shakespeare for the 1990s: A Multicultural Tempest.” The English

Journal, vol. 82, no. 4, 1993, pp. 30–35.https://doi.org/10.2307/820844.

Major, John M. “Comus and The Tempest.” Shakespeare Quarterly, vol. 10, no. 2, 1959,

pp. 177–83. https://doi.org/10.2307/2866924.

McNeer, Rebecca. “Happily Ever After: William Shakespeare’s ‘The Tempest’ and Murray

Bail’s ‘Eucalyptus.’” Antipodes, vol. 16, no. 2, 2002, pp.

171–76.http://www.jstor.org/stable/41957222.

Freehafer, John. “Shakespeare’s ‘Tempest’ and ‘The Seven Champions.’” Studies in

Philology, vol. 66, no. 1, 1969, pp. 87–103. http://www.jstor.org/stable/4173630.

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27 women/
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28 Derek-Davis/ebb20d86f66bcc50abe3b8a5c1a8186e0c48fcf3
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33 vi-hons-project/57849120
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34 golden-age/
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38 rightful duke of Milan and,eventually to reconcile with his usurping brother Antonio.
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