For most editors, this is close to impossible, and that is why Wikipedians are expected to utilize dispute resolution in order to deal with the problem.Most people either don't quite understand how it works or just don't have the patience because it "doesn't rise to the level of genuine scholarly discussion", but that excuse does not help your cause, even if this does one day end up in front of an Arb Com. Nishidani and Tom Reedy, I appreciate that you might be dealing with a form of editing that frustrates the best of editors, but you need to stop drawing this sort of attention to yourselves.If an editor is repeatedly trying to push POV, edit tendentiously, etc., it is under one condition that you may try to deal with this by yourselves: that your conduct stays well above par.If an editor is trying to push POV, open an article Rf C - let others see why or how another editor's proposal/editing is problematic.
You need to make a choice about how others will receive your contributions - this includes in the level of professionalism that others can see in your commentary and edit-summaries.
There is no obvious single source for the plot of The Tempest, but researchers have seen parallels in Erasmus's Naufragium, Peter Martyr's De orbo novo, and an eyewitness report by William Strachey of the real-life shipwreck of the Sea Venture on the islands of Bermuda.
In addition, one of Gonzalo's speeches is derived from Montaigne's essay Of the Canibales; and much of Prospero's renunciative speech is taken word for word from a speech by Medea in Ovid's poem Metamorphoses.
He was a shareholder in the Children of the Revels, a troupe of boy actors who performed 'in a converted room in the former Blackfriars monastery', In 1600 Richard Burbage leased to [Henry] Evans his Blackfriars property, and the Children of the Revels under Nathaniel Giles, with Evans as landlord and partner, occupied the theatre for some years.
Evans assigned his rights in the property and the company in two stages, first one-half in sixths to [Edward] Kirkham, [Thomas] Kendall and [William] Rastell, and subsequently the second half in sixths to John Marston, William Strachey, and his own wife. But in 1606 William Strachey had a one-sixth share in the Blackfriars Theatre.