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Question SA-5. Here is the text reference (p. 164/1 & 165/1):

The Uruguayan José Enrique Rodó (1871-1917) is the principal prose writer of the modernist movement. He is best known for his extended essay, Ariel, named after the airy spirit in Shakespeare's The Tempest. Ariel has often been interpreted simplistically as symbolizing the struggle between the spiritual and cultural values of Latin America (represented by Ariel) and the crass materialistic and utilitarian values of the United States (represented by Caliban, that less attractive character from The Tempest).

That afternoon the old and venerated teacher brought his young disciples together for the last session of the year's studies. They called him "Prospero", alluding to the wise magician of Shakespeare's The Tempest. They had already arrived in their spacious study room, in which a delicate but severe taste was evident, emanating from the noble presence of books, Prospero's faithful companions. An elegant bronze statue of The Tempest's Ariel dominated the room, as the deity of its serene environment. The old teacher usually sat next to this bust, and so they gave him the name of the magician who in the play had served and favored the fantastic personage who was the object of the sculptor's work. But perhaps he had intended, in his teachings and character, a deeper reason and sense.