auKmtcmminrA'm masif n i/tin^if^v IHE TEMffi <^T HE j-\.s%^i.j i ... HAKESPKA'iLL. , jici^.f^tttt ' *a t Wi>«w»Ma HBATH : O ^ J>f ! '^P.^. THE ARDEN SHAKESPEARE General Editor, C. H. Heefobd, Litt.D., University of Manchester THE TEMPEST EDITED BY FREDERICK S. BOAS, M.A. PBOFESSOR OF ENGLISH LITERATURE, QUEEN'e COLLEGE, BELFAST AMERICAN EDITION REVISED BY KATHARINE LEE BATES, Litt.D, PROFESSOR OF ENGLISH MTEKATURE WELLESLEY COLLEGE D. C. HEATH & CO., PUBLISHERS BOSTON NEW YORK CHICAGO %"'%,k -i^t^;^ THE ARDEN SHAKESPEARE > A MrDSUMMER NIGHT'S DREAM. / ^ Edited by Edmund K. Chambers, B.A., Oxford. iAS TOU LIKE IT. / Edited by J. C. Smith, BLA., Edinburgh. / CORIOLANUS. Edited by Edmund K. Chambers, B.A., Oxford. CYMBELINE. \ Edited by A. J. Wyatt, M.A., Cambridge. ^ HAMLET. / Edited by Edmund K. Chambers, B.A., Oxford,*^ " '^ HEKRY lY— FIRST PART. Edited by F. W. Moorman, B.A., Yorkshire College., HENRY V. Edited by G. C. Moore Smith, M.A., Cambridge, y HENRY Vin. ^ Edited by D. Nichol Smith,M.A., Edinburgh. JULIUS C^SAR. Edited by Arthur D. Innes, M.A., Oxford. KING JOHN. ■y Edited by G. C. Moore Smith, M.A., Cambridge.) ^KING LEAR. Edited by D. Nichol Smith, M.A., Edinburgh. : y MACBETH. ,j/ Edited by Edmund K. Chambers, B.A., Oxford. '' MUCH ADO ABOUT NOTHING. Edited by J. C. Smith, M.A., Edinburgh. EICHARD H. Edited by C. H. Herford, Litt.D., Cambridge. BICHARD HL , Edited by George Macdonald, M.A, Oxford. ^^ EOMEO AND JULIET. / Edited by Robert A. Law, Ph.D., Harvard. / vTHE MERCHANT OF VENICE. Edited by H. L. Withers, B.A., Oxford. \THE TEMPEST. V Edited by F. S. Boas, M.A, Oxford. "^THE WINTER'S TALE. Edited by H. B. Charlton, M.A., Manchester. IT. > xthur D. Innes, M.A., Oxford. The remaining volismes are in preparation. ^TWELFTH NIGHT. x/ Edited by Arthur D. Innes, M.A., Oxford. " COFSISIGHT, 1916, BY D. C. HbATH & Co. ij6 V -7 1916 CLA445534 GENERAL PREFACE In this edition of Shakespeare an attempt is made to present the greater plays of the dramatist in their literary aspect, and not merely as material for the study of philology or grammar. Criticism purely verbal and textual has only been included to such an extent as may serve to help the student in the appreciation of the essential poetry. Questions of date and literary history have been fully dealt with in the Introductions, but the larger space has been devoted to the interpre- tative rather than the matter-of-fact order of scholar- ship. Esthetic judgments are never final, but the Editors have attempted to suggest points of view from which the analysis of dramatic motive and dramatic character may be profitably undertaken. In the Notes likewise, while it is hoped that all unfamiliar expressions and allusions have been adequately explained, yet it has been thought even more important to consider the dramatic value of each scene, and the part which it plays in relation to the whole. These general princi- ples are common to the whole series; in detail each Editor is alone responsible for the play or plays that have been intrusted to him. Every volume of the series has been provided with a Glossary, an Essay upon Metre, and an Index ; and Appendices have been added upon points of special interest which could not conveniently be treated in the Introduction or the Notes. The text is based by the several Editors on that of the Globe edition. CONTENTS Page Introduction v Dramatis PERsoNiE xxvi The Tempest . 1 Notes 85 Appendix A — The Preface and Prologue to Dryden and Davenant's The Tempest or the Enchanted Island 143 Appendix B — Mrs. F. A. Kemble's Allegorical Interpretation of The Tempest 146 Appendix C — Metre 149 Glossary 157 Index of Words 162 General Index 165 INTRODUCTION 1. THE DATE OF THE PLAY The date of The Tempest is one of the most vexed problems of Shakespearean criticism, and cannot be fixed with complete cer- tainty. The play was printed for the first time, as far as we know, in the collected edition of Shakespeare's works, 1623, known as the First Foho. Thus all conclusions as to its date must be based upon any existing records in connection with performances, upon internal evidence, or upon conjectm-al allusions in contemporary writings. Himter, in his Disquisition on the Scene, Origin, Date, &c. of Shakespeare's Tempest (1839), assigned the play to the spring or summer of 1596. He identified it with Love's Labour's Won men- tioned by Francis Meres in his list of twelve of Shakespeare's plays (1598), and considered that its references to travelers' tales were inspired by Raleigh's narrative of his Voyage to Guiana (1596). Hunter fm-ther assumed that Ben Jonson, in the Prologue to Every Man in his Humour,^ was alluding to The Tempest in the following hues : "He rather prays you will be pleased to see One such to-day, as other plays should be ; Where neither chorus wafts you o'er the seas Nor creaking throne comes down the boys to please ; Nor nimble squib is seen to make afeard The gentlewoman; nor roU'd bullet heard To say, it thunders : nor tempestuous drum Rumbles, to tell you when the storm doth come. There's hope left then. You, that have so grac'd monsters may like men.** In the italicized lines Hunter detected references to (1) the descent of Juno in the Masque in Act iv ; (2) the thunder and lightning in 1 We know of no performance of Every Man in his Humour before 1598, but Hunter without warrant identified it with The Umers mentioned in Hens- lowe's Diary, Nov. 25, 1596, since proved by Fleay to be Chapman's Humoroua Day's Mirth. vi INTRODUCTION Act i, sc. 1 ; (3) the monster Caliban. But the allusions are very doubtful, and, in any case, they give no support to Hunter's theory. For this Prologue does not appear in the quarto edition, 1601, of Every Man in his Humour, and is first found in the folio edition of Ben Jonson's works, 1616. Apart from this, however, and from the evidences treated below, one fact is fatal to Hunter's hypothesis. Gonzalo's sketch of his ideal commonwealth (ii. 1. 147-164) is borrowed almost verbally from Florio's translation of Montaigne, but this translation was first printed in 1603, and then with a prefa- tory statement to the effect that, in 1599, it had not been begun. This debt of the dramatist to Montaigne forms the starting point of the German critic Elze's theory, which assigns the play to 1604. Ben Jonson, in his Volpone (iii. 2), 1605, alludes to thefts by Eng- lish authors from the French essayist. As Gonzalo's speech is the principal passage in extant Elizabethan literature taken from Mon- taigne, Elze concludes that the sarcastic reference is to The Tempest, which he accordingly places in the year between the publication of Florio's version and the production of Volpone. But the allusion is too vague to be thus pressed, nor does it gain much support from Elze's second argument that Shakespeare was also indebted to Darius, a tragedy by the Earl of Stirling, 1603, which contains (iv. 2) these lines ; "Let greatnesse of her glascie scepters vaunt; Not sceptours, no, but reeds, soone brus'd soone broken : And let this worldlie pomp our wits inchant. All fades, and scarcelie leaues behinde a token. Those golden Pallaces, those gorgeous halles. With fourniture superfluouslie faire : Those statelie Courts, those sky-encountring walles Evanish all like vapours in the aire." There is an undoubted similarity between these verses and Pros- pero's words (iv. 1) beginning "And, like this insubstantial pageant faded," but the parallel may simply have been accidental, as the transitoriness of earthly magnificence is a commonplace of thought, and even if Shakespeare had read Stirling's lines they might easily have found an echo in his verse later than 1604. The safer way to ascertain the approximate date of The Tempest is to set aside these highly conjectural inferences in favor of indis- putable evidence afforded by the metre, style, and spirit of the play. Shakespeare's metrical practice underwent great changes during his career as playwright, (a) Rhyme diminishes from Love's Labour's INTRODUCTION vii Lost, where it marks 62 verses in every 100, to The Winter's Tale, where it is entirely absent; in The Tempest there is one rhyming couplet. (6) Double endings tend to increase, though not uni- formly ; they are fewest in 1 Henry IV, 8 per cent, and most numer- ous in The Tempest, 35 per cent, (c) Enjambements or run-on lines increase from 8 per cent in The Taming of the Shrew to 46 per cent in Cymbeline; in The Tempest there are 41 per cent, (d) Speech endings not coincident with verse endings increase from 1 Henry VI, § per cent, to The Winter's Tale, 87 per cent ; in The Tempest there are 84 per cent.^ By the first test The Tempest stands last but one among the plays ; by the second it stands last ; by the third, last but three ; by the fourth, last but two. The combined evidence of these tests assigns the play, beyond doubt, to Shakespeare's final period, approximately between 1608 and 1613. The evidence of style supports this conclusion. In Shakespeare's youthful works thought often lags behind power of expression, and we thus find thin, labored, and rhetorical passages. In the dramatist's central period, from about 1597 to 1606, thought and expression attain to an exquisite balance, and it is during these years that Shakespeare produces his most perfect work. Afterward, how- ever, his wealth of ideas tends to outgrow the capacity of his instru- ment, and the result is a style elliptical to a fault, and overriding the canons of syntax observed in earlier plays. Of this style in its fullest development The T'impest throughout is an example. The spirit of the play and the nature of its incidents also assign it to Shakespeare's last years. From about 1600 to 1608 he put forth, probably ander the stimulus of personal grief, his great series of tragedies. Later, his mood underwent a change, ac- companied by a change in his choice of materials. Romantic themes henceforth engaged his pen — tales of kindred parted by wrongdoing or misadventure, and reunited after many years. Reconcihation and repentance are the keynotes of this closing group of dramas, and in The Tempest they are struck in the clearest tones. Thus these converging lines of internal evidence forbid us to place the play earlier than 1608. On the other hand, it was well known by 1614, as is plain from the Induction to Bartholomew Fair, where Ben Jonson uses these words : " If there be never a Servant-monster i' the Fayre who can helpe it, he says ; nor a nest of Antiques ? He is loth to make Nature afraid in his Playes, like those that beget Tales, Tempests, and such like Drolleries" The italicized phrases refer, beyond reasonable doubt, to The Tempest and The Winter's Tale, 1 The figiires are taken from G. Konig's Der Vers in Shakspere's Dramen. viii INTRODUCTION which are mentioned in the Vertue MSS. as having been performed with twelve others. May 20, 1613, before the Elector Palatine and Princess Elizabeth, the daughter of King James. Dr. Garnett,^ trusting to the authority of these MSS., concludes that The Tempest was written for the royal marriage, which took place February 14, 1613. The introduction (in Act iv) of the bridal masque, which has so little connection with the main plot, raises the strongest pre- sumption that the play was composed in honor of a wedding, and Dr. Garnett argues that everything corresponds with the court marriage of 1613. "The foreign prince come from beyond sea, the island princess who has never left her home, the wise father who brings about the auspicious consummation by his policy; all found their counterparts among the splendid company that watched the performance on that February night." Dr. Garnett further sees in the story of Prince Ferdinand an exquisitely skillful allusion to the sudden death of Prince Henry in November, 1612, during the prog- ress of the marriage negotiations. "The recent calamity is not unrecognised ; on the contrary, the supposed death of the drowned Prince is a most vital incident, kept continually in view. But by a consummate stroke of genius, the woe is taken from Prospero, the representative of James, and transferred to the house of his enemy. The lost prince is duly mourned, but not by his real father. James is reminded of his bereavement, but it is not obtruded on him. In the end the hitherto sonless Prospero gains a son, as the bereaved James is gaining one in the Palatine." Dr. Garnett's theory is suggestively worked out, but the date for which he contends is too late by a year and a half or more. Scholars have been slow to trust the entries in the Extracts from the Accounts of the Revels at Court, edited for the Shakespeare Society by Peter Cunningham in 1842, but now that Mr. E. P. A. Law has established their authenticity, it may be accepted as a fact that on November 1, 1611, The Tempest was played at Whitehall before King James. The metrical evidence favors a date for The Tempest near the date of The Winter's Tale, which was seen at the Globe Theatre on May 15, 1611, by Dr. Forman. The two plays seem to have been written almost at the same time, and the internal tests thus support Malone's suggestion that The Tempest wais inspired in part by Silvester Jourdan's narrative of the wreck of The Sea-Venture, the flagship of a fleet of nine vessels bound for Jamestown, off the Bermudas. The wreck took place in July, 1609, and during the latter part of that year much anxiety was felt for the fate of the crew, as is proved 1 Universal Review, April, 1889, INTRODUCTION ix by the issue of a pamphlet by the Council of Virginia to allay apprehension. After the safe return of the shipwrecked company to England, Jourdan, who was one of their number, published his account, dated October 13, 1610. The parallel points between his tract and The Tempest are discussed on page xii, and they suggest the end of 1610 or the beginning of 1611 as the date of the play. But resemblances still more striking exist between the drama and another account of the disaster by William Strachey. This impassioned and highly poetic narrative, known as The Wrack and Redemption of Sir Thomas Gates, was written as a letter to a lady in England and dated July 15, 1610. How soon it found its way into print is not known, but its contents would naturally have become matter of common report. To sum up, we may assert that The Tempest certainly belongs to Shakespeare's final period, that it probably dates from the spring or summer of 1611, but that possibly it may be as early as the autumn of 1610. 2. LITERARY HISTORY The Tempest is the opening play in the folio of 1623, and the text is of remarkable purity. It shares with The Two Gentlemen of Verona the distinction of being printed with more correctness than perhaps any other play in that volume. The shortest of Shake- speare's dramas except The Comedy of Errors, it contains only 2064 lines. This exceptional brevity supports the view that it was originally composed for some Court entertainment. Some critics (e.g. Fleay and Grant- White) have conjectured that it has come down to us in a form abbreviated for this purpose ; but it must be remembered that the play, with its songs and dances and elaborate masque in Act iv, would take longer in representation than the number of lines suggests. In spite of Ben Jonson's sarcasm. The Tempest was evidently from the first a popular play, and was imitated by succeeding dramatists, as Dry den testifies, stating that it had "formerly been acted with success in the Black-Fryers : and our Excellent Fletcher had so great a value for it, that he thought fit to make use of the same Design, not much varied, a second time. Those who have seen his Sea- Voyage, may easily discern that it was a Copy of Shakespear's Tempest: the Storm, the Desart Island, and the Woman who had never seen a Man, are all sufficient Testimonies of it. But Fletcher was not the only Poet who made use of Shakespear's Plot: Sir John Suckling, a profess'd admirer of our Author, has foUow'd his X INTRODUCTION footsteps in his Goblins, his Regmella being an open imitation of Shakespear's Miranda; and his Spirits, though counterfeit, yet are copied from Ariel." These words are taken from Dryden's preface ^ to his own and Davenant's version of the play. The En- chanted Island, produced at the Duke of York's Theatre in 1667, and pubhshed in 1670. The original suggestion of this version came, as Dryden acknowledges, from Davenant ; the added scenes, as the German essayist Grimm has shown, are translated from a play by the principal Spanish dramatist, Calderon. In this Restoration version The Tempest is robbed of more than half its poetry and of all its moral elevation and exquisite purity of tone. Yet it would be unfair to deny that The Enchanted Island is a very deft piece of craftsmanship, and, measured by the artistic and moral standard of its day, must be pronounced a success. The somewhat tedious plot of Sebastian and Antonio against Alonso is omitted, as is also the conspiracy of Caliban and his alhes against Prospero. Instead, we have an amusing political burlesque. Stephano elects himself duke, with Mustacho the mate, and Ventoso, a mariner, as viceroys, but Trincalo (sic) sets up an opposition rSgime, supported by Caliban and his sister Sycorax, who becomes Trincalo's bride. The desire to share Trincalo's butt of wine makes Stephano's party submit to the rival rule, but after a joint potation discord breaks out again. All this is excellent fooling, which would be especially appreciated by spectators who had passed through the troubled period of the Civil War and Commonwealth. But the figure of Caliban is shorn of the features that clothe it with a wild poetry and dignity, and Ariel is vulgarized by being represented in love with another spirit, Milcha. In the main plot Miranda has associated with her a sister, Dorinda, while dwelling in another part of the cave is Hippolito, rightful heir to the dukedom of Mantua. Bequeathed in infancy to Prospero's care, he has shared his guardian's fortunes, and is kept thus secluded because his horoscope portends death should he see the face of woman. His chance encounter with Dorinda, and their love at first sight, followed by the similar passion between Miranda and the shipwrecked Ferdinand; the duel between the princes because Hippolito claims the right to love all women ; the apparent death of Hippolito and his restoration by Ariel's balms ; the attend- ant entanglements that ensue for a time — all this makes up a plot far-fetched and often disagreeably suggestive, but, unfolded in easy and fluent dialogue, very effective for stage purposes. The 1 Given in full in Appendix A. INTRODUCTION xi opportunities for spectacular effect, in which the original play had been so rich, were yet further multiplied in the revised version. The Masque of Iris, Ceres, and Juno is left out, but instead we have one of devils and personified sins, which appears to Alonso and his companions, and another of the Sea-Deities, which closes the play. The success of this Restoration version is clear from repeated entries in Pepys' diary. Thus on November 7, 1667, Pepys writes: "At noon resolved with Sir W. Pen to go to see The Tempest, an old play of Shakespeare's, acted I hear the first day. . . . The house mighty full; the King and Court there; and the most innocent play that ever I saw. The play has no great wit, but yet good, above ordinary plays," A week later the diarist's verdict was more enthusiastic : "Saw The Tempest again, which is very pleasant, and full of so good variety that I cannot be more pleased almost in a comedy, only the seamen's part a little too tedious." And four more visits testify to Pepys' appreciation of the play, and to its hold on the Restoration public. In later days The -Tempest's magnetic influence has inspired inde- pendent works which seek to develop certain of its aspects. The Virgin Queen, by F. G. Waldron, 1797, is a melodramatic produc- tion narrating the additional dangers endured by Prospero and his relatives on the return journey to Milan. From these dangers they are delivered only when Ariel restores to Prospero his drowned book and buried staff. On a very different plane is Ernest Renan's Caliban,^ a drama- tized piece of pohtical philosophy. The scene is laid at Milan after Prospero's return, and deals with a second successful revolt of Caliban, who represents the spirit of modern social democracy viewed by unfriendly eyes. By working on the greed and dis- content of the multitude, Caliban supplants Prospero, who finds that his charms are of no avail against a generation that has lost its belief in the supernatural. Once enthroned, however, Caliban realizes that he is an Institution, and prepares to protect himself. He sees that Prospero, representing Art and Philosophy, may be useful in his service, and so refuses to give him up to the Inquisi- tion, representing Clericalism, which wishes to prosecute him for sorcery. "His works will be the glory of my reign. I shall have my share in them. I exploit him ; 't is the law of the world." It is under a different aspect that Caliban is viewed in Browning's powerful poem, Caliban upon Setebos. The untutored intelligence 1 For a detailed analysis of Renan's Caliban, see Furness' Variorum edition of The Tempest, 383-386. xii INTRODUCTION of the savage (who, with his rudimentary sense of personality, speaks of himself in the third person) is groping among the mysteries of existence — the problem of pain, the apparently capricious govern- ment of the world, and the nature of the Being who is responsible for it. He conceives of Setebos, his dam's god, as a creature after his own likeness, cruel, cunning, and full of purposeless malignity, whose anger can best be evaded by a pretense of being miserable. Above Setebos he dimly imagines a higher power. Quiet, without joy or grief, and his hope is that Quiet may conquer Setebos, or that the latter may grow old and doze, which would be as good as if He were dead. But at this moment the bursting of a terrible storm warns him that his speculations have been overheard, and he grovels in an agony of fear. "White blaze — A tree's head snaps — and there, there, there, there, there. His thunder follows ! Fool to gibe at Him ! Lo ! 'Lieth flat and loveth Setebos ! " Musicians also have found The Tempest a fertile source of inspira- tion. At least thirteen of its passages have been used as libretti for songs. Two of the settings, to " Full fathom five," 1. 2. 396-403, and "Where the bee sucks," v. 1. 88-94, were, there is reason to believe, used in Shakespeare's own time. They are given in Wilson's Cheerfull Ay res or Ballads, 1660, with the name of the composer, R. Johnson. This Johnson, after being in the service of Sir T. Kytson, came to London and composed music for plays, including Middle- ton's The Witch and Shakespeare's The Tempest. 3. THE SOURCES OF THE PLOT The source of The Tempest, like the date, cannot be definitely ascertained. But in both cases an investigation of the subject is amply repaid by the interesting and suggestive issues raised. Men- tion has been made above (p. ix) of Jourdan's pamphlet, A Discovery of the Barmudas} He relates that the crew of The Sea-Venture, weary with pumping, " were even resolved, without any hope of their lives, to shut up the hatches and to have committed themselves to the mercy of the sea. ... So that some of them having some good and comfortable waters in the ship, fetcht them, and drunke one to the other, taking their last leave one of the other," when Sir George Somers, in command of the expedition, at length descried land and 1 Printed in Hakluyt's Voyages. (Ed. of 1812, v. 555 seq.) INTRODUCTION xiii encouraged them to continue at the pumps. They complied, though so weary "that for the most part they were fallen asleep in corners," and fortunately the ship "fell in betweene two rockes, where shee was fast lodged and locked, for further budging." One hundred and fifty men got ashore and, as Jourdan continues, "our feeding and preservation was beyond our hopes . . . most admirable. For the Ilands of the Barmudas . . . were never inhabited by any Christian or heathen people, but ever esteemed, and reputed, a most prodigious and inchanted place, affording nothing but gusts, stormes and foule weather. . . . Yet did we finde there the ayre . . . temperate and the Country . . . aboundantly fruitful," The quoted passages, if compared with i. 1. 68; i. 2. 232; v. 1. 230; ii. 2. 59; ii. 1. 35-52, show a similarity that can scarcely be accidental. Even more remarkable are some of the expressions used in Strachey's narrative of the same shipwreck. " Onely upon the thursday night Sir George Summers being upon the watch, had an apparition of a little round light, like a faint Starre, trembling, and streaming along with a sparkeling blaze, halfe the height upon the Maine Mast, and shoot- ing sometimes from Shroud to Shroud, tempting to settle as it were upon any of the foure Shrouds. . . . [We] threw over-boord much luggage . . . and staved many a Butt of Beere, Hogsheads of Oyle, Syder, Wine, and Vinegar." . . . On the island " some dangerous and secret discontents nourished amongst us, had like to have bin the parents of bloody issues and mischiefes." ^ Do we not seem to have here the suggestions for Ariel's apparition on the topmast, in the form of flame, for Stephano's escape upon a butt of sack which the sailors heaved o'erboard, and for the conspiracy of Antonio and Sebastian against Alonso ? ^ But it is a misconception, into which some critics have fallen, to think that Shakespeare actually lays the scene of the play in the Bermudas. On the contrary, Ariel (i. 2. 229) speaks of fetching dew from "the still-vex'd Bermoothes," though the allusion proves that the locality was prominently in Shakespeare's thoughts at the time. Hunter ingeniously seeks to identify Prospero's island with Lampedusa, off the north coast of Africa. His main argument is that the island's geographical position would meet all the exigencies of the story ; sailors from Algiers would conveniently and naturally land Sycorax on its shores ; Prospero, if committed to the sea off an 1 Strachey, William. A True Repertory of the Wrack and Redemption of Sir Thomas Gates, printed in Purchaa his Pilgrimes, 1625 (iv. 1734 seg.). _ 2 In any case no weight can be attached to Hunter's theory that the descrip- tion of the storm (i. 1) was borrowed from Canto 41 of Harrington's transla- tion of Ariosto's Orlando Furioso. ^ xiv INTRODUCTION Italian coast, and tossed by winds and waves, would most likely drift to Lampedusa; and Alonso, sailing from Tunis and steering for Naples, would be caught in the storm raised by Prosper© and be landed there. Moreover, Lampedusa was noted as stormy, it had the reputation of being haunted, and it contained caves and a hermit's cell. Elze has made out an equally detailed case in favor of another Mediterranean islet, Pantalaria; and a third critic states dog- matically that it could only have been Corcyra which was intended. But they who thus seek to bring the enchanted island within the sphere of workaday geography imagine a vain thing : it is not to be found on charts or maps, but floats, "east of the sun, west of the moon," washed by "the foam Of perilous seas in faery lands forlorn." If geography is thus silent as to the whereabouts of the mysterious island, history enlightens us hardly more about the Italian poten- tates who drifted to its shores. But it is noteworthy that some of the names and incidents introduced into The Tempest occur in Thomas' Historye of Italye, 1561. We there read that Prospero Adorno was established as the Duke of Millain's lieutenant in Genoa, 1477. "But he continued scarcely one yeare, tyl by meane of new practises, that he held with Ferdinando, kyng of Naples, he was had in suspicion to the Milanese." The attempt of his enemies in Milan to overthrow him roused the people in his behalf, "so that where he was before the dukes lieutenaunte, now he was made governoure absolutely of the commonwealth." An army sent from Milan was defeated, but, later on, the jealousy of a rival family in Genoa drove the Adorni brothers from the city. Then the commons rose again, "remembring how they were best in quiet, while they were sub- jected to the Duke of Millain . . . and then was Antony Adorno made governoure." Thomas further relates that there was a " kinge Alfonse in the Realme of Naples," whose son, Fernando, succeeded him in 1495. This Alonzo united the houses of Naples and Milan by marrying a princess of the latter city. In the play this incident is transferred to his son. But the sources hitherto spoken of can, in any case, have supplied the dramatist with no more than the framework of his plot ; they do not account for the central incidents of the story. Collins, the poet, told Warton that they were derived from a romance, Aurelio and Isabella, printed in Italian, Spanish, French, and EngUsh in 1588, but there is really no connection between this novel and the play. More fruitful was Tieck's discovery in 1817 of some remarkable INTRODUCTION xv points of resemblance between The Tempest and Die Schone Sidea (The Fair Sided), by Jacob Ayrer, a notary in Niirnberg. Ayrer, who rose from humble circumstances to an oflBcial position, died in 1605, and in 1618 a folio edition of his dramas was published with the title. Opus Theatricum. Die Schone Sidea} one of the pieces in this volume, tells the story of a Duke Ludolff of Lithuania and his daughter Sidea. Ludolff is dethroned and expelled from his kingdom with Sidea, by Prince Leudegast of Wiltau. He takes refuge in a wood, and by his magic arts and the aid of a devil, Runcifal, gets into his possession Leude- gast's son, Engelbrecht, who has lost his way while hunting. Engel- brecht and his squire try to draw their swords to defend themselves, but find that their weapons are charmed from moving. Engel- brecht is then taken prisoner, and set to bear logs for Sidea, who at first treats him as harshly as does her father. But his noble birth and beauty win her heart, and they flee together. After sundry adven- tures, in which for a time they are separated, they reach Leudegast's court; the piece ends with their marriage and the reconciliation of the two princes. Intermingled with this main plot are episodes of low comedy which have no relation to the humorous scenes in The Tempest, and throughout the German and the English plays the names of persons and locaHties are entirely different. But this does not affect the striking parallelism between the central situations in the two dramas. In both there is a deposed ruler, expelled with his daughter as sole companion, and practicing in banishment the magic art; in both he gets into his power his enemy's son, whose sword he has enchanted, and whom he condemns to the task of log- bearing ; in both, the heroine and the captive prince fall in love, and the story closes with their marriage and the reconciliation of their parents. There can be no reasonable doubt either that Shakespeare and Ayrer borrowed from a common source, or that the Englishman had a version of the Niirnberg play before him. The latter is far from unlikely, for we know that English actors were in Niirnberg in 1604 and 1606, and that in June, 1613, the Elector of Branden- burg's servants and the English comedians acted several "beautiful comedies and tragedies," including a "Sedea," which can scarcely have been any other than Ayrer's play. When English companies were so frequently visiting Niirnberg, what is more likely than that they should bring home versions of some of Ayrer's favorite 1 A full prose translation of Ayrer's play is given by Furness in his Vari- orum edition of The TempesU 326-341. A verse translation is given by Cohn, Shakespeare in Germany, xvi INTRODUCTION pieces, and that one of these should fall into Shakespeare's hands ? ^ Other works to which The Tempest is indebted in a minor degree, e.g. Florio's Montaigne, Golding's Ovid, and Eden's History of Tra- vayle, are referred to in the Notes. But there is another probable source, different in kind from those spoken of, which claims a word. Does The Tempest reflect symbolically the circumstances of Shake- speare's own career at the period of its composition ? To this ques- tion a strongly affirmative answer has been given by writers like Emile Montegut, who asserts ^ that it is " clearly the last of Shake- speare's dramas, and, under the form of an allegory, is the dramatic last will and testament of the great poet." The statement made in this unqualified form overshoots the mark, for The Tempest is very probably not Shakespeare's last complete play, and certainly not the last in which he had a share. Yet the world is assuredly right in its instinct that the voice of Prospero is, in peculiar measure, the voice of Shakespeare, and that when the great enchanter, at whose com- mand graves " have waked their sleepers," abjures his magic, the great dramatist is in some sort bidding a farewell, though scarcely formal and final, to the theater, where his "potent art" had re- summoned the mighty dead to new and imperishable life.* 4. CRITICAL APPRECIATION The popularity enjoyed by The Tempest from the time of its pro- duction is the more remarkable because the play lacks some of the customary elements of dramatic interest. The plot is comparatively sHght, and, as we know from the first that Prospero has absolute control over the development of events, we are never stirred by the feeling of suspense that usually keeps the attention keenly alert dur- ing the progress of a play. Nor is The Tempest as rich as many dramas in studies of human character. The principal personages belong to the world of romance, and are either in part or entirely out- side the pale of ordinary experience, while the subordinate figures 1 See, however, Charlotte Porter's study of Sources in the First Folio edition of The Tempest. She points out the inferiority of Ayrer's "clumsy production " to The Tempest, and advances a claim for a Spanish original, one of the Winter Nights of Antonio de Ealava, published in his own tongue at Madrid, 1609, — the story of a royal magician, dwelling with his innocent daughter in "a palace amid the deep sea." 2 Revue des Deux Mondes, 1865. 8 See further the passage in Dowden'a Shakespeare's Mind and Art, referred to in Appendix B. INTRODUCTION xvii have no strongly marked individuality and are little more than types. Nor does Shakespeare's humorous genius show to full advantage. The buffoonery of Stephano and Trinculo has a large element of mere horseplay, and even the earliest comedies scarcely contain passages of such wire-drawn, insipid repartee as make up the main part of Act ii, sc. 1.^ How is it then that, nevertheless. The Tempest ranks among the most fascinating, if not, strictly speaking, the greatest of Shake- speare's plays ? In the first place, as we have seen, it appeals more than any other play except Hamlet to that permanent instinct which craves to catch a glimpse of William Shakespeare's own personality through and behind his creations. Yet at the same time the drama transports us to regions strangely remote from the Globe Theatre^ or the Avon's banks. Throughout it we hear echoes oT^he won- derful adventures of the Elizabethan seamen, of the discoveries and *' plantations" wherewith the expansion of England began. As we read of the "mountaineers dew-lapp'd like bulls," and the "men whose heads stood in their breasts" ; or of the "putter-out of five for one" and the "holiday fool" eager to lay out ten doits to see a dead Indian or a painted monster, we call up a picture of Frobisher and Davis' voyages in search of the northwest passage, of Raleigh's exploration of Guiana, of Drake's journey around the world. We seem to stand on the quay of some old-world Cornish or Devonshire seaport, and to form a part of the open-mouthed crowd listening to the tales of bronzed mariners, and staring at the treasures that they have brought from Eldorados far away. No other work of Shakespeare reflects so vividly this enthralling aspect of Elizabethan life, and herein lies one of the main secrets of its charm. But The Tempest transports us not only to new found regions over seas, but to poetic wonderlands undiscoverable by the most adven- turous of voyagers. The distinction, however, in that age of geo- graphical marvels was less well defined than to-day, and Shakespeare, if questioned as to the whereabouts of the uninhabited island, might well have answered in the semi-serious vein of Spenser's Introduce tion to Book II of The Faerie Queene: " Who ever heard of th' Indian Peru ? Or who in venturous vessell measured The Amazons huge river, now found trew ? Or f ruitf ullest Virginia who did ever vew ? * This has, however, a partial dramatic justification. See introduction to ii. 1 in the Notes. c_ xviii INTRODUCTION Yet all these were, when no man did them know» Yet have from wisest ages hidden beene ; And later times thinges more unknowne shall show. Why then should witlesse man so much misweene. That nothing is, but that which he hath seene?" It is in an age when the borderlands of the natural and the super- natural thus overlap that the creative artist can most unerringly give to the latter the "form and pressure" of reality. Prospero's kingdom, the island, "Full of noises. Sounds and sweet airs, that give delight and hurt not," has as unquestionable an existence for us as if it were marked on every map of the southern seas. But it is characteristic of Shake- speare that he shows a wise economy in his use of supernatural effects, and, as a rule, restricts their display to a limited time and area. In A Midsummer Night's Dream the fairies are seen exercising their powers of enchantment only within the haunted wood, and for a single night. Similarly in The Tempest we witness the operation of Prospero's omnipotent art for the short space of three hours, and not beyond the confines of the mysterious isle. Hence in form the work has many of the characteristics of a classical play. It preserves the unities of time, and, in essentials, of place ; and Act i, sc. 2, as far as 1. 375, is practically equivalent to the classical prologue which enlightens the audience on preceding events necessary to the under- standing of the action. In its closely knit structure The Tempest forms the strongest contrast to The Winter's Tale and Pericles, which, with kindred incidents, exhibit the license of the Romantic type in its extreme form. Of the majority of the spirits thronging the island, airy shapes that are its original inhabitants, we get only passing glimpses, as in Prospero's final invocation : "Ye elves of hills, brooks, standing lakes and groves. And ye that on the sands with printless foot Do chase the ebbing Neptune and do fly him When he comes back ; you demi-puppets that By moonshine do the green sour ringlets make. Whereof the ewe not bites, and you whose pastime Is to make midnight mushrooms, that rejoice To hear the solemn curfew." In Ariel's songs we catch echoes of the melody of the "sweet sprites," as they foot it featly on the yellow sands, and of the "ding- INTRODUCTION xix dong" of the sea-nymphs as they ring the knell of the drowned mariner. Other spirits we see performing varied services at Pros- pero's command. They invite strangers to partake of a banquet which vanishes in thunder and lightning, they play the parts in a masque, or in the shape of dogs hunt misdoers till these roar with fright. Akin to these "meaner ministers," but of loftier degree in the elfin hierarchy, is Ariel. He had been imprisoned by Sycorax, the mother of Caliban, for twelve years in a cloven pine because he was "a spirit too delicate To act her earthy and abhorr'd commands." From thia thraldom he has been set free by Prospero, and his grati- tude is shown by his willing service : "All hail, great master ! grave sir, hail ! I come To answer thy best pleasure ; be't to fly, To swim, to dive into the fire, to ride On the curl'd clouds, to thy strong bidding task Ariel and all his quality." As his name implies, he is a spirit of the air, though he has afl5nity, too, with the element of fire. "Like air and fire he can penetrate everywhere, treading the ooze of the salt deep, running upon the sharp wings of the north, doing business in the veins of earth when it is baked with frost. His natural speech is music or waves of air." ^ This music of Ariel's works strangely on all who hear it. As it creeps by Ferdinand on the waters, it allays their fury and his pas- sion, and draws him to Prospero's cell. It wakes Gonzalo at the critical moment, when Sebastian and Antonio are threatening the King's life ; it speaks through the elements to Alonso, and arouses remorse in his breast. But just because he is a spirit of the air, Ariel, though he is responsive to command, finds all human serv- ice galling, and begs for his hberty. The announcement that it is at hand makes him burst into a jubilant carol, and in the closing words of the play we see him dismissed to his natural haunts. At the opposite scale of being is Caliban, son of the devil and the witch, Sycorax. This "freckled whelp" not honored with a human shape is allied to the grosser natural forces, and is contemptuously hailed as "thou earth," "thou tortoise." In his outward appear- ance, probably owing to his long, finny arms, he must have had * Moulton, Shakespeare as a Dramatic Artist, p. 257. XX INTRODUCTION some resemblance to a fish, which Trinculo at first sight takes him to be. Not without reason has he been claimed as an unconscious antic- ipation of the evolutionary "missing link," for he typifies humanity scarcely, if at all, raised above the brute stage. His name is prob- ably an anagram of Cannibal, and he represents the savage as seen in his naked deformity, not through a rose-colored Arcadian or Uto- pian mist. For a while this creature had been "lord of the island," or as he proudly puts it, his own king. But his dynasty had been overthrown when a strange succession of events brought a new ruler to the lonely domain. Prospero, Duke of Milan, had abandoned the reins of government to his brother, Antonio, and given himself up entirely to secret studies. Antonio, ambitious of the ducal title as well as the power, had, with the aid of the King of Naples, deposed Prospero, and set him adrift with his infant child, Miranda. Borne by wind and wave to the shores of the island, Prospero had begun hfe anew. His mis- fortunes had not been entirely unmerited, for in Shakespeare's eyes the primary duty of a ruler is to rule, not to retire into seclusion for religious or intellectual meditation. Thus it is that Henry VI and the Duke in Measure for Measure bring disaster upon their realms, and likewise is it with Prospero. But in his case " sweet are the uses of adversity," and he learns to the full the lessons of exile. Stripped of temporal sway, he still retains his precious books, whence he wrings the secrets of magic lore, and becomes an all-powerful en- chanter. And it must be remembered that to an Elizabethan audience this would have seemed far from impossible. Wizards, like Dr. Dee, with their symbolic staff and mantle, were familiar per- sonages at the time, and they figure frequently in the literature of the day. But either, like Spenser's Archimago, they use their powers for wicked ends, or, like Marlowe's Faustus, for purely personal gratification. The noble originality of Shakespeare's conception lies in the fact that Prospero turns his art to entirely beneficent pur- poses, and to the practical illustration of his own lofty words : "the rarer action is In virtue than in vengeance." So if we miss the aesthetic gratification which comes from the gradual resolution of suspense, we are compensated by the spectacle of an omnipotent force overruling the dramatic issues into corre- spondence with our conception of a righteous government of the world. Thus Prospero frees Ariel from imprisonment, but imposes a INTRODUCTION xxi term of service on him before he grants him full liberty. Thus, too, he seeks at first to educate Caliban, until the monster puts his lessons to evil use, and repays the enchanter's kindness by an attack on Miranda's honor. Thereupon follows his reduction to slavery, and though we realize the necessity of such treatment, Prospcro perhaps appeals to us least powerfully when he is showering abuse and threats on the creature of whom he confesses, "We cannot miss him : he does make our fire. Fetch in our wood and serves in offices That profit us." The degradation of the savage by the civilized man for his own pur- poses has been so frequent an episode in the history of colonization that we are apt to sympathize instinctively with the weaker side. But it is characteristic of Shakespeare's marvelous impartiality that, while he remorselessly unveils all that is gross and brutal in Caliban, he does not picture him as a mere Yahoo. His speech is not without a rude eloquence, and in his description of the island and its products he shows a vein of untutored imagination. More- over, the com-se of events provides him with a couple of foils, who prove that even barbarism surpasses a stunted caricature of civiliza- tion, and acquires a classical dignity through the comparison. The shipwrecked butler, Stephano, by the magic of his "celestial liquor," wins in a moment Caliban's complete allegiance, which Prospero's nobler gifts have failed to secure. Confident in the powers of this "brave god," Caliban enters into a conspiracy with him and his shipmate to overthrow Prospero's rule and to secure "freedom" for himself. However nefarious his design, he pm-sues it with a con- centration of purpose that puts to shame his worthless allies, who let themselves be lured from their object by the bait of some trumpery booty. And when the plot is foiled, Caliban has enough natural acuteness to recognize his own blunder. "What a thrice-double ass Was I, to take this drunkard for a god And worship this dull fool ! " His promise to be wise hereafter and to seek for grace, and Prospero's conditional offer of pardon if he trim the cave handsomely, give us hope that there is no need to despair of even the servant-monster's futiu-e. But Prospero has to deal with more highly pla9ed and dangerous offenders than Caliban and his confederates. Fate puts his former xxii INTRODUCTION enemies at his mercy, and gives them at the same time an oppor- tunity of showing whether they have repented of their misdeeds. Alonso, the King of Naples, agonized by the supposed loss of his son in the shipwreck, feels remorse stirring in his breast, and under the influence of Ariel's warnings bursts into fierce self-reproach. An- tonio, the chief mover in the original crime, proves himself hardened in sin by the lapse of years. Even as Duke of Milan he has not been satisfied. He has found it galling to pay tribute to the King of Naples as his overlord, and in the shipwreck he spies an opportunity of getting rid of his burden. While Alonso, overcome with grief and fatigue, is sunk in sleep, he plans a treacherous attempt upon his life, with the aim of setting Sebastian on the Neapolitan throne and freeing Milan from its pecuniary obligation. Prospero's vigilance frustrates the dastardly scheme, but the criminals are resolute to "take thoroughly" their next advantage at nightfall. Even Ariel's denunciation of their misdeeds, and his menace of "lingering perdition worse than any death" in default of repentance only rouse them to defiant rage. They dash with swords drawn after the vanishing "fiend," but their weapons avail them nothing, and the shipwrecked company are drawn by an irresistible influence to the enchanter's cell. Prospero cannot entirely conceal his inward tumult at this crisis. His nature, in spite of its stern schooling, has impassioned elements, and not only toward Caliban, but even toward Miranda and Ariel he betrays at times an intemperance of speech. Thus at the pros- pect of coming face to face with his enemies he is visibly agitated, and begs to be left alone. The conflict of emotions in his breast is sharp, but forgiveness triumphs over all lower feelings. " Prospero's forgiveness is solemn, judicial, and has in it something abstract and impersonal." ^ All sins are pardoned, yet a distinction is made among the sinners. Alonso, the least guilty and most repentant, is frankly welcomed ; Antonio is sternly rebuked and bidden to surren- der the fruit of his misdeeds. Prospero exacts the restoration of his dukedom, for so justice demands, but after his long exile he cares but little for the sweets of temporal sway, and in Milan his every third thought is to be his grave. It is less for his own sake than for his daughter's that he claims again the royalties to which she is rightful heir. For if it falls to Prospero to pardon the guilty, it is also his prerogative to reward the innocent, and never maiden merited more entirely all that a father's love could bestow than Miranda. 1 Dowden, Shakespeare's Mind and Art. INTRODUCTION xxiii Among the women drawn by Shakespeare she stands alone and apart. Mrs. Jameson has spoken of her as " the Eve of an enchanted Paradise," and the words are apt. For Miranda, reared among " the untrodden ways" of the tropical solitude, afar from the compamon- ship of her own sex, is wanting in the complexity of character bred by artificial surroundings, and is a more ethereal type of womanhood in its primal innocence than Milton's picture of the mother of man- kind. Even in infancy she was a "cherubin" that did preserve her father in his strange adventure, and in her island home she has been molded by the "silent sympathy" of Nature's loveliness into peer- less grace of body and mind. Cahban himself does homage to her beauty, and her exquisite tenderness and modesty shine through her every word and act. Her first utterance is one of pity for the shipwrecked crew : "O, I have suffered With those that I saw suffer." Prospero's story of their banishment does not draw from her laments for her lost greatness, but sorrow at the thought of the "trouble" she was then to him. But it is in her relations with Ferdinand that the full charm of her nature is revealed. So unlearned is she in worldly experience that when she first looks on him she takes him for a spirit, and even when Prospero assures her that "it eats and sleeps, and hath such senses as we have," she declares: "I might call him A thing divine, for nothing natural I ever saw so noble." Nor is Ferdinand unworthy of this tribute. Though but a man as other men are, he is a pattern hero of romance, a model of high bred gallantry. Between such a pair love at first sight is inevitable, but Prospero will not allow its com-se to run altogether smoothly. He brands the Prince as spy and traitor before Miranda, and confines him in the cell. Ferdinand bUthely accepts bonds and drudgery, and proves that his is the true loyalty that welcomes the meanest task when undergone for his lady's sake. Theirs is indeed the rivalry of "two most rare affections," for Miranda steals forth to help the Prince in his task of log-bearing. But he dechnes the proffered aid ; the truly royal nature thinks no toil a burden in the sacred cause of love : "Hear my soul speak : The very instant that I saw you, did xxiv INTRODUCTION My heart fly to your service ; there resides. To make me slave to it ; and for your sake Am I this patient log-man." And it is in a like spirit that Miranda tremblingly lays her heart at her wooer's feet : "I am your wife, if you will marry me; If not, I'll die your maid : to be your fellow You may deny me ; but I'll be your servant. Whether you will or no." Thus throughout The Tempest, giving unity to the varied scenes, runs the underlying conception that true freedom consists in service, in obedience to necessary social and moral laws. Prospero himself may be looked upon as exemplifying Bacon's dictum that man com- mands nature by obeying her. Symbolically he represents the true freedom of the scientific spirit, which by laboriously mastering the secret laws of the universe is able to turn them to its own purposes — in this case purposes of the highest beneficence. Against Prospero's rule, based on intellectual and moral supremacy, Caliban revolts. His is the perverted conception of "freedom" which identifies it with unlimited license, and which kicks against all restraint. But life must be lived according to some law, and the being who rebels against the service of a Prospero is ready to do abject homage to a Stephano, in return for a few sips of liquor. Not different in spirit are the designs of Antonio, who, galled by his subordination to Prospero, and afterward to Alonso, seeks by treachery and violence to free himself from the ties that bind him as brother and vassal. There is another more playful variation of the theme in Gonzalo's sketch of his ideal commonwealth, where the attempt to abolish all obligations between man and man results in hopeless contradiction. But not after methods such as these is freedom truly to be found. Miranda and Ferdinand, with the instinct of perfectly healthy natures, seek it by a far different road — that of loyal whole-hearted service and self-surrender in the bonds of mutual love. Ariel, too, puts "all his quality" gladly at Prospero's command, but he is a spirit, not to be permanently bound by human ties, and finding full Kberty only in his own home of the elements. Implicit rather than directly emphasized, this idea of the paradoxi- cal nature of freedom underlies the play, and gives it deeper signif- icance than appears on the surface. And the thought finds its crowning illustration when Prospero, having accomplished his ap- INTRODUCTION XXT pointed work of punishment and pardon, bows himself again to human conditions, and of his own accord surrenders the omnipotence that he has valued only as the instrument of impersonal ends. But it is not its "criticism of life" that gives The Tempest so secure a place in our affections. Its most powerful appeal is to that primary human instinct which craves escape from the limiting conditions of the material universe and joys to roam in the "ampler aether," the "diviner air" of poetic wonderlands. In seasons when there is danger of the world being too much with us, it is an enfran- chisement of the spirit to breathe the atmosphere of the enchanted island, and to have glimpses as fresh and pure as those for which the modern poet yearned when he was fain to "Have sight of Proteus rising from the sea. Or hear old Triton blow his wreathed horn." DRAMATIS PERSONS Alonso King of Naples Sebastian . His brother Prospero The right Duke of Milan Antonio . . . His brother, the usurping Duke of Milan Ferdinand Son to the King of Naples GoNZALO An honest old Counsellor Adrian 1 ^ , ^ >..... Lords Francisco J Caliban A savage and deformed Slave Trinculo A Jester Stephano A drunken Butler Master of a Ship Boatswain Mariners Miranda Daughter to Prospero Ariel An Airy Spirit Iris Ceres Juno Nymphs Reapers Presented by Spirits Other Spirits attending on Prospero SCENE — A ship at sea ; an island. The Tempest ACT I Scene I — On a ship at sea; a tempestuous noise of thunder and lightning heard Enter a Ship-Master and a Boatswain Mast. Boatswain ! Boats. Here, master : what cheer ? Mast. Good, speak to the mariners : fall to 't, yarely, or we run ourselves aground: bestir, bestir. [Exit. Enter Mariners Boats. Heigh, my hearts ! cheerly, cheerly, my hearts ! yare, yare ! Take in the topsail. Tend to the master's whistle. Blow, till thou burst thy wind, if room enough ! Enter Alonso, Sebastian, Antonio, Ferdinand, GoNZALO, and others Alon. Good boatswain, have care. Where 's the lo master? Play the men. Boats. I pray now, keep below. Ant. Where is the master, boatswain? Boats. Do you not hear him? You mar our labour : keep your cabins : you do assist the storm. Gon. Nay, good, be patient. Boats. When the sea is. Hence ! What cares 1 2 THE TEMPEST [Act One these roarers for the name of king? To cabin: silence ! trouble us not. Gon. Good, yet remember whom thou hast 20 aboard. Boats. None that I more love than myself. You are a counsellor; if you can command these elements to silence, and work the peace of the present, we will not hand a rope more; use your authority: if you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap. Cheerly, good hearts ! Out of our way, I say. [Exit Gon, I have great comfort from this fellow : so methinks he hath no drowning mark upon him; his complexion is perfect gallows. Stand fast, good Fate, to his hanging : make the rope of his destiny our cable, for our own doth little advan- tage. If he be not born to be hanged, our case is miserable. [Exeunt, Re-enter Boatswain Boats, Down with the topmast! yare! lower, lower! Bring her to try with main-course. [A » cry within.] A plague upon this howling! they are louder than the weather or our office. 40 Re-enter Sebastian, Antonio, and Gonzalo Yet again ! what do you here ? Shall we give o'er and drown ? Have you a mind to sink ? Seb. A pox o' your throat, you bawling, blas- phemous, incharitable dog ! Boats. Work you then. Scene One] THE TEMPEST 3 Ant. Hang, cur! hang, you insolent noise- maker ! We are less afraid to be drowned than thou art. Gon. I '11 warrant him for drowning; though the ship were no stronger than a nutshell. 50 Boats. Lay her a-hold, a-hold! set her two courses off to sea again ; lay her off. Enter Mariners wet Mariners. All lost ! to prayers, to prayers ! all lost! Boats. What, must our mouths be cold ? Gon. The king and prince at prayers! let 's assist them. For our case is as theirs. Seb. I 'm out of patience. Ant. We are merely cheated of our lives by drunkards : This wide-chapp'd rascal — would thou mightst lie drowning 60 The washing of ten tides ! Gon. He '11 be hang'd yet. Though every drop of water swear against it And gape at widest to glut him. [A confused noise within: "Mercy on us !" — "We split, we split!" — "Farewell, my wife and children!" — "Farewell, brother!" — "We split, we split, we split!"] Ant. Let 's all sink with the king. Seb. Let 's take leave of him. [Exeunt Ant. and Seb. 4 THE TEMPEST [Act One Gon. Now would I give a thousand furlongs of sea for an acre of barren ground, long heath, brown feze, any thing. The wills above be done ! but 7o ; I would fain die a dry death. [Exeunt Scene II — The island. Before Prospero's cell Enter Prospero and Miranda Mir. If by your art, my dearest father, you have Put the wild waters in this roar, allay them. The sky, it seems, would pour down stinking pitch. But that the sea, mounting to the welkin's cheek. Dashes the fire out. O, I have suffered With those that I saw suffer : a brave vessel. Who had, no doubt, some noble creature in her, Dash'd all to pieces. O, the cry did knock Against my very heart. Poor souls, they perish'd. Had I been any god of power, I would lO ] Have sunk the sea within the earth or ere It should the good ship so have swallow'd and The fraughting souls within her. Pros, Be collected : ' "^ No more amazement : tell your piteous heart There 's no harm done. Mir^ O, woe the day ! Pros, No harm. ' I have done nothing but in care of thee. Of thee, my dear one, thee, my daughter, who Art ignorant of what thou art, nought knowing Of whence I am, nor that I am more better Than Prospero, master of a full poor cell, 20 And thy no greater father. Scene Two] THE TEMPEST 5 Mir. More to know Did never meddle with my thoughts. Pros. 'T is time 1 should inform thee farther. Lend thy hand, And pluck my magic garment from me. So : [Lays down his mantle. Lie there, my art. Wipe thou thine eyes ; have comfort. The direful spectacle of the wreck, which touch'd The very virtue of compassion in thee, I have with such provision in mine art So safely ordered that there is no soul — No, not so much perdition as an hair so Betid to any creature in the vessel Which thou heard'st cry, which thou saw'st sink. Sit down ; For thou must now know farther. Mir. You have often Begun to tell me what I am, but stopp'd And left me to a bootless inquisition. Concluding "Stay : not yet." Pros. The hour 's now come ; The very minute bids thee ope thine ear ; Obey and be attentive. Canst thou remember A time before we came unto this cell ? I do not think thou canst, for then thou wast not40 Out three years old. Mir. Certainly, sir, I can. Pros. By what ? by any other house or person ? Of any thing the image tell me that Hath kept with thy remembrance. Mir. TJsfaroff , 6 THE TEMPEST [Act One And rather like a dream than an assurance That my remembrance warrants. Had I not Four or five women once that tended me ? Pros. Thou hadst, and more, Miranda. But how is it That this lives in thy mind ? What seest thou else In the dark backward and abysm of time ? so If thou remember'st aught ere thou camest here. How thou camest here thou mayst. Mir. But that I do not. Pros. Twelve year since, Miranda, twelve year since. Thy father was the Duke of Milan and A prince of power. Mir. Sir, are not you my father ? Pros. Thy mother was a piece of virtue, and She said thou wast my daughter ; and thy father Was Duke of Milan ; and thou his only heir And princess no worse issued. Mir. O the heavens ! What foul play had we, that we came from thence ? 60 Or blessed was 't we did ? Pros. Both, both, my girl : By foul play, as thou say'st, were we heaved thence. But blessedly holp hither. Mir. O, my heart bleeds To think o' the teen that I have turned you to. Which is from my remembrance ! Please you, farther. Pros. My brother and thy uncle, calFd An- tonio — I pray thee, mark me — that a brother should Scene Two] THE TEMPEST 7 Be so perfidious ! — he whom next thyseK Of all the world I loved and to him put The manage of my state ; as at that time 70 Through all the signories it was the first And Prospero the prime duke, being so reputed In dignity, and for the liberal arts Without a parallel ; those being all my study. The government I cast upon my brother And to my state grew stranger, being transported And rapt in secret studies. Thy false uncle — Dost thou attend me ? Mir, Sir, most heedfuUy. Pros. Being once perfected how to grant suits. How to deny them, who to advance and who so To trash for over-topping, new created The creatures that were mine, I say, or changed 'em. Or else new form'd 'em ; having both the key Of officer and office, set all hearts i' the state To what tune pleased his ear ; that now he was The ivy which had hid my princely trunk. And suck'd my verdure out on 't. Thou attend'st not. Mir. O, good sir, I do. Pros. I pray thee, mark me. I, thus neglecting worldly ends, all dedicated To closeness and the bettering of my mind 90 With that which, but by being so retired, O'er-prized all popular rate, in my false brother Awaked an evil nature; and my trust. Like a good parent, did beget of him A falsehood in its contrary as great 8 THE TEMPEST [Act One As my trust was ; which had indeed no limit, A confidence sans bound. He being thus lorded. Not only with what my revenue yielded, But what my power might else exact, like one Who having into truth, by telling of it, loo Made such a sinner of his memory. To credit his own lie, he did believe He was indeed the duke ; out o' the substitution. And executing the outward face of royalty. With all prerogative : hence his ambition growing — Dost thou hear ? Mir. Your tale, sir, would cure deafness. Pros, To have no screen between this part he play'd And him he play'd it for, he needs will be Absolute Milan. Me, poor man, my library Was dukedom large enough : of temporal royalties no He thinks me now incapable ; confederates — So dry he was for sway — wi' the King of Naples To give him annual tribute, do him homage. Subject his coronet to his crown, and bend The dukedom yet unbow'd — alas, poor Milan ! — To most ignoble stooping. Mir. O the heavens ! Pros. Mark his condition and the event; then tell me If this might be a brother. Mir. I should sin To think but nobly of my grandmother : Good wombs have borne bad sons. Pros. Now the condition, 120 This King of Naples, being an enemy Scene Two] THE TEMPEST 9 To me inveterate, hearkens my brother's suit; Which was, that he, in Heu o* the premises Of homage and I know not how much tribute, Should presently extirpate me and mine Out of the dukedom and confer fair Milan With all the honours on my brother : whereon, A treacherous army levied, one midnight Fated to the purpose did Antonio open The gates of Milan, and, i' the dead of darkness, iso The ministers for the purpose hurried thence Me and thy crying self. Mir. Alack, for pity ! I, not remembering how I cried out then. Will cry it o'er again : it is a hint That wrings mine eyes to 't. Pros. Hear a little further And then I '11 bring thee to the present business Which now 's upon 's ; without the which this story Were most impertinent. Mir. Wherefore did they not That hour destroy us ? Pros. Well demanded, wench : My tale provokes that question. Dear, they durst not, 140 So dear the love my people bore me, nor set A mark so bloody on the business, but With colours fairer painted their foul ends. In few, they hurried us aboard a bark. Bore us some leagues to sea ; where they prepared A rotten carcass of a butt, not rigg'd, Nor tackle, sail, nor mast; the very rats Instinctively have quit it : there they hoist us, 10 THE TEMPEST [Act One To cry to the sea that roar'd to us, to sigh To the winds whose pity, sighing back again, iso Did us but loving wrong. Mir. Alack, what trouble Was I then to you ! Pros. O, a cherubin Thou wast that did preserve me. Thou didst smile. Infused with a fortitude from heaven. When I have deck'd the sea with drops full salt. Under my burthen groan'd ; which raised in me An undergoing stomach, to bear up Against what should ensue. Mir. How came we ashore ? Pros. By Providence divine. Some food we had and some fresh water that 160 A noble Neapolitan, Gonzalo, Out of his charity, who being then appointed Master of this design, did give us, with Rich garments, linens, stuffs and necessaries, Which since have steaded much ; so, of his gentle- ness. Knowing I loved my books, he furnish'd me From mine own library with volumes that I prize above my dukedom. Mir. Would I might But ever see that man ! Pros. Now I arise : [Resumes his mantle. Sit still, and hear the last of our sea-sorrow. 170 Here in this island we arrived ; and here Have I, thy schoolmaster, made thee more profit Than other princesses can that have more time For vainer hours and tutors not so careful. Scene Two] THE TEMPEST 11 Mir, Heavens thank you for 't ! And now, I pray you, sir, For still 't is beating in my mind, your reason For raising this sea-storm ? Pros. Know thus far forth. By accident most strange, bountiful Fortune, Now my dear lady, hath mine enemies Brought to this shore ; and by my prescience ^^o I find my zenith doth depend upon A most auspicious star, whose influence If now I court not but omit, my fortunes Will ever after droop. Here cease more questions : Thou art inclined to sleep : 't is a good dulness. And give it way : I know thou canst not choose. [Miranda sleeps. Come away, servant, come. I am ready now. Approach, my Ariel, come. Enter Ariel Ari. All hail, great master ! grave sir, hail ! I come To answer thy best pleasure ; be 't to fly, i90 To swim, to dive into the fire, to ride On the curl'd clouds, to thy strong bidding task Ariel and all his quality. Pros. Hast thou, spirit. Performed to point the tempest that I bade thee ? Ari. To every article. I boarded the king's ship ; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement : sometime I 'Id divide. And burn in many places ; on the topmast. 12 THE TEMPEST [Act One The yards and bowsprit, would I flame distinctly, 200 Then meet and join. Jove's lightnings, the pre- cursors O' the dreadful thunder-claps, more momentary And sight-outrunning were not ; the fire and cracks Of sulphurous roaring the most mighty Neptune Seem to besiege and make his bold waves tremble. Yea, his dread trident shake. Pros. My brave spirit ! Who was so firm, so constant, that this coil Would not infect his reason ? Ari. Not a soul But felt a fever of the mad and play'd Some tricks of desperation. All but mariners 210 Plunged in the foaming brine and quit the vessel. Then all afire with me : the king's son, Ferdinand, With hair up-staring, — then like reeds, not hair, — Was the first man that leap'd; cried, "Hell is empty. And all the devils are here." Pros, Why, that 's my spirit ! But was not this nigh shore ? Ari. Close by, my master. Pros. But are they, Ariel, safe ? Ari. Not a hair perish'd ; On their sustaining garments not a blemish, But fresher than before : and, as thou badest me. In troops I have dispersed them 'bout the isle. 220 The king's son have I landed by himself ; Whom I left cooling of the air with sighs In an odd angle of the isle, and sitting. His arms in this sad knot. Scene Two] THE TEMPEST 13 Pros. Of the king's ship. The mariners, say how thou hast disposed And all the rest o' the fleet. Ari. Safely in harbour Is the king's ship ; in the deep nook, where once Thou call'dst me up at midnight to fetch dew From the still- vex'd Bermoothes, there she 's hid : The mariners all under hatches stow'd ; 230 Who, with a charm join'd to their suffered labour, I have left asleep : and for the rest o' the fleet Which I dispersed, they all have met again And are upon the Mediterranean flote, ' Bound sadly home for Naples, Supposing that they saw the king's ship wreck'd And his great person perish. Pros, Ariel, thy charge Exactly is perform'd : but there 's more work. What is the time o' the day ? Ari. Past the mid season. Pros. At least two glasses. The time 'twixt six and now 240 Must by us both be spent most preciously. Ari. Is there more toil.'^ Since thou dost give me pains. Let me remember thee what thou hast promised. Which is not yet perform'd me. Pros. How now ? moody ? What is 't thou canst demand ? Ari. My liberty. Pros. Before the time be out ? no more ! Ari. I prithee, Hemember I have done thee worthy service ; 14 THE TEMPEST [Act One Told thee no lies, made thee no mistakings, served Without OT^rudge or grumblings : thou didst promise To bate me .a full year. Pros. Dost thou forget 250 From what a torment I did free thee ? Ari. No. Pros, Thou dost, and think'st it much to tread the ooze Of the salt deep. To run upon the sharp wind of the north. To do me business in the veins o' the earth When it is baked with frost. Ari, I do not, sir. Pros. Thou liest, malignant thing ! Hast thou forgot The foul witch Sycorax, who with age and envy Was grown into a hoop ? hast thou forgot her ? Ari, No, sir. Pros, Thou hast. Where was she born ? speak ; tell me. 260 Ari, Sir, in Argier. Pros, O, was she so? I must Once in a month recount what thou hast been. Which thou forget'st. This damn'd witch Sycorax^ For mischiefs manifold and sorceries terrible To enter human hearing, from Argier, Thou know'st, was banish'd : for one thing she did They would not take her life. Is not this true ? Ari. Ay, sir. Pros. This blue-eyed hag was hither brought with child And here was left by the sailors. Thou, my slave, 270 Scene Two] THE TEMPEST 15 As thou report'st thyself, wast then her servant ; And, for thou wast a spirit too deUcate To act her earthy and abhorr'd commands. Refusing her grand hests, she did confine thee, By help of her more potent ministers And in her most unmitigable rage. Into a cloven pine ; within which rift Imprison'd thou didst painfully remain A dozen years ; within which space she died And left thee there; where thou didst vent thy groans 280 As fast as mill-wheels strike. Then was this island — Save for the son that she did litter here, A freckled whelp hag-born — not honour'd with A human shape. Ari. Yes, Caliban her son. Pros. Dull thing, I say so ; he, that Caliban Whom now I keep in service. Thou best know'st What torment I did find thee in ; thy groans Did make wolves howl and penetrate the breasts Of ever angry bears : it was a torment To lay upon the damn*d, which Sycorax 290 Could not again undo : it was mine art. When I arrived and heard thee, that made gape The pine and let thee out. Ari. I thank thee, master. Pros. If thou more murmur'st, I will rend an oak And peg thee in his knotty entrails till Thou hast howl'd away twelve winters. Ari. Pardon, master ; I will be correspondent to command And do my spiriting gently. 16 THE TEMPEST [Act One Pros. Do so, and after two days I will discharge thee. jiri. That 's my noble master ! What shall I do ! say what ; what shall I do ? 300 Pros. Go make thyseK like a nymph o' the sea : be subject To no sight but thine and mine, invisible To every eyeball else. Go take this shape And hither come in 't : go, hence with diligence ! [Exit Ariel, Awake, dear heart, awake ! thou hast slept well ; Awake ! Mir. The strangeness of your story put Heaviness in me. Pros. Shake it off. Come on ; We '11 visit Caliban my slave, who never Yields us kind answer. Mir. 'T is a villain, sir, I do not love to look on. Pros. But, as *t is, 310 We cannot miss him : he does make our fire, Fetch in our wood and serves in offices That profit us. What, ho ! slave ! Caliban ! Thou earth, thou ! speak. Cal. [Within] There 's wood enough within. Pros. Come forth, I say ! there 's other business for thee : Come, thou tortoise ! when ? Re-enter Ariel like a water-nymph Fine apparition ! My quaint Ariel, Hark in thine ear. Scene Two] THE TEMPEST 17 Ari. My lord, it shall be done. [Exit. Pros. Thou poisonous slave, got by the devil himself Upon thy wicked dam, come forth ! 320 Enter Caliban Cal. As wicked dew as e'er my mother brush'd With raven's feather from unwholesome fen Drop on you both ! a south-west blow on ye And blister you all o'er ! Pros, For this, be sure, to-night thou shalt have cramps. Side-stitches that shall pen thy breath up ; urchins Shall, for that vast of night that they may work. All exercise on thee; thou shalt be pinch'd As thick as honeycomb, each pinch more stinging Than bees that made 'em. Cal. I must eat my dinner. 330 This island 's mine, by Sycorax my mother. Which thou takest from me. When thoucamest first, Thou strok'dst me and mad'st much of me, wouldst give me Water with berries in 't, and teach me how To name the bigger light, and how the less. That burn by day and night : and then I loved thee And show'd thee all the qualities o' the isle. The fresh springs, brine-pits, barren place and fertile : Cursed be I that did so ! All the charms Of Sycorax, toads, beetles, bats, light on you ! 340 For I am all the subjects that you have. 18 THE TEMPEST [Act One Which first was mine own king : and here you sty me In this hard rock, whiles you do keep from me The rest o' the island. Pros. Thou most lying slave, Whom stripes may move, not kindness ! I have used thee, Filth as thou art, with human care, and lodged thee In mine own cell, till thou didst seek to violate The honour of my child. Cal. O ho, O ho ! would 't had been done ! Thou didst prevent me ; I had peopled else 350 This isle with Calibans. Pros. Abhorred slave. Which any print of goodness wilt not take. Being capable of all ill ! I pitied thee. Took pains to make thee speak, taught thee each hour One thing or other : when thou didst not, savage. Know thine own meaning, but wouldst gabble like A thing most brutish, I endowed thy purposes With words that made them known. But thy vile race. Though thou didst learn, had that in 't which good natures Could not abide to be with ; therefore wast thou seo Deservedly confined into this rock, Who hadst deserved more than a prison. Cal, You taught me language; and my profit on't Is, I know how to curse. The red plague rid you For learning me your language ! "^ Scene Two] THE TEMPEST 19 Pros. Hag-seed, hence ! Fetch us in fuel ; and be quick, thou'rt best. To answer other business. Shrug'st thou, maUce ? If thou neglect'st or dost unwiUingly What I command, I '11 rack thee with old cramps. Fill all thy bones with aches, make thee roar 370 That beasts shall tremble at thy din. Cat. No, pray thee. [Aside] I must obey : his art is of such power, It would control my dam's god, Setebos, And make a vassal of him. Fros. So, slave ; hence ! [Exit Caliban, Re-enter Ariel, invisible, playing and singing; Ferdinand following Ariel's song Come unto these yellow sands, And then take hands : Courtsied when you have and kiss'd The wild waves whist, Foot it f eatly here and there ; 380 And, sweet sprites, the burthen bear. Burthen [dispersedly]. Hark, hark ! Bow-wow. The watch-dogs bark : Bow-wow. Ari. Hark, hark ! I hear The strain of strutting chanticleer Cry, Cock-a-diddle-dow. Fer. Where should this music be ? i' the air or the earth ? 20 THE TEMPEST [Act One It sounds no more : and, sure, it waits upon Some god o' the island. Sitting on a bank. Weeping again the king my father's wreck, 390 This music crept by me upon the waters. Allaying both their fury and my passion With its sweet air : thence I have foUow'd it. Or it hath drawn me rather. But 't is gone. No, it begins again. Ariel sings Full fathom five thy father lies ; Of his bones are coral made ; Those are pearls that were his eyes : Nothing of him that doth fade But doth suffer a sea-change 400 Into something rich and strange. Sea-nymphs hourly ring his knell : Burthen. Ding-dong. Ari. Hark ! now I hear them, — Ding-dong, bell. Fer. The ditty does remember my drown'd father. This is no mortal business, nor no sound That the earth owes. I hear it now above me. Pros. The fringed curtains of thine eye advance And say what thou seest yond. Mir. What is 't ? a spirit ? Lord, how it looks about ! Believe me, sir, 410 It carries a brave form. But 't is a spirit. Pros. No, wench ; it eats and sleeps and hath such senses As we have, such. This gallant which thou seest Scene Two] THE TEMPEST 21 Was in the wreck ; and, but he 's something stain'd With grief that 's beauty's canker, thou mightst call him A goodly person : he hath lost his fellows And strays about to find 'em. Mir. I might call him A thing divine, for nothing natural I ever saw so noble. Pros. [Aside] It goes on, I see. As my soul prompts it. Spirit, fine spirit! I *11 free thee 420 Within two days for this. Fer, Most sure, the goddess On whom these airs attend ! Vouchsafe my prayer May know if you remain upon this island ; And that you will some good instruction give How I may bear me here : my prime request. Which I do last pronounce, is, O you wonder ! If you be maid or no ? Mir. No wonder, sir ; But certainly a maid. Fer. My language ! heavens ! I am the best of them that speak this speech. Were I but where 't is spoken. Pros. How ? the best ? 430 What wert thou, if the King of Naples heard thee ? Fer. A single thing, as I am now, that wonders To hear thee speak of Naples. He does hear me; And that he does I weep : myself am Naples, Who with mine eyes, never since at ebb, beheld The king my father wreck'd. Mir, Alack, for mercy ! 22 THE TEMPEST [Act One Fer. Yes, faith, and all his lords ; the Duke of Milan And his brave son being twain. Pros. §{Aside] The Duke of Milan And his more braver daughter could control thee. If now 't were fit to do 't. At the first sight 440 They have changed eyes. Delicate Ariel, I '11 set thee free for this. [To Fer.] A word, good sir; I fear you have done yourself some wrong : a word. Mir. Why speaks my father so ungently ? This Is the third man that e'er I saw, the first That e'er I sigh'd for : pity move my father To be inclined my way ! Fer. O, if a virgin, And your affection not gone forth, I '11 make you The queen of Naples. Pros. Soft, sir ! one word more. [Aside] They are both in cither's powers ; but this swift business 450 I must uneasy make, lest too light winning Make the prize light. [To Fer.] One word more; I charge thee That thou attend me : thou dost here usurp The name thou owest not ; and hast put thyself Upon this island as a spy, to win it From me, the lord on 't. Fer. No, as I am a man. Mir. There 's nothing ill can dwell in such a temple : If the ill spirit have so fair a house, Good things will strive to dwell with 't. Scene Two] THE TEMPEST 23 Pros. Follow me. Speak not you for him ; he 's a traitor. Come ; 460 I '11 manacle thy neck and feet together : Sea- water shalt thou drink ; thy food shall be The fresh-brook mussels, wither'd roots and husks Wherein the acorn cradled. Follow. Fer, No ; I will resist such entertainment till Mine enemy has more power. [Draws, and is charmed from moving, Mir. O dear father, Make not too rash a trial of him, for He 's gentle and not fearful. Pros. What ? I say. My foot my tutor ! Put thy sword up, traitor ; Who makest a show but darest not strike, thy conscience 470 Is so possess'd with guilt : come from thy ward, For I can here disarm thee with this stick And make thy weapon drop. Mir. Beseech you, father. Pros. Hence ! hang not on my garments. Mir. Sir, have pity ; I '11 be his surety. Pros. Silence ! one word more Shall make me chide thee, if not hate thee. What ! An advocate for an impostor ! hush ! Thou think'st there is no more such shapes as he, Having seen but him and Caliban : foolish wench ! To the most of men this is a Cahban 480 And they to him are angels. 24 THE TEMPEST [Act Two Mir. My affections Are then most humble ; I have no ambition To see a goodlier man. Pros. Come on ; obey : Thy nerves are in their infancy again And have no vigour in them. Fer. So they are ; My spirits, as in a dream, are all bound up. My father's loss, the weakness which I feel. The wreck of all my friends, nor this man's threats^ To whom I am subdued, are but light to me. Might I but through my prison once a day 490 Behold this maid : all corners else o' the earth Let liberty make use of ; space enough Have I in such a prison. Pros. [Aside] It works. [To Fer.] Come on. Thou hast done well, fine Ariel ! [To Fer.] Follow me. [ToAri.] Hark what thou else shalt do me. Mir. Be of comfort ; My father 's of a better nature, sir, Than he appears by speech : this is unwonted Which now came from him. Pros. Thou shalt be as free As mountain winds : but then exactly do All points of my command. Ari. To the syllable. 50o Pros. Come, follow. Speak not for him. [Exeunt Scene One] THE TEMPEST 25 ACT II r- &^ '" r^- ^/A^ Scene I — Another part of the island " '^ Enter Alonso, Sebastian, Antonio, Gonzalo, Adeian, Francisco, and others Gon. Beseech you, sir, be merry; you have cause, So have we all, of joy ; for our escape Is much beyond our loss. Our hint of woe Is common; every day some sailor's wife. The masters of some merchant and the merchant Have just our theme of woe ; but for the miracle, I mean our preservation, few in millions Can speak like us : then wisely, good sir, weigh Our sorrow with our comfort. Alon. Prithee, peace. Seh. He receives comfort like cold porridge. lo Ant. The visitor will not give him o'er so. Seh. Look, he 's winding up the watch of his wit ; by and by it will strike. Gon. Sir, — Seh. One : tell. Gon. When every grief is entertain'd that 's offer'd. Comes to the entertainer — Seh. A dollar. Gon. Dolour come to him, indeed; you have spoken truer than you purposed. 20 Seh. You have taken it wiselier than I meant you should. Gon. Therefore, my lord, — Ant. Fie, what a spendthrift is he of his tongue ! /^/ 26 THE TEMPEST [Act Two Alon. I prithee, spare, Gon. Well, I have done : but yet, — Seb. He will be talking. Ant. Which, of he or Adrian, for a good wager, first begins to crow ? Seb. The old cock. 30 Ant. The cockerel. Seb. Done. The wager ? Ant. A laughter. Seh. A match ! Adr. Though this island seem to be desert, — Seb. Ha, ha, ha ! So, you 're paid. Adr. Uninhabitable and almost inaccessible, — Seb. Yet,— Adr. Yet, — Ant. He could not miss 't. 40 Adr. It must needs be of subtle, tender and delicate temperance. Ant, Temperance was a delicate wench. Seb. Ay, and a subtle; as he most learnedly delivered. Adr. The air breathes upon us here most sweetly. Seb. As if it had lungs and rotten ones. Ant. Or as 't were perfumed by a fen. Gon. Here is everything advantageous to life. Ant. True ; save means to live. so Seb. Of that there 's none, or little. Gon. How lush and lusty the grass looks ! how green ! Ant. The ground indeed is tawny. Seb. With an eye of green in 't. Scene One] THE TEMPEST 27 Ant. He misses not much. Seb. No ; he doth but mistake the truth totally. Gon. But the rarity of it is, — which is indeed almost beyond credit, — Seh. As many vouched rarities are. 60 Gon. That our garments, being, as they were, drenched in the sea, hold notwithstanding their freshness and glosses, being rather new-dyed than stained with salt water. Ant. If but one of his pockets could speak, would it not say he lies ? Seb. Ay, or very falsely pocket up his report. Gon. Methinks our garments are now as fresh as when we put them on first in Afric, at the mar- riage of the king's fair daughter Claribel to the 70 King of Tunis. Seb. 'T was a sweet marriage, and we prosper well in our return. Adr. Tunis was never graced before with such a paragon to their queen. Gon. Not since widow Dido's time. Ant. Widow ! a pox o' that ! How came that widow in ? widow Dido ! Seb. What if he had said " widower ^Eneas" too ? Good Lord, how you take it ! so Adr. " Widow Dido " said you ? you make me study of that ; she was of Carthage, not of Tunis. Gon. This Tunis, sir, was Carthage. Adr. Carthage ? Gon. I assure you, Carthage. Seb. His word is more than the miraculous harp ; he hath raised the wall and houses too. 28 THE TEMPEST [Act Two Ant What impossible matter will he make easy next ? Seb. I think he will carry this island home in 90 his pocket and give it his son for an apple. Ant. And, sowing the kernels of it in the sea, bring forth more islands. [Ion. Ay. Ant. Why, in good time. Gon. Sir, we were talking that our garments seem now as fresh as when we were at Tunis at the marriage of your daughter, who is now queen. Ant. And the rarest that e'er came there. Seb. Bate, I beseech you, widow Dido. 100 Ant. O, widow Dido ! ay, widow Dido. Gon. Is not, sir, my doublet as fresh as the first day I wore it.^* I mean, in a sort. Ant. That sort was well fished for. Gon. When I wore it at your daughter's mar- riage ? Alon. You cram these words into mine ears against ^The stomach of my sense. Would I had never Married my daughter there ! for, coming thence, My son is lost and, in my rate, she too. Who is so far from Italy removed 110 I ne'er again shall see her. O thou mine heir Of Naples and of Milan, what strange fish Hath made his meal on thee ? Fran. Sir, he may live : I saw him beat the surges under him. And ride upon their backs ; he trod the water. Whose enmity he flung aside, and breasted Scene One] THE TEMPEST 29 The surge most swoln that met him ; his bold head 'Bove the contentious waves he kept, and oar*d Himself with his good arms in lusty stroke To the shore, that o'er his wave-worn basis bow'd, 120 As stooping to relieve him : I not doubt He came alive to land. Alon. No, no, he 's gone. Seb. Sir, you may thank yourself for this great loss. That would not bless our Europe with your daugh- ter, jv But rather lose her to an African ; Where she at least is banish'd from your eye. Who hath cause to wet the grief on 't. j Alon. Prithee, peace. Seb. You were kneel'd to and importuned other- wise By all of us, and the fair soul herself Weigh'd between loathness and obedience, at 130 Which end o' the beam should bow. We have lost yom* son, I fear, for ever : Milan and Naples have Moe widows in them of this business' making Than we bring men to comfort them : The fault 's yom* own. Alon, So is the dear'st o' the loss. Gon. My lord Sebastian, The truth you speak doth lack some gentleness And time to speak it in : you rub the sore. When you should bring the plaster. Seb. Very well. Ant. And most chirurgeonly. i40 80 THE TEMPEST [Act Two Gon. It is foul weather in us all, good sir. When you are cloudy. Seb, Foul weather ? Ant Very foul. Gon. Had I plantation of this isle, my lord, — Ant, He 'Id sow 't with nettle-seed. Seb, Or docks, or mallows. Gon. And were the king on 't, what would I do.? Seb. 'Scape being drunk for want of wine. Gon. T the commonwealth I would by con- traries Execute all things ; for no kind of traffic Would I admit ; no name of magistrate : Letters should not be known ; riches, poverty, 150 And use of service, none : contract, succession. Bourn, bound of land, tilth, vineyard, none ; No use of metal, corn, or wine, or oil ; No occupation : all men idle, all ; And women too, but innocent and pure ; No sovereignty ; — Seb. Yet he would be king on 't. Ant. The latter end of his commonwealth for- gets the beginning. Gon. All things in common nature should pro- duce Without sweat or endeavour : treason, felony, leo Sword, pike, knife, gun, or need of any engine. Would I not have ; but nature should bring forth. Of it own kind, all foison, all abundance. To feed my innocent people. Seb. No marrying 'mong his subjects ? Scene One] THE TEMPEST 31 Ant None, man ; all idle. Gon. I would with such perfection govern, sir. To excel the golden age. Seb. Save his majesty ! Ant. Long live Gonzalo ! Gon. And, — do you mark me, sir ? \^^/o/i. Prithee, no more : thou dost talk noth- 170 ing to me. Gon. I do well believe your highness ; and did it to minister occasion to these gentlemen, who are of such sensible and nimble lungs that they always use to laugh at nothing. Ant. *T was you we laughed at. Gon. Who in this kind of merry fooling am nothing to you : so you may continue and laugh at nothing still. Ant. What a blow was there given ! - 180 Seh. An it had not fallen flat-long. ^^^. You are gentlemen of brave mettle; you would lift the moon our of her sphere, if she would continue in it five weeks without changing. Enter Ariel, invisible, playing solemn music (/ Seb. We would so, and then go a bat-fowling. Ant. Nay, good my lord, be not angry. Gon.. No, I warrant you; I will not adventure my discretion so weakly. Will you laugh me asleep, for I am very heavy .^^ Ant. Go sleep, and hear us. 190 [All sleep except Alon.^ Seb., and Ant. Alon. What, all so soon asleep ! I wish mine eyes 32 THE TEMPEST [Act Two Would, with themselves, shut up my thoughts : I find They are inclined to do so. Seb. Please you, sir, /Do not omit the heavy offer of it : It seldom visits sorrow ; when it doth. It is a comforter. Ant. We two, my lord, Will guard your person while you take your rest. And watch your safety. Alon. Thank you. Wondrous heavy. [Alonso sleeps. Exit Ariel. Seb. What a strange drowsiness possesses them ! Ant. It is the quality o' the climate. Seb. Why 200 Doth it not then our eyelids sink ? I find not Myself disposed to sleep. Ant. Nor I ; my spirits are nimble. They fell together all, as by consent ; They dropp'd, as by a thunder-stroke. What might. Worthy Sebastian ? O, what might ? — No more : — And yet methinks I see it in thy face. What thou shouldst be : the occasion speaks thee, and My strong imagination sees a crown Dropping upon thy head. Seb. What, art thou waking ? Ant. Do you not hear me speak ? Seb. I do ; and surely 210 Scene One] THE TEMPEST 33 It is a sleepy language and thou speak'st Out of thy sleep. What is it thou didst say? This is a strange repose, to be asleep With eyes wide open ; standing, speaking, moving. And yet so fast asleep. Ant. Noble Sebastian, Thou let'st thy fortune sleep — die, rather ; wink'st Whiles thou art waking. Seb. Thou dost snore distinctly ; There 's meaning in thy snores. ■Ant. I am more serious than my custom : you Must be so too, if heed me ; which to do 220 Trebles thee o'er. Seb. Well, I am standing water. Ant. I '11 teach you how to flow. Seb. Do so : to ebb Hereditary sloth instructs me. Ant. O, If you but knew how you the purpose cherish Whiles thus you mock it ! how, in stripping it, You more invest it ! Ebbing men, indeed. Most often do so near the bottom run By their own fear or sloth. Seb, Prithee, say on : The setting of thine eye and cheek proclaim A matter from thee, and a birth indeed 230 Which throes thee much to yield. Ant. Thus, sir : Although this lord of weak remembrance, this. Who shall be of as little memory When he is earth'd, hath here almost persuaded, — For he's a spirit of persuasion, only 34 THE TEMPEST [Act Two Professes to persuade, — the king his son's alive, 'T is as impossible that he 's undrown'd As he that sleeps here swims. Seb. I have no hope That he 's undrown'd. Ant. O, out of that "no hope" What great hope have you ! no hope that way is 240 Another way so high a hope that even Ambition cannot pierce a wink beyond. But doubt discovery there. Will you grant with me That Ferdinand is drown'd ? Seh. He's gone. Ant. Then, tell me. Who 's the next heir of Naples ? Seb. Claribel. Ant. She that is queen of Tunis ; she that dwells Ten leagues beyond man's life; she that from Naples Can have no note, unless the sun were post — The man i' the moon 's too slow — till new-born chins Be rough and razorable ; she that — from whom 250 We all were sea-swallow'd, though some cast again. And by that destiny to perform an act Whereof what 's past is prologue, what to come In yours and my discharge. Seb. What stuff is this ! how say you ? 'T is true, my brother's daughter 's queen of Tunis ; So is she heir of Naples ; 'twixt which regions There is some space. Ant. A space whose every cubit Scene One] THE TEMPEST 35 Seems to cry out, "How shall that Claribel Measure us back to Naples ? Keep in Tunis, And let Sebastian wake." Say, this were death 260 That now hath seized them; why, they were no worse Than now they are. There be that can rule Naples As well as he that sleeps ; lords that can prate As amply and unnecessarily As this Gonzalo ; I myseK could make A chough of as deep chat. O, that you bore The mind that I do ! what a sleep were this For your advancement ! Do you understand me ? Seb. Methinks I do. Ant. And how does your content Tender your own good fortune ? Seb. I remember 270 You did supplant your brother Prospero. Ant. True : And look how well my garments sit upon me ; Much feater than before : my brother's servants Were then my fellows ; now they are my men. Seb. But, for your conscience ? Ant. Ay, sir ; where lies that ? if 't were a kibe, 'T would put me to my slipper : but I feel not This deity in my bosom : twenty consciences, That stand 'twixt me and Milan, candied be they And melt ere they molest ! Here lies your brother, 28O No better than the earth he lies upon, If he were that which now he 's like, that 's dead ; Whom I, with this obedient steel, three inches of it. Can lay to bed for ever ; whiles you, doing thus. To the perpetual wink for aye might put 36 THE TEMPEST [Act Two This ancient morsel, this Sir Prudence, who Should not upbraid our course. For all the rest. They 11 take suggestion as a cat laps milk ; They '11 tell the clock to any business that We say befits the hour. Seb. Thy case, dear friend, 290 Shall be my precedent ; as thou got'st Milan, I '11 come by Naples. Draw thy sword: one stroke Shall free thee from the tribute which thou payest : And I the king shall love thee. Ant. Draw together ; And when I rear my hand, do you the like. To fall it on Gonzalo. Seb. O, but one word. [They talk apart. Re-enter Ariel, invisible Ari. My master through his art foresees the danger That you, his friend, are in ; and sends me forth — For else his project dies — to keep them living. [Sings in Gonzalo* s ear. While you here do snoring lie, 300 Open-eyed conspiracy His time doth take. If of life you keep a care. Shake off slumber, and beware : Awake, awake ! Ant. Then let us both be sudden. Gon. Now, good angels Preserve the king. [They wake. Scene One] THE TEMPEST 37 Alon, Why, how now? ho, awake! Why are you drawn ? Wherefore this ghastly looking ? Gon. What *s the matter ? Seb. Whiles we stood here securing your repose, 310 Even now, we heard a hollow burst of bellowing Like bulls, or rather lions : did 't not wake you ? It struck mine ear most terribly. Alon. I heard nothing. Ant. O, 't was a din to fright a monster's ear. To make an earthquake ! sure, it was the roar Of a whole herd of lions. Alon. Heard you this, Gonzalo ? Gon. Upon mine honour, sir, I heard a hum- ming. And that a strange one too, which did awake me : I shaked you, sir, and cried : as mine eyes open'd, I saw their weapons drawn : there was a noise, 320 That 's verily. 'T is best we stand upon our guard, Or that we quit this place : let 's draw our weapons. Alon. Lead off this ground; and let 's make further search For my poor son. Gon. Heavens keep him from these beasts ! For he is, sure, i' the island. Alon. Lead away. Ari. Prosper© my lord shall know what I have done : So, king, go safely on to seek thy son. [Exeunt. 38 THE TEMPEST [Act Two Scene II — Another part of the island Enter Caliban vnth a burden of wood. A noise of thunder heard Cat. All the infections that the sun sucks up From bogs, fens, flats, on Prosper fall and make him By inch-meal a disease ! His spirits hear me And yet I needs must curse. But they '11 nor pinch, Fright me with urchin-shows, pitch me i' the mire. Nor lead me, like a firebrand, in the dark » Out of my way, unless he bid 'em ; but For every trifle are they set upon me ; Sometime like apes that mow and chatter at me And after bite me, then like hedgehogs which lo Lie tumbling in my barefoot way and mount Their pricks at my footfall; sometime am I All wound with adders who with cloven tongues Do hiss me into madness. Enter Trinculo Lo, now, lo ! Here comes a spirit of his, and to torment me For bringing wood in slowly. I '11 fall flat ; Perchance he will not mind me. Trin. Here 's neither bush nor shrub, to bear off any weather at all, and another storm brewing ; I hear it sing i' the wind : yond same black cloud, 20 yond huge one, looks like a foul bombard that would shed his liquor. If it should thunder as it did before, I know not where to hide my head: yond same cloud cannot choose but fall by pailfuls. Scene Two] THE TEMPEST 39 What have we here? a man or a fish? dead or alive ? A fish : he smells like a fish ; a very ancient and fish-like smell; a kind of not of the newest Poor-John. A strange fish! Were I in England now, as once I was, and had but this fish painted, not a holiday fool there but would give a piece of 30 silver; there would this monster make a man; any strange beast there makes a man : when they will not give a doit to relieve a lame beggar, they will lay out ten to see a dead Indian. Legged like a man ! and his fins like arms ! Warm, o' my troth ! I do now let loose my opinion ; hold it no longer : this is no fish, but an islander, that hath lately suffered by a thunderbolt. [Thunder.] Alas, the storm is come again ! my best way is to creep under his gaberdine; there is no other shel-40 ter hereabout: misery acquaints a man with strange bed-fellows. I will here shroud till the dregs of the storm be past. Enter Stephano, singing : a bottle in his hand Ste. I shall no more to sea, to sea. Here shall I die ashore — This is a very scurvy tune to sing at a man's funeral : well, here 's my comfort. [Drinks. [Sings. The master, the swabber, the boatswain and I, The gunner and his mate Loved Mall, Meg and Marian and Margery 50 But none of us cared for Kate ; For she had a tongue with a tang. Would cry to a sailor. Go hang ! » 40 THE TEMPEST [Act Two She loved not the savour of tar nor of pitch. Then to sea, boys, and let her go hang ! This is a scurvy tune too : but here 's my comfort. [Drinks. Cal. Do not torment me : Oh ! iSte. What 's the matter ? Have we devils here ? Do you put tricks upon 's with savages and meneo of Ind, ha? I have not *scaped drowning to be afeard now of your four legs; for it hath been said. As proper a man as ever went on four legs cannot make him give ground ; and it shall be said so again while Stephano breathes at nostrils. Cal. The spirits torments me ; Oh ! Ste. This is some monster of the isle with four legs, who hath got, as I take it, an ague. Where the devil should he learn our language ? I will give him some relief, if it be but for that. If I can 76 recover him and keep him tame and get to Naples with him, he 's a present for any emperor that ever trod on neat's-leather. Cal. Do not torment me, prithee; I'll bring my wood home faster. Ste. He's in his fit now and does not talk after the wisest. He shall taste of my bottle : if he have never drunk wine afore, it will go near to remove his fit. If I can recover him and keep him tame, I will not take too much for him ; he shall pay for so him that hath him, and that soundly. Cal. Thou dost me yet but little hurt; thou wilt anon, I know it by thy trembling : now Prosper works upon thee. Ste. Come on your ways; open your mouth; Scene Two] THE TEMPEST 41 here is that which will give language to you, cat: open your mouth; this will shake your shaking, I can tell you, and that soundly : you cannot tell who's your friend : open your chaps again. Trin. I should know that voice : it should be — 9o but he is drowned ; and these are devils : O defend me! Ste. Four legs and two voices: a most deli- cate monster ! His forward voice now is to speak well of his friend ; his backward voice is to utter foul speeches and to detract. If all the wine in my bottle will recover him, I will help his ague. Come. Amen! I will pour some in thy other mouth. Trin. Stephano! loo Ste. Doth thy other mouth call me? Mercy, mercy ! This is a devil, and no monster : I will leave him ; I have no long spoon. Trin. Stephano ! K thou beest Stephano, touch me and speak to me ; for I am Trinculo — be not afeard — thy good friend Trinculo. Ste. If thou beest Trinculo, come forth: I '11 pull thee by the lesser legs : if any be Trinculo's legs, these are they. Thou art very Trinculo indeed ! How camest thou ? no Trin. I took him to be killed with a thunder- stroke. But art thou not drowned, Stephano.? I hope now thou art not drowned. Is the storm overblown ? I hid me under the dead moon-calf's gaberdine for fear of the storm. And art thou living, Stephano? O Stephano, two Neapolitans 'scaped ! 42 THE TEMPEST [Act Two Ste. Prithee, do not turn me about ; my stomach is not constant. Cal. [Aside] These be fine things, an if they be not sprites. 120 That's a brave god and bears celestial liquor. I will kneel to him. Ste. How didst thou 'scape ? How camest thou hither.^ swear by this bottle how thou camest hither. I escaped upon a butt of sack which the sailors heaved o'erboard, by this bottle ! which I made of the bark of a tree with mine own hands since I was cast ashore. Cal. I'll swear upon that bottle to be thy true subject; for the liquor is not earthly. 130 Ste. Here ; swear then how thou escapedst. Trin. Swum ashore, man, like a duck : I can swim like a duck, I'll be sworn. Ste. Here, kiss the book. Though thou canst swim like a duck, thou art made like a goose. Trin. O Stephano, hast any more of this ? Ste. The whole butt, man : my cellar is in a rock by the sea-side where my wine is hid. How now, moon-calf ! how does thine ague ? Cal. Hast thou not dropp'd from heaven ? i40 Ste. Out o' the moon, I do assure thee : I was the man i' the moon when time was. Cal. I have seen thee in her and I do adore thee : My mistress show'd me thee and thy dog and thy bush. Ste. Come, swear to that; kiss the book: I will furnish it anon with new contents : swear. Trin. By this good light, this is a very shallow Scene Two] THE TEMPEST 43 monster ! I afeard of him ! A very weak monster ! The man i' the moon ! A most poor credulous monster ! Well drawn, monster, in good sooth ! i50 Cal. I'll show thee every fertile inch o' th' island ; And I will kiss thy foot : I prithee, be my god. Trin. By this light, a most perfidious and drunken monster ! when 's god 's asleep, he'll rob his bottle. Cal. I'll kiss thy foot; I'll swear myself thy subject. Ste. Come on then ; down, and swear. Trin. I shall laugh myself to death at this puppy-headed monster. A most scurvy monster! I could find in my heart to beat him, — leo Ste. Come, kiss. Trin. But that the poor monster 's in drink : an abominable monster ! Cal. I '11 show thee the best springs ; I '11 pluck thee berries ; I '11 fish for thee and get thee wood enough. A plague upon the tyrant that I serve ! I '11 bear him no more sticks, but follow thee. Thou wondrous man. Trin. A most ridiculous monster, to make a wonder of a poor drunkard ! i70 Cal. I prithee, let me bring thee where crabs grow; And I with my long nails will dig thee pig-nuts ; Show thee a jay's nest and instruct thee how To snare the nimble marmoset ; I '11 bring thee To clustering filberts and sometimes I '11 get thee 44 THE TEMPEST [Act Three Young scamels from the rock. Wilt thou go with me? Ste. I prithee now, lead the way without any- more talking. Trinculo, the king and all our com- pany else being drowned, we will inherit here: here ; bear my bottle : fellow Trinculo, we '11 fill iso him by and by again. Cal. [Sings drunkenly] Farewell, master ; farewell, farewell ! Trin. A howling monster ; a drunken monster ! CaL No more dams I '11 make for fish ; Nor fetch in firing At requiring ; Nor scrape trencher, nor wash dish : 'Ban, 'Ban, Cacaliban Has a new master : get a new man. Freedom, hey-day! hey-day, freedom! freedom, 190 hey-day, freedom ! Ste, brave monster ! Lead the way. [Exeunt, ACT III Scene I — Before Prospero's cell Enter Ferdinand, bearing a log Per. There be some sports are painful, and their labour Delight in them sets off ; some kinds of baseness Are nobly undergone and most poor matters Point to rich ends. This my mean task Would be as heavy to me as odious, but Scene One] THE TEMPEST 45 The mistress which I serve quickens what 's dead And makes my labours pleasures : O, she is Ten times more gentle than her father 's crabb'd. And he 's composed of harshness. I must remove Some thousands of these logs and pile them up, lo Upon a sore injunction : my sweet mistress Weeps when she sees me work, and says, such base- ness Had never like executor. I forget : But these sweet thoughts do even refresh my la- bours. Most busy lest, when I do it. Enter Miranda; and Peospero at a distance, unseen Mir. Alas, now, pray you, Work not so hard : I would the lightning had Burnt up those logs that you are enjoin'd to pile ! Pray, set it down and rest you : when this burns, 'T will weep for having wearied you. My father Is hard at study ; pray now, rest yourself ; 20 He 's safe for these three hom*s. Fer, O most dear mistress. The sun will set before I shall discharge What I must strive to do. Mir. If you '11 sit down, I '11 bear your logs the while : pray, give me that ; I '11 carry it to the pile. Fer. No, precious creature ; I had rather crack my sinews, break my back. Than you should such dishonour undergo. While I sit lazy by. Mir, It would become me 14 46 THE TEMPEST [Act Three As well as it does you : and I should do it With much more ease ; for my good will is to it, 30 And yours it is against. Pros. Poor worm, thou art infected ! This visitation shows it. Mir, You look wearily. Fer. No, noble mistress ; 't is fresh morning with me When you are by at night. I do beseech you — Chiefly that I might set it in my prayers — What is your name ? Mir, Miranda. — O my father, I have broke your hest to say so ! Fer. Admired Miranda ! Indeed the top of admiration : worth What 's dearest to the world ! Full many a lady I have eyed with best regard, and many a time 40 The harmony of their tongues hath into bondage Brought my too diligent ear : for several virtues Have I liked several women ; never any With so full soul, but some defect in her Did quarrel with the noblest grace she owed And put it to the foil : but you, O you. So perfect and so peerless, are created Of every creature's best ! Mir. I do not know One of my sex ; no woman's face remember. Save, from my glass, mine own ; nor have I seen so More that I may call men than you, good friend. And my dear father : how features are abroad, I am skilless of ; but, by my modesty, The jewel in my dower, I would not wish Scene One] THE TEMPEST 47 Any companion in the world but you, Nor can imagination form a shape, Besides yourself, to like of. But I prattle Something too wildly and my father's precepts I therein do forget. Fer. I am in my condition A prince, Miranda; I do think, a king; 60 I would, not so ! — and would no more endure This wooden slavery than to suffer The flesh-fly blow my mouth. Hear my soul speak : The very instant that I saw you, did My heart fly to your service ; there resides. To make me slave to it ; and for your sake Am I this patient log-man. Mir. Do you love me ? Fer, O heaven, O earth, bear witness to this sound And crown what I profess with kind event If I speak true ! if hollowly, invert 70 What best is boded me to- mischief ! I Beyond all limit of what else i' the world Do love, prize, honour you. ^. Mir. I am a fool To weep at what I am glad of. ry Pros. Fair encounter Of two most rare affections ! Heavens rain grace On that which breeds between *em ! Fer. Wherefore weep you ? Mir. At mine unworthiness that dare not offer What I desire to give, and much less take What I shall die to want. But this is trifling ; And all the more it seeks to hide itself, so 48 THE TEMPEST [Act Three The bigger bulk it shows. Hence, bashful cunning ! And prompt me, plain and holy innocence ! I am your wife, if you will marry me ; If not, I '11 die your maid : to be your fellow You, may deny me ; but I '11 be your servant, Whether you will or no. Fer. My mistress, dearest ; And I thus humble ever. Mir, My husband, then ? Fer. Ay, with a heart as willing As bondage e'er of freedom : here 's my hand. Mir. And mine, with my heart in 't : and now farewell 90 ! Till half an hour hence. Fer. A thousand thousand ! [Exeunt Fer. and Mir. severally. Pros. So glad of this as they I cannot be, t ,^. / / Who are surprised withal ; but my rejoicing 1[p. ^ jr At nothing can be more. I '11 to my book, \j' For yet ere supper-time must I perform Much business appertaining. \Exit, Scene n — Another part of the island Enter Caliban, Stephano, and Trinculo Ste. Tell not me; when the butt is out, we will drink water ; not a drop before : therefore bear up, and board 'em. Servant-monster, drink to me. Trin, Servant-monster ! the folly of this island ! They say there 's but five upon this isle : we are three of them ; if th' other two be brained like us, the state totters. Scene Two] THE TEMPEST 49 Ste, Drink, servant-monster, when I bid thee : thy eyes are almost set in thy head. lo Trin. Where should they be set else? he were a brave monster indeed, if they were set in his tail. Ste. My man-monster hath drown'd his tongue in sack: for my part, the sea cannot drown me; I swam, ere I could recover the shore, five and thirty leagues off and on. By this light, thou shalt be my lieutenant, monster, or my standard. Trin, Yourlieutenant, if you Ust; he 's no standard. 20 Ste. We '11 not run. Monsieur Monster. Trin. Nor go neither ; but you '11 lie like dogs and yet say nothing neither. Ste. Moon-calf, speak once in thy life, if thou beest a good moon-calf. Cal. How does thy honour.'* Let me lick thy shoe. I '11 not serve him ; he is not valiant. Trin. Thou liest, most ignorant monster : I am in case to justle a constable. Why, thou deboshed fish, thou, was there ever man a coward that hath drunk 30 so much sack as I to-day ? Wilt thou tell a mon- strous lie, being but half a fish and haK a monster ? Cal. Lo, how he mocks me ! wilt thou let him, my lord ? Trin, " Lord " quoth he ! That a monster should be such a natural ! Cal. Lo, lo, again! bite him to death, I prithee. Ste, Trinculo, keep a good tongue in your head : 50 THE TEMPEST [Act Three if you prove a mutineer, — the next tree ! The poor 4o monster 's my subject and he shall not suffer in- dignity. Cal. I thank my noble lord. Wilt thou be pleased to hearken once again to the suit I made to thee ? Ste. Marry, will I : kneel and repeat it ; I will stand, and so shall Trinculo. Enter Ariel, invisible Cal. As I told thee before, I am subject to a tyrant, a sorcerer, that by his cunning hath cheated me of the island. so Ari. Thou liest. Cal. Thou liest, thou jesting monkey, thou : I would my valiant master would destroy thee ! I do not lie. Ste. Trinculo, if you trouble him any more in 's tale, by this hand, I will supplant some of your teeth. Trin. Why, I said nothing. Ste. Mum, then, and no more. Proceed. Cal. I say, by sorcery he got this isle ; eo From me he got it. If thy greatness will Revenge it on him, — for I know thou darest. But this thing dare not, — Ste. That 's most certain. Cal. Thou shalt be lord of it and I '11 serve thee. Ste. How now shall this be compassed ? Canst thou bring me to the party ? Cal. Yea, yea, my lord : I '11 yield him thee asleep. Scene Two] THE TEMPEST 51 Where thou mayst knock a nail mto his head. Ari. Thou Hest ; thou canst not. 70 Ccd: What a pied ninny 's this ! Thou scurvy patch ! I do beseech thy greatness, give him blows And take his bottle from him : when that 's gone He shall drink nought but brine ; for I '11 not show him Where the quick freshes are. Ste. Trmculo, run into no further danger: interrupt the monster one word further, and, by this hand, I '11 turn my mercy out o' doors and make a stock-fish of thee. Trin. Why, what did I.? I did nothing. I '11 so go farther off. Ste. Didst thou not say he lied ? Ari. Thou liest. Ste. Do I so ? take thou that. [Beats Trin.] As you like this, give me the lie another time. Trin. I did not give the lie. Out o' your wits and hearing too ? A pox o' your bottle ! this can sack and drinking do. A murrain on your monster, and the devil take your fingers ! Cal. Ha, ha, ha ! 90 Ste. Now, forward with your tale. Prithee, stand farther off. Cal. Beat him enough : after a little time I '11 beat him too. Ste. Stand farther. Come, proceed. Cal. Why, as I told thee, 't is a custom with him, I' th' afternoon to sleep : there thou mayst brain him. 52 THE TEMPEST [Act Three Having first seized his books, or with a log Batter his skull, or paunch him with a stake. Or cut his wezand with thy knife. Remember First to possess his books ; for without them loo He 's but a sot, as I am, nor hath not One spirit to command : they all do hate him As rootedly as I. Burn but his books. He has brave utensils, — for so he calls them, — Which, when he has a house, he '11 deck withal. And that most deeply to consider is The beauty of his daughter ; he himself Calls her a nonpareil : I never saw a woman. But only Sycorax my dam and she ; But she as far surpasseth Sycorax no As great'st does least. Ste. Is it so brave a lass ? Cat. Ay, lord. Ste. Monster, I will kill this man : his daughter and I will be king and queen, — save our graces ! — and Trinculo and thyself shall be viceroys. Dost thou like the plot, Trinculo ? Trin. Excellent. Ste. Give me thy hand : I am sorry I beat thee ; but, while thou livest, keep a good tongue in thy 120 head. Cal. Within this half hour will he be asleep : Wilt thou destroy him then ? Ste. Ay, on mine honour. _^-24n. This will I tell my master. Cal. Thou makest me merry ; I am full of pleasure : Let us be jocund : will you troll the catch Scene Two] THE TEMPEST 53 You taught me but while-ere ? Ste. At thy request, monster, I will do reason, any reason. Come on, Trinculo, let us sing. [Sings, Flout 'em and scout 'em 130 And scout 'em and flout 'em ; Thought is free. Cat. That 's not the tune. [Ariel plays the tune on a tabor and pipe, Ste. What is this same ? Trin. This is the tune of our catch, played by the picture of Nobody. Ste. If thou beest a man, show thyself in thy likeness : if thou beest a devil, take 't as thou list. Trin. O, forgive me my sins ! Ste. He that dies pays all debts : I defy thee. i40 Mercy upon us ! Cal. Art thou af card ? Ste. No, monster, not I. Cal. Be not afeard : the isle is full of noises. Sounds and sweet airs, that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears, and sometime voices That, if I then had waked after long sleep. Will make me sleep again : and then, in dreaming. The clouds methought would open and show riches 150 Ready to drop upon me, that, when I waked, I cried to dream again. Ste. This will prove a brave kingdom to me, where I shall have my music for nothing. Cal. When Prosper© is destroyed. 54 THE TEMPEST [Act Three Ste. That shall be by and by : I remember the story. Trin. The sound is going away ; let *s follow it, and after do our work. Ste. Lead, monster; we '11 follow. I would Iieo could see this taborer ; he lays it on. Trin. Wilt come ? I '11 follow, Stephano. [Exeunt. Scene III — Another part of the island Enter Alonso, Sebastian, Antonio, Gonzalo, Adrian, Francisco, and others Gon. By 'r lakin, I can go no further, sir ; My old bones ache : here 's a maze trod indeed Through forth-rights and meanders! By your patience, I needs must rest me. Alon. Old lord, I cannot blame thee. Who am myseK attach 'd with weariness. To the dulling of my spirits : sit down, and rest. Even here I will put off my hope and keep it No longer for my flatterer : he is drown'd Whom thus we stray to find, and the sea mocks Our frustrate search on land. Well, let him go. lo Ant. [Aside to Seb.] I am right glad that he 's so out of hope. Do not, for one repulse, forego the purpose That you resolved to effect. Seh. [Aside to Ant.] The next advantage Will we take throughly. Ant. [Aside to Seb.] Let it be to-night ; For, now they are oppressed with travel, they Scene Three] THE TEMPEST 55 Will not, nor cannot, use such vigilance As when they are fresh. Seb. [Aside to Ant.] I say, to-night : no more. [Solemn and strange music, Alon. What harmony is this ? My good friends, hark! Gon. Marvellous sweet music ! Enter Prospero above, invisible. Enter several strange Shapes, bringing in a banquet; they dance about it with gentle actions of salutation; and, inviting the King, etc. to eat, they depart Alon. Give us kind keepers, heavens ! What were these ? 20 Seb. A living drollery. Now I will believe That there are unicorns, that in Arabia There is one tree, the phoenix* throne, one phoenix At this hour reigning there. Ant. I '11 believe both ; And what does else want credit, come to me. And I '11 be sworn 't is true : travellers ne'er did lie. Though fools at home condemn 'em. Gon. If in Naples I should report this now, would they believe me ? If I should say, I saw such islanders — For, certes, these are people of the island — 30 Who, though they are of monstrous shape, yet, note. Their manners are more gentle-kind than of Our human generation you shall find Many, nay, almost any. Pros. [Aside] Honest lord. Thou hast said well ; for some of you there present Are worse than devils. 56 THE TEMPEST [Act Three Alon. I cannot too much muse Such shapes, such gesture and such sound, express- ing, Although they want the use of tongue, a kind Of excellent dumb discourse. -Pros, [Aside] Praise in departing* Fran. They vanished strangely. Seb. No matter, since 40 They have left their viands behind; for we have stomachs. Will 't please you taste of what is here ? Alon. Not I. Gon. Faith, sir, you need not fear. When we were boys, Who would believe that there were mountaineers Dew-lapp'd like bulls, whose throats had hanging at 'em Wallets of flesh ? or that there were such men Whose heads stood in their breasts ? which now we find Each putter-out of five for one will bring us Good warrant of. Alon. I will stand to and feed, Although my last : no matter, since I feel so The best is past. Brother, my lord the duke. Stand to and do as we. Thunder and lightning. Enter Ariel, like a harpy; claps his wings upon the table; and, with a quaint device y the banquet vanishes AH. You are three men of sin, whom Destiny, That hath to instrument this lower world Scene Three] THE TEMPEST 57 And what is in 't, the never-surfeited sea Hath caused to belch up you ; and on this island Where man doth not inhabit ; you 'mongst men Being most unfit to live. I have made you mad ; And even with such-like valour men hang and drown Their proper selves. [Alon.f Seh.i &c. draw their swords. You fools ! I and my fellows eo Are ministers of Fate : the elements, Of whom your swords are tempered, may as well Wound the loud winds, or with bemock'd-at stabs Kill the still-closing waters, as diminish One dowle that 's in my plume : my fellow-ministers Are like invulnerable. If you could hurt, Your swords are now too massy for your strengths And will not be uplifted. But remember — For that 's my business to you — that you three From Milan did supplant good Prospero ; 70 Exposed unto the sea, which hath requit it. Him and his innocent child ; for which foul deed The powers, delaying, not forgetting, have Incensed the seas and shores, yea, all the creatures. Against your peace. Thee of thy son, Alonso, They have bereft ; and do pronounce by me Lingering perdition, worse than any death Can be at once, shall step by step attend You and your ways; whose wraths to guard you from — Which here, in this most desolate isle, else falls so Upon your heads — is nothing but heart-sorrow And a clear life ensuing. 58 THE TEMPEST [Act Four He vanishes in thunder; then, to soft music, enter the Shapes again, and dance, with mocks and mows, and carrying out the table Pros. Bravely the figure of this harpy hast thou Perform'd, my Ariel ; a grace it had, devouring : Of my instruction hast thou nothing bated In what thou hadst to say : so, with good life And observation strange, my meaner ministers Their several kinds have done. My high charms work And these mine enemies are all knit up In their distractions ; they now are in my power ; 90 And in these fits I leave them, while I visit Young Ferdinand, whom they suppose is drown'd, And his and mine loved darling. [Exit above, Gon. V the name of something holy, sir, why stand you In this strange stare ? Alon. O, it is monstrous, monstrous ! Methought the billows spoke and told me of it ; The winds did sing it to me, and the thunder. That deep and dreadful organ-pipe, pronounced The name of Prosper : it did bass my trespass. Therefore my son i' the ooze is bedded, and 100 I '11 seek him deeper than e'er plummet sounded And with him there lie mudded. [Exit. Seb. But one fiend at a time, I '11 fight their legions o'er. Ant. I '11 be thy second. [Exeunt Seb. and Ant. Gon. All three of them are desperate: their great guilt, Scene One] THE TEMPEST 59 Like poison given to work a great time after, Now 'gins to bite the spirits. I do beseech you That are of suppler joints, follow them swiftly And hinder them from what this ecstasy May now provoke them to. Adr, Follow, I pray you. [Exeunt, ACT IV Scene I — Before Prospero's cell Enter Prospero, Ferdinand, and Miranda Pros. If I have too austerely punish'd you. Your compensation makes amends, for I Have given you here a third of mine own life. Or that for which I live ; who once again I tender to thy hand : all thy vexations Were but my trials of thy love, and thou Hast strangely stood the test : here, afore Heaven, I ratify this my rich gift. O Ferdinand, Do not smile at me that I boast her off. For thou shalt find she will outstrip all praise lo And make it halt behind her. Fer. I do believe it Against an oracle. Pros. Then, as my gift and thine own acquisi- tion Worthily purchased, take my daughter : but If thou dost break her virgin-knot before All sanctimonious ceremonies may With full and holy rite be minister'd. 60 THE TEMPEST [Act Four No sweet aspersion shall the heavens let fall To make this contract grow ; but barren hate. Sour-eyed disdain and discord shall bestrew 20 ; The union of your bed with weeds so loathly That you shall hate it both : therefore take heed. As Hymen's lamps shall light you. Fer. As I hope For quiet days, fair issue and long life, With such love as 't is now, the murkiest den. The most opportune place, the strong'st suggestion Our worser genius can, shall never melt Mine honour into lust, to take away The edge of that day's celebration When I shall think, or Phoebus' steeds are founder'd, 30 1 Or Night kept chain'd below. Pros, Fairly spoke. Sit then and talk with her ; she is thine own. What, Ariel ! my industrious servant, Ariel ! Enter Ariel Ari. What would my potent master .? here I am. Pros. Thou and thy meaner fellows your last service Did worthily perform ; and I must use you In such another trick. Go bring the rabble, O'er whom I give thee power, here to this place : Incite them to quick motion ; for I must Bestow upon the eyes of this young couple 40 ; Some vanity of mine art ; it is my promise. And they expect it from me. Ari. Presently ? Pros. Ay, with a twink. Scene One] THE TEMPEST 61 Ari. Before you can say "come" and "go," And breathe twice and cry "so, so," Each one, trippmg on his toe. Will be here with mop and mow. Do you love me, master ? no ? Pros. Dearly, my delicate Ariel. Do not ap- proach Till thou dost hear me call. Ari, Well, I conceive. [Exit. 50 Pros. Look thou be true ; do not give dalliance Too much the rein : the strongest oaths are straw To the fire i' the blood : be more abstemious. Or else, good night your vow ! Fer. I warrant you, sir ; The white cold virgin snow upon my heart Abates the ardour of my liver. Pros. Well. Now come, my Ariel ! bring a corollary. Rather than want a spirit : appear, and pertly ! No tongue ! all eyes ! be silent. [Soft music. Enter Iris Iris. Ceres, most bounteous lady, thy rich leas 60 Of wheat, rye, barley, vetches, oats and pease ; Thy turfy mountains, where live nibbling sheep. And flat meads thatch'd with stover, them to keep ; Thy banks with pioned and twilled brims. Which spongy April at thy hest betrims, To make cold nymphs chaste crowns; and thy broom-groves, Whose shadow the dismissed bachelor loves. Being lass-lorn ; thy pole-clipt vineyard ; 62 THE TEMPEST [Act Four And thy sea-marge, sterile and rocky-hard, Where thou thyself dost air; — the queen o' the sky, 70 Whose watery arch and messenger am I, Bids thee leave these, and with her sovereign grace Here on this grass-plot, in this very place, To come and sport : her peacocks fly amain : Approach, rich Ceres, her to entertain. Enter Ceres Cer. Hail, many-colour'd messenger, that ne'er Dost disobey the wife of Jupiter ; Who with thy saffron wings upon my flowers Diffusest honey-drops, refreshing showers. And with each end of thy blue bow dost crown so My bosky acres and my unshrubb'd down. Rich scarf to my proud earth ; why hath thy queen Summoned me hither, to this short-grass'd green? Iris. A contract of true love to celebrate ; And some donation freely to estate On the blest lovers. Cer, Tell me, heavenly bow. If Venus or her son, as thou dost know. Do now attend the queen ? Since they did plot The means that dusky Dis my daughter got, Her and her blind boy's scandal'd company 90 I have forsworn. Iris. Of her society Be not afraid : I met her deity Cutting the clouds towards Paphos and her son Dove-drawn with her. Here thought they to have done Scene One! THE TEMPEST 63 Some wanton charm upon this man and maid, Whose vows are, that no bed-right shall be paid Till Hymen's torch be lighted : but in vain ; Mars's hot minion is return'd again ; Her waspish-headed son has broke his arrows, Swears he will shoot no more, but play with sparrows loo And be a boy right out. Cer. High'st queen of state, Great Juno, comes ; I know her by her gait. Enter Juno Juno. How does my bounteous sister ? Go with me To bless this twain, that they may prosperous be And honoured in their issue. [They sing, Juno. Honour, riches, marriage-blessing. Long continuance, and increasing. Hourly joys be still upon you ! Juno sings her blessings on you. Cer. Earth's increase, foison plenty, no Barns and garners never empty. Vines with clustering bunches growing. Plants with goodly burthen bowing ; Spring come to you at the farthest In the very end of harvest ! Scarcity and want shall shun you ; Ceres' blessing so is on you. Fer. This is a most majestic vision, and Harmonious charmingly. May I be bold To think these spirits ? 64 THE TEMPEST [Act Foub Pros. Spirits, which by mine art 120 I have from their confines call'd to enact My present fancies. Fer. Let me live here ever ; So rare a wonder'd father and a wise Makes this place Paradise. [Juno and Ceres whisper, and send Iris on employment. Pros. Sweet, now, silence ! Juno and Ceres whisper seriously ; There 's something else to do : hush, and be mute. Or else our spell is marr'd. Iris. You nymphs, call'd Naiads, of the wind- ring brooks, With your sedged crowns and ever-harmless looks. Leave your crisp channels and on this green land 130 Answer your summons ; Juno does command : Come, temperate nymphs, and help to celebrate A contract of true love ; be not too late. Enter certain Nymphs You sunburnt sicklemen, of August weary. Come hither from the furrow and be merry : Make holiday ; your rye-straw hats put on And these fresh nymphs encounter every one In country footing. Enter certain Reapers, properly habited : they join vnih the Nymphs in a graceful dance; towards the end whereof Peospero starts suddenly, and speaks; after which, to a strange, hollow, and confused noise, they heavily vanish Pros. [Aside] I had forgot that foul conspiracy Of the beast Caliban and his confederates i4o Scene One] THE TEMPEST 65 Against my life : the minute of their plot Is almost come. [To the Spirits] Well done ! avoid ; no more ! Fer. This is strange : your father 's in some pas- sion That works him strongly. Mir. Never till this day Saw I him touch'd with anger so distemper'd. Pros. You do look, my son, in a moved sort. As if you were dismay'd : be cheerful, sir. Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air : iso And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous palaces. The solemn temples, the great globe itself. Yea, all which it inherit, shall dissolve And, like this insubstantial pageant faded. Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep. Sir, I am vex'd ; Bear with my weakness ; my old brain is troubled : Be not disturb'd with my infirmity : 160 If you be pleased, retire into my cell And there repose : a turn or two I '11 walk. To still my beating mind. Fer. ^ . , We wish your peace. [Exeunt. Pros. Come with a thought. I thank thee, Ariel: come. 66 THE TEMPEST [Act Four Enter Ariel Ari. Thy thoughts I cleave to. What 's thy pleasure ? Pros. Spirit, We must prepare to meet with Caliban. Ari. Ay, my commander: when I presented Ceres, I thought to have told thee of it, but I fear'd Lest I might anger thee. Pros. Say again, where didst thou leave these varlets ? i70 Ari. I told you, sir, they were red-hot with drinking ; So full of valour that they smote the air For breathing in their faces ; beat the ground For kissing of their feet ; yet always bending Towards their project. Then I beat my tabor. At which, like unback'd colts, they prick'd their ears, Advanced their eyelids, lifted up their noses As they smelt music : so I charm'd their ears That calf -like they my lowing foUow'd through Tooth'd briers, sharp furzes, pricking goss and thorns, 180 Which entered their frail shins : at last I left them I' the filthy-mantled pool beyond your cell. There dancing up to the chins, that the foul lake O'erstunk their feet. Pros. This was well done, my bird. Thy shape invisible retain thou still : The trumpery in my house, go bring it hither, For stale to catch these thieves. Scene One] THE TEMPEST 67 Ari. I go, I go. [Exit Pros. A devil, a born devil, on whose nature Nurture can never stick ; on whom my pains, Humanely taken, all, all lost, quite lost ; 190 And as with age his body uglier grows. So his mind cankers. I will plague them all, Even to roaring. Re-enter Ariel, loaden with glistering apparel^ &c. Come, hang them on this line. Prospero and Ariel remain, invisible. Enter Caliban, Stephano, and Trinculo, all wet Cat. Pray you, tread softly, that the blind mole may not Hear a foot fall : we now are near his cell. Ste. Monster, your fairy, which you say is a harmless fairy, has done little better than played the Jack with us. Do you hear, monster? If 1 200 should take a displeasure against you, look you, — Trin. Thou wert but a lost monster. Cal. Good my lord, give me thy favour still. Be patient, for the prize I '11 bring thee to Shall hoodwink this mischance : therefore speak softly. All 's hush'd as midnight yet. Trin. Ay, but to lose our bottles in the pool, — Ste. There is not only disgrace and dishonour in that, monster, but an infinite loss. 210 Trin. That 's more to me than my wetting : yet this is your harmless fairy, monster. Ste. I will fetch off my bottle, though I be o'er ^rs for my labour. 68 THE TEMPEST [Act Four Cat. Prithee, my king, be quiet. See'st thou here, This is the mouth o' the cell : no noise, and enter. Do that good mischief which may make this island Thine own for ever, and I, thy Caliban, For aye thy foot-licker. Ste. Give me thy hand. I do begin to have 220 bloody thoughts. Trin. O king Stephano ! O peer ! O worthy Stephano ! look what a wardrobe here is for thee ! Cal. Let it alone, thou fool ; it is but trash. Trin. O, ho, monster ! we know what belongs to a frippery. O king Stephano ! Ste. Put off that gown, Trinculo ; by this hand, I '11 have that gown. Trin. Thy grace shall have it. Cal. The dropsy drown this fool ! what do you mean 230 To dote thus on such luggage ? Let 's alone And do the murder first : if he awake. From toe to crown he '11 fill our skins with pinches. Make us strange stuff. Ste. Be you quiet, monster. Mistress line, is not this my jerkin.? Now is the jerkin under the line : now, jerkin, you are like to lose your hair and prove a bald jerkin. Trin. Do, do : we steal by line and level, aii 't like your grace. 240 Ste. I thank thee for that jest; here's a gar- ment for 't : wit shall not go unrewarded while I am king of this country. "Steal by line and level" is an excellent pass of pate ; there 's another gar- ment for 't. Scene One] THE TEMPEST 69 Trin. Monster, come, put some lime upon your fingers, and away with the rest. Cat. I will have none on 't : we shall lose our time, And all be turn'd to barnacles, or to apes With foreheads villanous low. 250 Ste. Monster, lay-to your fingers : help to bear this away where my hogshead of wine is, or I '11 turn you out of my kingdom : go to, carry this. Trin. And this. Ste. Ay, and this. A noise of hunters heard. Enter divers Spirits, in shape of dogs and hounds, and hunt them about, Prospero and Ariel setting them on Pros. Hey, Mountain, hey ! Ari. Silver ! there it goes. Silver ! Pros. Fury, Fury ! there. Tyrant, there ! hark ! hark ! [Cal., Ste.y and Trin. are driven out. Go charge my goblins that they grind their joints With dry convulsions, shorten up their sinews 26O With aged cramps, and more pinch-spotted make them Than pard or cat o' mountain. Ari. Hark, they roar ! Pros. Let them be hunted soundly. At this hour Lie at my mercy all mine enemies : Shortly shall all my labours end, and thou Shalt have the air at freedom : for a little Follow, and do me service. [Exeunt. 70 THE TEMPEST [Act Five ACT V Scene I — Befwe Prospero's cell Enter Prospero in his magic robes, and Ariel Pros, Now does my project gather to a head : My charms crack not ; my spirits obey ; and time Goes upright with his carriage. How 's the day ? Ari. On the sixth hour ; at which time, my lord. You said our work should cease. Pros. I did say so, When first I raised the tempest. Say, my spirit, How fares the king and 's followers ^ Ari. Confined together In the same fashion as you gave in charge. Just as you left them ; all prisoners, sir. In the line-grove which weather-fends your cell ; lo They cannot budge till your release. The. king. His brother and yours, abide all three distracted. And the remainder mourning over them. Brimful of sorrow and dismay ; but chiefly Him that you term'd sir, " The good old lord, Gon- zalo " ; His tears run down his beard, like winter's drops From eaves of reeds. Your charm so strongly works 'em That if you now beheld them, your affections Would become tender. Pros. Dost thou think so, spirit ? Ari. Mine would, sir, were I human. Pros. And mine shall. 20 Hast thou, which art but air, a touch, a feeling Scene One] THE TEMPEST 71 Of their afflictions, and shall not myself, One of their kind, that relish all as sharply Passion as they, be kindlier moved than thou art ? Though with their high wrongs I am struck to the quick. Yet with my nobler reason 'gainst my fury Do I take part : the rarer action is In virtue than in vengeance : they being penitent. The sole drift of my purpose doth extend Not a frown further. Go release them, Ariel : so My charms I '11 break, theu* senses I '11 restore. And they shall be themselves. Ari. I '11 fetch them, sir. [Exit Pros. Ye elves of hills, brooks, standing lakes and groves. And ye that on the sands with printless foot Do chase the ebbing Neptime and do fly him When he comes back ; you demi-puppets that By moonshine do the green sour ringlets make. Whereof the ewe not bites, and you whose pastime Is to make midnight mushrooms, that rejoice To hear the solemn curfew ; by whose aid, 40 Weak masters though ye be, I have bedimm'd The noontide sun, call'd forth the mutinous winds. And 'twixt the green sea and the azured vault Set roaring war : to the dread rattling thunder Have I given fire and rifted Jove's stout oak With his own bolt ; the strong-based promontory Have I made shake and by the spurs pluck'd up The pine and cedar : graves at my command Have waked their sleepers, oped, and let 'em forth By my so potent art. But this rough magic so 72 THE TEMPEST [Act Five I here abjure, and, when I have required Some heavenly music, which even now I do. To work mine end upon their senses that This airy charm is for, I '11 break my staff. Bury it certain fathoms in the earth. And deeper than did ever plummet sound I '11 drown my book. [Solemn music. Re-enter Ariel before: then Alonso, mth a frantic ges- ture, attended by Gonzalo: Sebastian and An- tonio in like manner^ attended by Adrian and Francisco : they all enter the circle which Prosper© had made, and there stand charmed; which Prospero observing, speaks A solemn air and the best comforter To an unsettled fancy cure thy brains. Now useless, boil'd within thy skull ! There stand, eo For you are spell-stopp'd. Holy Gonzalo, honourable man. Mine eyes, even sociable to the show of thine. Fall fellowly drops. The charm dissolves apace, And as the morning steals upon the night. Melting the darkness, so their rising senses Begin to chase the ignorant fumes that mantle Their clearer reason. O good Gonzalo, My true preserver, and a loyal sir To him thou foUow'st ! I will pay thy graces 70 Home both in word and deed. Most cruelly Didst thou, Alonso, use me and my daughter : Thy brother was a furtherer in the act. Thou art pinch'd for 't now* Sebastian. Flesh and blood. L. Scene One] THE TEMPEST 73 You, brother mine, that entertain'd ambition, Expeird remorse and nature ; who, with Sebastian, Whose inward pinches therefore are most strong. Would here have kill'd your king ; I do forgive thee. Unnatural though thou art. Their understanding/ Begins to swell, and the approaching tide ^ &u Will shortly fill the reasonable shore That now lies foul and muddy. Not one of them That yet looks on me, or would know me : Ariel, Fetch me the hat and rapier in my cell : I will disease me, and myself present As I was sometime Milan : quickly, spirit ; Thou shalt ere long be free. Ariel sings and helps to attire him Where the bee sucks, there suck I : In a cowslip's bell I lie ; There I couch when owls do cry. 90 On the bat's back I do fly After summer merrily. Merrily, merrily shall I live now Under the blossom that hangs on the bough. Pros, Why, that 's my dainty Ariel! I shall miss thee ; But yet thou shalt have freedom : so, so, so. To the king's ship, invisible as thou art : There shalt thou find the mariners asleep Under the hatches ; the master and the boatswain Being awake, enforce them to this place, 100 And presently, I prithee. An. I drink the air before me, and return Or ere your pulse twice beat. [Exit \ 74 THE TEMPEST [Act Five Gon. All torment, trouble, wonder and amaze- ment Inhabits here : some heavenly power guide us Out of this fearful country ! Pros. Behold, sir king. The wronged Duke of Milan, Prospero : For more assurance that a living prince Does now speak to thee, I embrace thy body ; And to thee and thy company I bid no A hearty welcome. Alon. Whether thou be'st he or no. Or some enchanted trifle to abuse me. As late I have been, I not know : thy pulse Beats as of flesh and blood ; and, since I saw thee. The affliction of my mind amends, with which, I fear, a madness held me ; this must crave. An if this be at all, a most strange story. Thy dukedom I resign and do entreat Thou pardon me my wrongs. But how should Prospero Be living and be here ? Pros, First, noble friend, 120 Let me embrace thine age, whose honour cannot Be measured or confined. Gon. Whether this be Or be not, I '11 not swear. Pros. You do yet taste Some subtilties o' the isle, that will not let you Believe things certain. Welcome, my friends all ! [Aside to Seh. and Ant] But you, my brace of lords, were I so minded, I here could pluck his highness' frown upon you Scene One] THE TEMPEST 75 And justify you traitors : at this time I will tell no tales. \^ Seb. [Aside] The devil speaks in him. Pros. No. For you, most wicked sir, whom to call brother 130 Would even infect my mouth, I do forgive Thy rankest fault ; all of them ; and require My dukedom of thee, which perforce, I know. Thou must restore. Alon. If thou be'st Prospero, Give us particulars of thy preservation ; How thou hast met us here, who three hours since Were wreck'd upon this shore ; where I have lost — How sharp the point of this remembrance is ! — My dear son Ferdinand. Pros. I am woe for % sir. Alon. Irreparable is the loss, and patience i4o Says it is past her cure. Pros. I rather think You have not sought her help, of whose soft grace For the like loss I have her sovereign aid And rest myself content. Alon, You the like loss ! Pros. As great to me as late ; and, supportable To make the dear loss, have I means much weaker Than you may call to comfort you, for I Have lost my daughter. Alon. A daughter ? O heavens, that they were living both in Naples, The king and queen there ! that they were, I wish 150 Myself were mudded in that oozy bed 76 THE TEMPEST [Act Five Where my son lies. When did you lose your daughter ? Pros. In this last tempest. I perceive, these lords At this encounter do so much admire That they devour their reason and scarce think Their eyes do offices of truth, their words Are natural breath : but howsoe'er you have Been justled from your senses, know for certain That I am Prospero and that very duke Which was thrust forth of Milan, who most strangely 160 Upon this shore, where you were wreck'd, was landed, To be the lord on 't. No more yet of this ; For 't is a chronicle of day by day, Not a relation for a breakfast nor Befitting this first meeting. Welcome, sir ; This cell 's my court : here have I few attendants And subjects none abroad : pray you, look in. My dukedom since you have given me again, I will requite you with as good a thing ; At least bring forth a wonder, to content ye 170 As much as me my dukedom. Here Prospero discovers Ferdinand and Miranda playing at chess Mir, Sweet lord, you play me false. Per. No, my dear'st love, I would not for the world. Mir, Yes, for a score of kingdoms you should wrangle. And I would call it fair play. Scene One] THE TEMPEST 77 Alon. If this prove A vision of the Island, one dear son Shall I twice lose. Seb, A most high miracle ! Fer, Though the seas threaten, they are merci- ful; I have cursed them without cause. [Kneels. Alon. Now all the blessings Of a glad father compass thee about ! 180 Arise, and say how thou camest here. Mir. O, wonder ! How many goodly creatures are there here ! How beauteous mankind is ! O brave new world. That has such people in 't ! Pros. 'T is new to thee. Alon. What is this maid with whom thou wast at play ? Your eld'st acquaintance cannot be three hours : Is she the goddess that hath sever'd us, And brought us thus together ? Fer. Sir, she is mortal ; But by immortal Providence she 's mine : I chose her when I could not ask my father 190 For his advice, nor thought I had one. She Is daughter to this famous Duke of Milan, Of whom so often I have heard renown. But never saw before ; of whom I have Received a second life ; and second father This lady makes him to me. Alon. I am hers : But, O, how oddly will it sound that I Must ask my child forgiveness ! 78 THE TEMPEST [Act Five Tros. There, sir, stop : Let us not burthen our remembrance with A heaviness that 's gone. Gon. I have inly wept, 200 Or should have spoke ere this. Look down, you gods. And on this couple drop a blessed crown For it is you that have chalk'd forth the way Which brought us hither. Alon. I say. Amen, Gonzalo ! Gon. Was Milan thrust from Milan, that his issue Should become kings of Naples ? O, rejoice Beyond, a common joy, and set it down With gold on lasting pillars : In one voyage Did Claribel her husband find at Tunis And Ferdinand, her brother, found a wife 210 Where he himself was lost, Prospero his dukedom In a poor isle, and all of us ourselves When no man was his own. Alon. {To Fer. and Mir.] Give me your hands : Let grief and sorrow still embrace his heart That doth not wish you joy ! Gon. Be it so ! Amen ! Re-enter Ariel, with the Master and Boatswain amazedly following O, look, sir, look, sir ! here is more of us : I prophesied, if a gallows were on land. This fellow could not drown. Now, blasphemy. That swear'st Grace o'erboard, not an oath on shore ? Hast thou no mouth by land ? What is the news ? 220 Scene One] THE TEMPEST 79 Boats. The best news is, that we have safely found Our king and company ; the next, our ship — Which, but three glasses since, we gave out split — Is tight and yare and bravely rigg'd as when We first put out to sea. Ari. [Aside to Pros.] Sir, all this service Have I done since I went. Pros, [Aside to Ari.] My tricksy spirit ! Alon. These are not natural events; they strengthen From strange to stranger. Say, how came you hither ? Boats. If I did think, sir, I were well awake, I 'Id strive to tell you. We were dead of sleep, 230 And — how we know not — all clapp'd under hatches ; Where but even now with strange and several noises Of roaring, shrieking, howling, jingling chains. And moe diversity of sounds, all horrible. We were awaked ; straightway, at liberty ; Where we, in all her trim, freshly beheld Our royal, good and gallant ship, our master Capering to eye her ; on a trice, so please you. Even in a dream, were we divided from them And were brought moping hither. Ari. [Aside to Pros.] Was 't well done ? 240 Pros. [Aside to Ari.] Bravely, my diligence. Thou shalt be free. Alon. This is as strange a maze as e'er men trod ; And there is in this business more than nature Was ever conduct of : some oracle Must rectify our knowledge. 80 THE TEMPEST [Act Five Pros. Sir, my liege, Do not infest your mind with beating on The strangeness of this business ; at pick'd leisure Which shall be shortly, single I '11 resolve you, Which to you shall seem probable, of every These happened accidents ; till when, be cheerful 250 And think of each thing well. [Aside to Ari.\ Come hither, spirit : Set Caliban and his companions free ; Untie the spell. [Exit Ariel.] How fares my gracious sir.? There are yet missing of your company Some few odd lads that you remember not. Re-enter Ariel, driving in Caliban, Stephano and Trinculo, in their stolen apparel Ste. Every man shift for all the rest, and let no man take care for himself; for all is but fortune. Coragio, bully-monster, coragio ! Trin. If these be true spies which I wear in my head, here 's a goodly sight. 260 Col. O Setebos, these be brave spirits indeed ! How fine my master is ! I am afraid He will chastise me. Seh, Ha, ha ! What things are these, my lord Antonio ? Will money buy 'em ? Ant. Very like; one of them Is a plain fish, and, no doubt, marketable. Pros. Mark but the badges of these men, my lords. Then say if they be true. This mis-shapen knave, Scene One] THE TEMPEST 81 His mother was a witch, and one so strong That could control the moon, make flows and ebbs, 270 And deal in her command without her power. These three have robb'd me ; and this demi-devil — For he 's a bastard one — had plotted with them To take my life. Two of these fellows you ^ Must know and own ; this thing of darkness I Acknowledge mine. Cal. I shall be pinch'd to death. Alon. Is not this Stephano, my drunken butler ? Seh. He is drunk now : where had he wine ? Alon. And Trinculo is reeling ripe: where should they Find this grand liquor that hath gilded 'em ? 28o How camest thou in this pickle ? Trin. I have been in such a pickle since I saw you last that, I fear me, will never out of my bones : I shall not fear fly-blowing. Seb. Why, how now, Stephano ! Ste. O, touch me not ; I am not Stephano, but a cramp. Pros. You 'Id be king o' the isle, sirrah ? Ste. I should have been a sore one then. Alon. This is a strange thing as e'er I look'd on. [Pointing to Caliban. Pros. He is as disproportion'd in his manners 290 As in his shape. Go, sirrah, to my cell ; Take with you your companions ; as you look To have my pardon, trim it handsomely. Cal. Ay, that I will ; and I '11 be wise hereafter And seek for grace. What a thrice-double ass 82 THE TEMPEST [Act Five Was I, to take this drunkard for a god And worship this dull fool ! Pros. Go to ; away ! Alon. Hence, and bestow your luggage where you found it. Beh, Or stole it, rather. [Exeunt Cal., Ste.y and Trin. Pros, Sir, I invite your highness and your train soo To my poor cell, where you shall take your rest For this one night ; which, part of it, I '11 waste With such discourse as, I not doubt, shall make it Go quick away ; the story of my life And the particular accidents gone by Since I came to this isle : and in the morn I '11 bring you to your ship and so to Naples, Where I have hope to see the nuptial Of these our dear-beloved solemnized ; And thence retire me to my Milan, where 3io Every third thought shall be my grave. Alon. I long To hear the story of your life, which must Take the ear strangely. Pros. I '11 deliver all ; And promise you calm seas, auspicious gales And sail so expeditious that shall catch Your royal fleet far off. [Aside to Ari.] My Ariel, chick. That is thy charge : then to the elements Be free, and fare thou well ! Please you, draw near. [Exeunt. Epilogue] THE TEMPEST 83 EPILOGUE SPOKEN BY PROSPERO Now my charms are all o'erthrown, And what strength I have 's mine own. Which is most faint : Now, 't is true, I must be here confined by you. Or sent to Naples. Let me not. Since I have my dukedom got And pardon'd the deceiver, dwell In this bare island by your spell ; But release me from my bands With the help of your good hands : lo Gentle breath of yours my sails Must fill, or else my project fails. Which was to please. Now I want Spirits to enforce, art to enchant. And my ending is despair, Unless I be relieved by prayer. Which pierces so that it assaults Mercy itself and frees all faults. As you from crimes would pardon'd be. Let your indulgence set me free. 20 NOTES ABBREVIATIONS Abbott Coleridge Dowden E. E. Fl F2 F 3 F4 Ff Furness Konig M. E. Md. E. Moulton O. E. O. F. Wright Abbott's Shakespearian Grammar, 3d edition. Coleridge's Lectures on Shakespeare. Dowden's Shakespere: His Mind and Art. Elizabethan English. First Folio (1623) of Shakespeare's plays. Second Folio (1632). Third Folio (1663 and 1664). Fourth Folio (1685). The four Folios. Furness's Variorum edition of The Tempest. G. Konig's Der Vers in Shakspere* s Dramen. Middle English (about 1100-1500). Modern English. Moulton's Shakespeare as a Dramatic Artist. Old English. Old French. Aldis Wright's edition of The Tempest Clarendon Press Series. Dramatis Personas. follows the Epilogue. This list is given in the Ff, where it ACT I — SCENE 1 This opening scene, contrary to Shakespeare's usual practice, throws little light on the subsequent action of the play. It serves merely to transport us from the world of realities to the domain of enchantment. It contains a vivid sketch of naval operations, which proves that Shakespeare was proficient in the details of seamanship. Dr. Johnson asserted that in this dialogue, " perhaps the first example of sailors' language ex- hibited on the stage, there are, as I have been told by a skilful 85 86 THE TEMPEST [Act One navigator, some inaccuracies and contradictory orders." But the second Lord Mulgrave communicated to Malone " a most satisfactory refutation " of this criticism, maintaining that this scene " is a very striking instance of the great accuracy of Shakespeare's knowledge in a professional science, the most difficult to attain without the help of experience." Lord Mul- grave's explanations of the successive operations are given below. Enter a Ship-Master and a Boatswain. Captain John Smith, in his Accidence for Young Seamen, 1626, says that " The Master and his mate is to direct the course, command all the saylors for steering, trimming, and sayling the ship. The Boteswaine is to have the charge of all the cordage, tackling, sailes, fids, and marling spikes, needles, twine and saile-cloth, and rigging of the shippe." 3. Good is not used in answer to the Boatswain's question, " what cheer ? " The Master could not speak of the cheer as good, when the ship was in danger of running aground. The word expresses satisfaction that the Boatswain is ready to take orders. A similar inter jectional use of good occurs in I. 16: " Nay, good, be patient " ; and in 1. 20 : " Good, yet remember whom thou hast aboard." It is probably a contraction of a common form of address, e.g. " Good, my lord." 3-4. fall to 't, yarely, or we run ourselves aground. "Land discovered under the lee : the wind blowing too fresh to haul upon a wind with the topsail set. This first command is there- fore a notice to be ready to execute any orders quickly " (Mul- grave). 8. mastefs whistle. In Shakespeare's day a great whistle of gold was the ensign of a naval commander, even of the highest rank. Cf. Pericles, iii. 1. 8-10 : " The seaman's whistle Is as a whisper in the ears of death. Unheard." The description of the storm in Pericles, iii. 1 should be com- pared throughout with the present scene. Blow, till thou hurst thy wind: addressed to the storm. A simi- lar apostrophe in Pericles, iii. 1. 44 : " Blow, and split thyself." 9. if room enough, if there be sea-room enough. " The danger in a good sea-boat is only from being too near the land " (Mulgrave) . Scene One] NOTES 87 11. Play the men, act with spirit. 17-18. What cares these roarers. When the verb in E. E. precedes a plural subject, it is frequently in the singular. " When the subject is as yet future and, as it were, unsettled, the third person singular might be regarded as the normal inflection " (Abbott, § 335, where numerous examples are quoted). A plural nominative is also often followed by a singular verb, which Abbott regards as a survival of the M. E. Northern plural in es. 18. roarers. In the language of Shakespeare's time a bluster- ing bully was called a roarer. Cf. Massinger, The Renagado, i. 3 : "A lady to turn roarer, and break glasses." for the name of king ? In this allusion to the contempt of the elements for regal authority we have an anticipation of the problem of the true limits of obedience and service which underlies this play. To cabin. Notice the contempt of the " old salt " for the *' landlubber," however high his rank. The Boatswain is an extraordinarily lifelike sketch. " What a grand old sea-dog is he ! Neither Smollett, nor Marryat, nor even Fenimore Cooper ever drew a more graphic character. In the space of a single page we learn to know him as thoroughly as though he lived and moved in our presence — a thorough seaman is he ; a fine, hardened, blustering, dogmatic, domineering old fellow, whose shaggy beard has been outspread in a hundred tempests, one not apt to spare either himself or his subordinates in the way of duty " (" Shakespeare a Seaman," St. James's Magazine, July, 1862). 24. work the peace of the present, create peace at this instant. Of, signifying " coming from," " belonging to," when used with time signifies " during." (Abbott, § 176.) 31-36. An allusion to the proverb, " He that's born to be hanged needs fear no drowning." 33. the rope of his destiny, the hangman's rope. 37-38. " The gale increasing, the topmast is struck to take the weight from aloft, make the ship drift less to leeward, and bear the mainsail under which the ship is laid to " (Mulgrave). 37. Down with the topmast! strike or lower the topmast down to the cap. 38. Brir^ her to try with main-course, keep her close to the wind with the mainsail. To " lie at try " is to keep as close to the wind as possible. Cf. Hakluyt's Voyages, 1598, I. 277 : " And when the barke had way, we cut the hawser, and so gate 88 THE TEMPEST [Act One the sea to our friend, and tryed out al that day with our maine- course." 39-40. they are louder than the weather or our office, they drown the roaring of the storm and my orders. 49. for drowning, against drowning. Cf. Abbott, § 154. 51. lay her a-hold . . . lay her off. The Boatswain, finding the effect of the single sail unsatisfactory, and the danger of ship- wreck ever more imminent, issues fresh orders : " Keep her to the wind as close as possible, set her foresail as well as her main- sail, so as to carry her off to sea again." 55. must our mouths be cold? Possibly a contemptuous reference by the seaman to the chilling effect of prayer at such a crisis. Cf. Beaumont and Fletcher, The Sea Voyage, i. 1 : *' Thou rascal, thou fearful rogue, thou hast been praying. Is this a time To discourage our friends with your cold orisons ? " In The Scornful Lady, however, the phrase is used simply in the sense of being dead, which it may bear here. 59. merely, absolutely. 60. wide-chapped, with a wide mouth. 60-61. lie drowning The washing of ten tides. Pirates, in the time of Elizabeth, were hanged on the shore at low-water mark, and left until three tides had washed over them. An- tonio declares that for the Boatswain three tide-washings are not enough — he deserves ten. 69. long heath, brown furze. The reading of the Ff has been altered by Hanmer to ling, heath, broom, furze, on the ground that the epithets long and brown are stiff and out of place here. In support of the Ff reading, Furness quotes a passage from Lyte's Herbal (1576) : " There is in this countrie two kindes of Heath, one of which beareth his flowers alongst the stemmes, and is called long Heath. The other bearing his flowers iti tutteys or tuftes at the toppes of the branches, the which is called smal Heath." Lyte further speaks of heath growing on mountains that be " drie, hungrie, and barren," and of furze being found " in untoyled places by the way-sides." Furness therefore thinks that " the names of both plants were sug- gested by the word ' barren ' in Gonzalo's wish for ' an acre of barren ground,' and in calling the furze * brown ' an addi- tional hue of desolation is imparted by suggesting that the ScexeTwo] notes 89 acre is so barren that even the weeds on it are dried up and discoloured." ^70. The wills above, the will of the Powers above. SCENE 2 With this scene we enter the domain of enchantment, and in lines 1-374 we have, for the most part, a sketch of the ancient history of the wonderful island. As has been mentioned in the Introduction (p. xxiii). The Tem^^esi, being practically in the form of a classical drama, requires an equivalent for the classical prologue, which explains to the audience the events that have produced the crisis with which the play is concerned. Prospero's conversations with Miranda, Ariel, and Caliban fulfill this func- tion admirably. They are models of lucid narrative, heightened by the fresh and vivid touches which dialogue imparts. 1-13. Miranda's opening speech forms a skillful mode of transition from the preceding scene. It describes the storm, not as experienced on sea, but as witnessed from the land, and suggests that instead of being a natural outbreak of elemental fury, it is due to the influence of Prospero's art. I. your ... you. Throughout this dialogue Miranda in- variably addresses her father in the second person plural of respect, while he, except in 1. 17, speaks to her in the second person singular of affection. 5-13. These lines give us the key to Miranda's character, in which tenderness and simple faith in good are throughout the leading notes. Notice her description of the vessel as " brave " and " good," and her instinctive confidence that it carried *' noble creatures." 7. Who follows a neuter antecedent when it is personified, as here, " in her." II. or ere. The phrase is really pleonastic. Or represents E. E. (Br, " before." As this meaning of or died out, it seems to have been combined with ere for the sake of emphasis. Cf. Abbott, § 131. 13. fraughting souls, the souls who composed the fraught or freight. 14. piteous, pitying. 15. O, woe the day! Miranda, when she speaks these words, supposes not that the crew has escaped, but that her father counts their destruction " no harm." 90 THE TEMPEST [Act One 19. Of whence. For this redundant phrase cf . Abbott, §179. more better. The double comparative is frequently used by Shakespeare. Cf. Abbott, § 11. 20. jull, completely. 25. Lie there, my art. Steevens quotes in illustration Fuller's anecdote about Lord Burleigh, Elizabeth's Lord Treasurer, who, " when he put off his gown at night, used to say, ' Lie there. Lord Treasurer.' " Voss aptly notices that " Shake- speare here very skillfully separates Prospero, the man, from Prospero, the magician. A magician, devoted body and soul to his art, can claim but little of our sympathy. . . . But Prospero's magic resides only in his mantle, staff, and book. Prospero himself remains akin to us." 26. wreck. The Ff here, and in lines 390, 414, 488, read wracke, which gives a far finer rhythm. 27. The very virtue of compassion, the very essence of com- passion. 29-31. no soul . . . vessel. There is no necessity to alter the reading of the Ff ; the sense is clear, though grammatically there is an anacoluthon. Prospero begins to declare that no soul on board has been lost, but, before completing the sentence, he breaks off into the more emphatic assertion that not so much harm as a hair has befallen any one. 31. Betid, happened. For other examples of the omission of ed in the past indicative and past participle after d and t, cf. Abbott, §§ 341 and 342. 32. Which . . . which. The first which refers to " creature," the second to " vessel." 35. inquisition, inquiry. 41. Out, completely. 60. backward. For a similar example of an adverb used as a noun, cf . Sonnet cxxviii : " To kiss the tender inward of thy hand." 53. Twelve year. For the use of the noun in the singular, cf . S Henry IV, iii. 2. 224: "That's fifty-five year ago." Walker, Abbott, and Wright assert that the first year in this line is to be pronounced as a dissyllable, because it is more emphatic than the second. But the preferable scansion is that of Coleridge, Guest, and Furness : " Twelve | year | since, | Miran | da, twelve | year since." Scene Two] NOTES 91 The emphasis at the beginning of the line is not on year but on twelve, and this is indicated by the speaker's voice pausing on the word, Cf. Appendix C, 2. Miranda, then, is about fifteen years old. Perdita, when" Prince Florizel finds her, is less than sixteen, and Marina, when forced from Tarsus, is only fourteen. The Princess Elizabeth, whose gentleness and winning charm may live again in these lovely, tender-hearted girls, was fifteen in 1611, when The Tempest was played at court. 56. piece, a perfect specimen. 57-59. This is the reading of the Ff, with the omission of a semicolon after princess, and is to be interpreted : " Thy father was Duke of Milan, and his only heir and princess had no meaner descent than this." Many editors adopt Pope's conjec- ture of a princess instead of and princess, but it is unnecessary. 65. from. For this use of /rom in the sense of " away from," " apart from," cf. Abbott, § 158. Please you, if it please you. 66-87. Prospero's speech here contains a complicated series of anacolutha. He begins with the intention of saying, " My brother received the government of my state from me, whilst I was engaged in the study of liberal arts." He first inserts the short parenthesis, " I pray thee . . . perfidious," and then takes up the subject of the sentence again in " he " (1. 68) ; this is followed by the involved series of relatival clauses, " whom next thyself. . . . Without a parallel " (11. 68-74) ; at the end of these Prospero has forgotten the beginning of his sentence, and starts a fresh main sentence in which " I " is subject and " brother " is reintroduced as the accusative after " cast upon." Finally, in 1. 77, " Thy false uncle " takes up again the original subject, " My brother and thy uncle," and finds its verb in "created " in 1. 81. 70. as at that time, then. For this use of as, corresponding to the German als in alsdann, cf. the Collect for Christmas day : " Almighty God Who hast given us Thy only-begotten Son to take our nature upon Him, and as at this time to be born of a pure Virgin." Cf., too, Chaucer's Legende of Goode Women, 1491 : " Us nedeth trewely Nothing as now." 80. who., For other examples of the use of the relative in the nominative where we should expect the accusative, cf. Abbott, § 274. 81. trash for over-topping, a mixture of metaphors from hunting and gardening. To trash is to fasten a weight on 92 THE TEMPEST [Act One the neck of a dog to prevent him from outrunning his com- panions. Cf. Othello, ii. 1. 312-313: *' If this poor trash of Venice, whom I trash For his quick hunting." Overtopping is used of a tree that grows higher than its com- panions. Cf. Antony and Cleopatra, iv. 12. 23-24: " this pine is bark'd. That overtopp'd them all." 82-83. or . . . Or, either ... or. 83. key. There is probably a play on two senses of the word : (1) the keys of ofl&ce, (2) the key for tuning a musical instrument. The latter signification suggests the words that follow. 85. that, so that. 87. on H, of it. 90. closeness, secrecy, retirement. 91-92. " By what, except that it involved such retirement, surpassed in value all popular estimation." 94-95. This alludes to the proverb that a father above the common rate of men usually has a son below it. 95. in its contrary, in its opposite nature. Wright mentions that there are ten instances in Shakespeare's works of this form of the neuter possessive pronoun. It does not occur in the Authorized Version of the Bible, 1611. 97. lorded, raised to the dignity of a lord. 98. revenue : accented on the second syllable. 99-102. like one . . . own lie. The general meaning of this passage is clear : " Like one who, by repeating a lie, has made his memory such a sinner against truth that he has come to believe his own invention." (Malone compares Bacon's account of Perkin Warbeck in his History of Henry VII: " Nay himself, with long and continual counterfeiting, and with oft telling a lie, was turned by habit almost into the thing he seemed to be, and from a liar to a believer.") The construction, however, presents great difl&culty. If the reading of the Ff be retained, as in the present text, there is much plausibility in Philpott's interpreta- tion : " Who having, by telling of it, credited his own lie into truth, making thereby a sinner of his memory." This sentence would naturally have run, " Who having into truth, by telling of it, credited his own lie " ; but the words " made such a sinner of his memory," which should have been parenthetical, at- Scene Two] NOTES 93 traded " credited " into " to credit," to suit themselves. Furnivall ingeniously suggests that " having into truth " means " cutting into, attacking truth." The passage would then run : ** like one who, garbling truth by repetition of this garbled version, made such a sinner," etc. Most critics adopt Warbur- ton's emendation, " unto truth," which depends on " sinner " in the following line, but it is very doubtful whether the change is necessary. 103. out o' the substitution, by reason of being my deputy. 104. executing the outward face of royalty, performing the external duties of a king. 107-109. " To have no overshadowing barrier between the r61e that he was playing and the actual office of Duke, he was determined to become complete sovereign of Milan." 109. Me, for me. For omission of the preposition before the indirect object, cf. Abbott, § 201. 112. dry, thirsty. 117. his condition and the event, the terms he made, and the consequences. 118. might, here used in the sense of could. For other in- stances cf. Abbott, § 312. 119. but nobly, otherwise than nobly. 122. hearkens, listens to. 125. presently, immediately. 128. levied, being levied. 129. Fated, suited by destiny. 134. Will cry it. The it here is probably used indefinitely, as in 1. 380 : " Foot it featly." It may, however, possibly stand for " my crying " understood from the previous line. 134-135. a hint That wrings mine eyes to 't, a theme that forces tears from my eyes. For this use of hint cf. ii. 1. 3-4 : " Our hint of woe Is common." 137. the which. This use of the before which is frequent in Shakespeare. " The question may arise why the is attached to which and not to who. . . . The answer is that who is con- sidered definite already, and stands for a noun, while which is considered an indefinite adjective; just as in French we have * lequel ' and not ' leqm.' " Abbott, § 270. 144. In few, i.e. words. 146. butt. This, the reading of the first three Folios, is, without doubt, the right one. Had Shakespeare written ** boat " (as Rowe conjectured), it would not have been cor- rupted into the more unusual word. It is evident, however, 94 THE TEMPEST [Act One that butt cannot here have its modern meaning of " cask," as there would be no sense in the words, " not rigg'd. Nor tackle, sail, nor mast." Brinsley Nicholson suggests that it is a nautical term, borrowed by Shakespeare from an Italian original to give coloring to the tale, and that it may be a version of Botto, a sort of sloop with very rounded ribs, very little run, and a flattish bottom. 148. have. For a similar change from past to present tense, see 1. 205. quit . . . hoist. See note on betid, 1. 31. 152. A cherubin. Used by Shakespeare and his contempo- raries as a singular form, though once (in Hamlet, iv. 3. 50) he uses cherub. His plural is cherubins. It may be worth noting that in the Spanish story of the magician advanced by Miss Porter (see Introduction, p. xvi, footnote) as the source of The Tempest, the daughter's name is Seraphina. 155. deck'd. This word, as used here, is probably connected with the North-country phrase, to decJc or deg, i.e. to sprinkle. The sprinkling of clothes before ironing them is known as 156. which, referring to " Thou didst smile," 1. 153. 157. undergoing stomach, enduring resolution. For this use of undergoing cf. iii. 1. 2-3. For a similar use of stomach cf. Henry V, iv. 3. 35-36 : " That he which hath no stomach to this fight Let him depart." 162. who is redundant. 165. have steaded much, have been of much service. 169. But ever, but at any time. Now I arise. The words are evidently used in their literal sense, as is shown by Prospero in the next line telling Miranda, who is rising on seeing him rise, to " sit still," i.e. probably *' keep sitting," not " sit quietly." Why Prospero should men- tion the fact of Ms rising is not very obvious, but nothing is gained by giving the phrase a symbolic interpretation, e.g. " I arrive at the climax of my story," or " I reach the crisis of my fortunes." The stage direction Resumes his mantle was added by Dyce, and has no warrant in the Ff. 172. more profit, greater advantages. 173. princesses. The reading of the first three Folios is princesse, the fourth having princess. The form is probably an Scene Two] NOTES 95 abbreviation of princesses according to the custom that words terminating in the sound of s may be regarded by the ear as plural. Cf. As You Like It (F 1), i. 2. 175 : " The Princesse cals for you," to which Orlando replies : " I attend them with all respect and duty " ; cals is probably a misprint for call. Wright compares Macbeth, v. i. 29 (F 1) : " Their sense are shut," where sense is used for senses. 174. hours, here used of the occupations in which hours are spent. 176. beating, working to and fro excitedly. 179. dear lady, auspicious mistress. 180-184. The idea of there being crises in life on which the whole future depends finds expression under a different metaphor in Julius CcBsar, iv. 3. 218-221 : " There is a tide in the affairs of men. Which, taken at the flood, leads on to fortune ; Omitted, all the voyage of their life Is bound in shallows and in miseries." This theory of crises in our existence is one of the leading ele- ments in the poetry of Robert Browning. 181. zenith is here used in the sense of culminating point of fortune. 185. dulness, sleepiness. 186. And appears to be used to mark the consequence, and is almost equivalent to therefore or and therefore. Wright compares Much Ado About Nothing, iv. 1. 287: ** Beat. I was about to protest I loved you. Ben. And do it with all thy heart." 188. Enter Ariel. It is probable that Ariel's costume re- sembled that of Jophiel, an airy spirit in Ben Jonson's Masque, The Fortunate Isles and their Union. He is described as attired in " light silks of various colours, with wings of the same, a bright yellow hair, a chaplet of flowers, blue silk stockings, and pumps and gloves, with a silver fan in his hand." 189-237. In the first part of the dialogue between Prosper© and Ariel we learn further details about the origin of the storm in the first scene and the fate of the shipwrecked crew. 193. quality, either (1) professional skill (cf. Hamlet, ii. 2. 451-452 : " give us a taste of your quality ") or (2) con- federates. 96 THE TEMPEST [Act On# 196. beak, the pointed prow. 197. waist, the part between the quarter-deck and the fore- castle. 198. I flamed amazement, I caused amazement by appearing in the form of flame. Moulton quotes this phrase, and " afire with me," in 1. 212, to support the theory that Ariel belongs to the element of fire as well as of air. In any case Shakespeare was influenced in his description by travelers' tales. Cf. Introduc- tion, p. xiii, and the following passage, quoted by Capell from Hakluyt's Voyages (1598) : " I do remember that in the great and boysterous storme of this foule weather, in the night, there came upon the toppe of our maine yarde and maine maste, a certaine little light, much like unto the light of a little candle, which the Spaniards called the Cuerpo santo, and saide it was S. Elmo, whom they take to bee the advocate of Sailers. . . . This light continued aboord our ship about three houres, flying from maste to maste, and from top to top : and sometimes it would be in two or three places at once." Wright quotes a similar passage from Purchas (1625), where it is stated that some think the light to be a spirit. 200. bowsprit. F 1 reads bore-spritt, of which Murray ( New English Dictionary) gives two other examples. 203. cracks, peals. 207. constant, self-possessed. ' 209. a fever of the mad, a fever such as madmen feel. 213. up-staring, standing on end. Cf. Julius Coesar, iv. 3. 279-280: " Art thou some god, some angel, or some devil. That makest my blood cold and my hair to stare? " 218. sustaining, that bore them up in the water. 218-219. not a blemish. But fresher than before, there was not a blemish, and they were even fresher than before. 222. cooling of. The verbal noun is naturally followed by of, and Shakespeare treats as verbals many cases which we should consider present participles. Cf. Abbott, § 178. 223. odd angle, an angle of which no account has been taken. 224. in this sad knot, sorrowfully folded thus. 229. still-vex'd Bermoothes, the Bermudas constantly harassed by storms. Wright quotes several kindred spellings of the word — " the Bermootha's," from Webster's Duchess of Malji, iii. 2; " Barmotho pigs," from the same writer's The Scene Two] NOTES 97 Devil's Law-case, iii. 2 ; and " the Barmoothes," from Fletcher's Women Pleased, i. 2. 231. Who. See note on 1. 80. suffer' d labour, toil they have undergone. 232. for, as regards. Abbott, § 149. 237-304. The latter part of the dialogue between Prosper© and Ariel enlightens us as to the spirit's previous history, and the reasons why he puts " all his quality " at Prospero's service — yet with an undercurrent of discontent. " We feel that such a state of bondage is almost unnatural to him — yet we see that it is delightful for him to be so employed. It is as if we were to command one of the winds in a different direction to that which nature dictates, or one of the waves, now rising and now sinking, to recede before it bursts upon the shore " (Coleridge). 239-240. It is somewhat surprising that Prospero, after ask- ing Ariel the time of day, and being informed that it is " Past the mid-season " {i.e. past noon), should add at once, as if he had more precise knowledge than his informant, " At least two glasses." Several critics, to get over the difficulty, have trans- ferred " At least two glasses " to Ariel. But the reading of the Ff is quite comprehensible, if we imagine Prospero, after Ariel's rather vague answer, raising his head and, by scanning the sun, realizing the exact time of day. 240. two glasses, two hours. The ** glass " is with Shake- speare always the hour-glass. Cf. AlVs Well that Ends Well, ii. 1. 168-169: *' Or four-and-twenty times the pilot's glass Hath told the thievish minutes how they pass." In the nautical phraseology of Shakespeare's day, however, the glass was always the half-hour glass. See further, v. 1. 223, note. 242. pains, tasks. 243. remember, remind. 244. me, for me, the ethical dative. Cf. Abbott, § 220. 252. think' st it much, consider it an important service. 258. Sycorax. Many derivations of this name have been suggested. The most plausible is that of Hales, who regards it as a compound of the Greek ads (sow) and K6pa^ (raven), and thus a contracted form of Syokorax. " As both sows and ravens are associated with witchcraft and such superstitions, the com- pound might serve not ill to denominate that * foul witch.' The mere grossness of the one animal and the supposed malig- m THE TEMPEST [Act One nity of the other may be referred to ; and so the name Sycorax be designed to express a horrid mixture of those two char- acteristics." envy, here used in its E. E. sense of " malice." 261. Argier, the older form of Algiers. 266. for one thing she did. What this one thing was which saved the life of Sycorax we do not know. Boswell supposes that there was some novel on which the plot of The Tempest was founded, and that it contained the incident obscurely hinted at here. Charles Lamb suggests that light may be thrown upon the words from a passage in Ogilby's Accurate Description of Africa, 1670, which tells how, when Algiers was being besieged by Charles V in 1541, a witch of the town persuaded the governor not to surrender, by a prophecy that within nine days the siege would be raised and the enemy dispersed ; the event took place, as was foretold, and the witch being acknowledged the deliverer of the town was richly remunerated. " Can it be doubted for a moment," asks Lamb, "that the dramatist had come fresh from reading some older narrative of this deliverance of Algiers by a witch, and transferred the merit of the deed to his Sy- corax.? " It has, however, been suggested that Sycorax was spared because she was with child. Cf. 1 Henry VI, v. 4. 60, ff. 269. blue-eyed. This may refer to (1) the pupil of the eye, and denote the " pale-blue, fish-like, malignant eye which is often seen in hag-like women " (Grant White) ; or (2) the livid color of the eyelid, which was a sign of pregnancy. Wright, who suggests this view, compares Webster's Duchess of Malfi, ii. 1 : " The fins of her eyelids look most teeming blue." 272. for, because. 274. grand, great. 276. unmitigable, implacable. 277. Into. For the use of into " after verbs of rest implying motion," cf. Abbott, § 159. 284. Yes, Caliban her son. Ariel's interruption here is not easy to account for. Possibly, with his thoughts still running on his promised liberty, he has been absent-minded during part of Prospero's speech, but has caught the last words about the island not being at that time honored with a human shape. He therefore contradicts Prospero, reminding him that Caliban was then on the island, and Prospero, annoyed, retorts, " Dull thing, I say so," i.e. " I have already said that Caliban was there." Prospero throughout this part of the dialogue displays an amount of irritability which proves that he has naturally Scene Two] NOTES 99 a fiery temper, mainly under control, though it flashes out from time to time under his present nervous strain of excitemeut. 297. correspondent, obedient. 298. my spiriting, my offices as a spirit. 301-303. In F 1 these lines are printed : *' Go make thyself like a nymph o' th' sea : Be subject to no sight but thine and mine : invisible To every eye-ball else." Malone transferred " be subject " to the end of 1. 301, which supplies a fifth foot to that line, and gets rid of the redundant foot in 302. The result, however, is not entirely satisfactory. as 1. 302, even after the change, is harsh in its rhythm, and the words " and thine " seem superfluous, as it is ridiculous to order Ariel not to be invisible to himself. It is possible that the reading of 1. 301 in the later Ff, " like to a nymph," may be correct, and that the passage should run : " Go, make thyself like to a nymph o' th' sea : Be subject to no sight but mine ; invisible — " 307. Heaviness, sleepiness. 311. miss, do without. Notice this confession by Prosper©, that Caliban's services cannot be dispensed with. If Caliban represents the physical nature of man, and Ariel his intellectual and imaginative powers, it is clear that the lower service is nevertheless essential and also that Caliban must be held in stern subjection. 314-316. Thou earth . . . thou tortoise. On the application of these phrases to Caliban, see Introduction, p. xix. They are both used of him before his appearance to prepare the audience for the entrance of an uncouth monster. 316. when, an expression of impatience. 321-374. The dialogue of Prospero with Caliban is in designed contrast to that with Ariel, We have seen how the airy spirit requites his benefactor ; we now learn how the half- brute monster repays his kindness with curses and constrained service. See further as to the significance of the passage. Introduction, p. xxi. 321. wicked, probably " having baneful qualities." Spenser speaks of " wicked weed." The word is perhaps caught up by Caliban from Prospero's application of it in the previous line to Sycorax. 100 THE TEMPEST [Act One 323. a south-west. Southerly winds were supposed to bear fogs and vapors, causing sickness. Cf. As You Like It, iii. 5. 50: "Like foggy south, puflBng with wind and rain"; and Coriolanus, i. 4, 30 : " All the contagion of the south light on you." One critic has ingeniously inferred from Shakespeare's constant disparagement of the south wind that he was " a person of a somewhat relaxed habit of body, and required a bracing air to be in the full enjoyment of health." you . . . ye. Originally ye is nominative, you accusative; but the distinction is not observed by Elizabethan authors. Ye is often used for you where an unaccented syllable is wanted. 326. pen thy breath up, make thee gasp for breath. urchins, hobgoblins. The meaning of the word is made evi- dent by the connections in which it is used by Shakespeare and other Elizabethan writers, e.g. Merry Wives, iv. 4. 49 : " Like urchins, ouphes, and fairies." So Reginald Scot in his Discovery of Witchcraft speaks of having been frightened in childhood by stories about " spirits, witches, urchins, elves, hags, fairies." An old song. The Urchins' Dance, runs as follows : " By the moon we sport and play. With the night begins our day : . As we frisk, the dew doth fall. Trip it, little urchins, all. Lightly as the little bee. Two by two, and three by three. And about go we, go we." The word has also the meaning of hedgehog, and it is probable that the uncanny, nocturnal habits of this animal came to be at- tributed to the obsession of fairies, and thence the name itself came to be applied to a class of malicious spirits. 327-328. " Shall, during that desolate period of night when they are permitted to work, all practice upon thee." For this use of vast cf . Hamlet, i. 2. 198 : " In the dead vast and middle of the night." The various orders of spirits were supposed to have certain stated limits of time during which they might be active. Thus in King Lear, iii. 4. 121, the foul fiend. Flib- bertigibbet, " begins at curfew, and walks till ,the first cock." The Ghost in Hamlet departs at daybreak. 334. Water with berries in 't. Some critics have detected in this a reference to coffee, which was as yet little known in Eng- land. But the reference is to cedar-berries. Btrachey (see Scene Two] NOTES 101 Introduction, p. xiii) says : " The whole Islands . . . are full of Shawes of goodly Cedar . . . the Berries whereof . . . made a kind of pleasant drinke." 339. Cursed be I that did so ! the reading of F 1, but the later Folios read " Curs'd be I that I did so," which is preferable as throwing the emphasis on curs'd instead of on I. 342, sty, keep pent up as in a sty. 351-362. This speech is assigned by the Ff to Miranda. Theobald, following Dryden's version, transferred it to Pros- pero, and the change has been accepted by practically all mod- ern editors. Yet the evidence against the Ff reading is not entirely conclusive. The passage as a whole certainly suits the lips of Prospero better than those of Miranda, and it is natural that the enchanter, whom Caliban has already admitted to be his teacher, should remind the monster of the instruction that he has bestowed on him. Moreover, Prospero must almost inevitably have taken pains to make Caliban speak before Miranda was old enough to act as tutor ; on the other hand, if the speech be Miranda's, it explains how Caliban had oppor- tunities of associating with her, which he sought to turn to evil account. The words " I pitied thee " fall naturally from Miranda, with her tender heart, and there is possibly a reminis- cence of the maiden's instructions in Caliban's reply to Ste- phano's claim of having been " the man i' the moon," ii. 2. 143-144 : " I have seen thee in her. . . . My mistress show'd me thee." 358. race, hereditary nature. 364. red plague. Cf. Coriolanus, iv. 1. 13: "Now the red pestilence strike all trades in Rome." In The General Practise of Physicke, 1605, three different kinds of plague sore are men- tioned : " Sometimes it is red, other whiles yellow, and some- times black." rid, despatch, destroy. 365. learning, used here, as often in E. E., in the sense of " teaching." In O. E. leornian = learn, and ISran = teach, but already in M. E. the meanings had become to some extent confused. Hag-seed, son of a hag. 366. thou 'rt best : a confusion of two constructions : " To thee it were best," and " Thou had'st best." 367. malice, malicious thing. 102 THE TEMPEST [Act One 369. old may either (1) be used in an intensive tense: cf. Much Ado About Nothing, v. 2. 98, " Yonder's old coil at home " ; or (2) it may mean " Such as age brings on "; cf. iv. 1. ^55, " aged cramps." 370. aches, pronounced dissyllabically. In E. E. the noun is spelled ache, and the verb ake. This distinction is invariably preserved in the Ff. The pronunciation of ache, like the letter H, is made clear by an epigram of Hey wood, quoted by Wright: " H, is worst among letters in the crosse row. For if thou finde him other in thine elbow. In thine arme, or leg, in any degree. In thine head, or teeth, in thy toe or knee. Into what place soever H may pike him. Where euer you find ache, thou shalt not like him." 373. Setebos. The name was probably taken by Shake- speare from Eden's History of Travayle, 1577, which contains a translation from the Italian narrative of Antonio Pigafetta, who accompanied Magellan in his circumnavigation of the globe. He relates that Magellan " took by a deceit " two gigantic Patagonians by loading them with presents, and then causing shackles of iron to be put on their legs, " makynge signes that he wold also gyve them those chaynes : which they lyked very wel by cause they were made of bryght and shynynge metal . . . when they felte the shakels faste abowte theyr legges, they begunne to doubte. ... In fine when they sawe how they were deceived they rored lyke bulles and cryed uppon theyr greate devyll Setebos to helpe them." 375. Re-enter Ariel, invisible. A conventional stage costume was used to indicate invisibility. Henslowe in his diary men- tions among the wardrobe of his company, the Lord Admiral's men, " a robe for to go invisible." 376-380. Mr. Gosse has suggested that in these lines we have a reminiscence of the passage in Marlowe's Hero and Leander, where Hero describes her watch-tower to her lover as standing " Where all is whist and still. Save that the sea playing on yellow sand Sends forth a rattling murmur to the land." 378. kiss'd. This was customary at the time before certain dances. Cf. Henry VIII, i. 4. 95-96 : Scene Two] NOTES 103 " I were unmannerly, to take you out. And not to kiss you." . 378-379. If the Ff punctuation be preserved, as in the text, the American critic Allen's interpretation is probably correct: *' The nymphs are formed on the sands for a dance ; the waves are converted by the poet's imagination into a crowd of specta- tors, restless and noisy, until the spectacle shall begin ; when the nymphs indicate by taking hands, courtesying to, and kissing partners, that they are beginning, the waves are hushed by the signal into silent attention, and thus the nymphs do, in effect, kiss the wild waves whist, although they actually kiss, not the waves, but each other." Most editors put a comma after kissed, and interpret The wild waves whist as a parenthesis, " the wild waves being silent." Such a parenthesis, however, is awkward in a song, and the Ff punctuation is preferable. For whist in the sense of " hushed " or " silenced," cf. Spenser, Faerie Queene, vii. 7. 59 : " So was the Titanesse put down and whist." 380. Foot itfeatly, dance gracefully. 381. the burthen hear : Pope's emendation of the Ff reading, ** bear the burden." 382-383. The Ff print these lines as the burden of the song, in which case Hark, hark I and The watch-dogs bark are probably said by the " sweet sprites," and the double Bow-wow is sup- posed to come from watch-dogs behind the scenes. Capell assigns Hark, hark I and The watch-dogs bark to Ariel, in which case Bow-wow alone forms the burden. 388. waits upon, attends. 390. again, probably used for " again and again." 396. fathom : another use of the singular for the plural. Cf . 1. 53. The Ff reading is fadom. 399-400. " Everything about him that is liable to alteration undergoes a change through the action of the sea." With this beautiful sea-dirge should be compared the earth- dirge in Webster's The White Devil, v. 4 : " Call for the robin redbreast and the wren. Since o'er shady groves they hover. And with leaves and flowers do cover The friendless bodies of unburied men. Call unto his funeral dole The ant, the field-mouse, and the mole. 104 THE TEMPEST [Act One To rear him hillocks that shall keep him warm. And (when gay tombs are robbed) sustain no harm : But keep the wolf far thence, that's foe to man. For with his nails he'll dig them up again." Lamb's comment on this lyric is classic in English criticism : " I never saw anything like this dirge, except the ditty which reminds Ferdinand of his drowned father in The Tempest. As that is of the water, watery ; so this is of the earth, earthy. Both have that intenseness of feeling, which seems to resolve itself into the elements which it contemplates." 405. ditty : properly the " words of a song." Cf. Bacon's Essays, xxxviii : " And the ditty high and tragical, not nice or dainty." remember, commemorate. 406. nor no. For the double negative cf . Abbott, § 406. 408. *' Raise your eyelids with their fringe of lashes." For this use of advance cf. iv. 1. 177 : " Advanced their eyelids." That most subtle of Shakespearean critics, Coleridge, says that ** the solemnity of the phraseology assigned to Prospero is completely in character, recollecting his preternatural capacity, in which the most familiar objects in nature preserve themselves in a mysterious point of view." 414. but, except that. something, somewhat. 419. It goes on, the plan prospers. 432. A single thing. Ferdinand plays upon the word. He believes that he and the King of Naples are one and the same person; he therefore uses this epithet with reference to its further sense of " solitary," and so " feeble and helpless." 433. Naples, the King of Naples. Cf. the following line: " myself am Naples." 435. never since at ebb, always since then flooded with tears. 438. And his brave son. There is no further allusion in the play to a son of the Duke of Milan. He may have appeared in some lost source of The Tempest, and this accidental reference may have been preserved. Or Shakespeare, as Theobald sug- gested, may have marked out such a character in his first plan, but on second thoughts found it unnecessary. The Duke of Milan, Prospero, the rightful Duke. 439. more braver. For the double comparative cf. Ab- bott, § 11. Scene Two] NOTES 105 441. changed eyes, exchanged loving glances. Cf. Antony and Cleopatra, iii. 13. 156-157 : " To flatter Ceesar, would you mingle eyes With one that ties his points? " 443. you have done yourself some wrong, you have injured your honor by asserting what is not the case, i.e. that you are King of Naples. 450. both in eithefs powers. Both seems to be used for "each," or either used for "each other." There may, however, be an ellipsis of each after both — "They are both (each) in either's powers." Cf. Sonnet cxxxi: ** A thousand groans . . . One on another's neck." (Abbott, § 12.) 457-459. " Miranda's creed seems to be a simple faith in beauty " (Moulton). Her speech, however, is not quite logical. She declares (1) that nothing evil can dwell in such a temple as Ferdinand's body ; (2) that if the evil spirit have so fair a mansion, good things will strive to dwell within it. According to her second statement the " mansion " will be shared by " the ill spirit " and " Good things," and this contradicts her first statement. To get over the diflBculty it has been suggested (1) that with't is a misprint for in't; or (2) that with is used in the sense of chez, though no other instance of this is forthcoming. 465. entertainment, treatment. 468. gentle and not fearful. The most natural interpretation of these words is *' harmless and not terrible," in which case *' Make not too rash a trial of him " in 1. 466 must mean, " Do not rashly determine to put him to severe tests." This inter- pretation best suits Miranda's attitude throughout this episode, in which her anxieties are on behalf of Ferdinand, not of her father. It is possible, however, that gentle and not fearful means " of gentle birth and not a coward," and that therefore Prospero is warned not to " make too rash a trial of him " by engaging unadvisedly in a duel with him. 469. My foot my tutor! This pregnant phrase may be para- phrased : " You, Miranda, to instruct me ! The foot to lecture the head ! " Cf . Lyly's Euphues, p. 261 : " Then how vaine is it, Euphues (too mylde a worde for so madde a mind), that the foot should neglect his oflBce to correct the face." 106 THE TEMPEST [Act Twc 473. Beseech, used, like pray, without the personal pronoun. 478. there is. Cf. note on i. 1. 17-18. 480. To the most of men, as compared with the majority. 488. nor. Used inaccurately where and or or would be in place. The origin of the error is probably a confusion of two constructions, Shakespeare intending at first, perhaps, to em- ploy some such word as " heavy," and then substituting " but light." ACT II — SCENE 1 This scene enlightens us further as to the character of Pros- pero's enemies ; it shows that Antonio, the arch-traitor, has merely been hardened in villainy by the lapse of years, and that ■ he has found a fit associate in Alonso's brother, Sebastian. The remarks of the pair, throughout the earlier half of the scene, are an unconscious self-revelation. " The prolonged and dull joking of Sebastian in this scene cannot be meant by Shake- speare to be really bright and witty. It is meant to show that the intellectual poverty of the conspirators is as great as their jovial oBiiquity " (Dowden). We are " shown the tendency in bad men to indulge in scorn and contemptuous expressions, as a mode of getting' rid of their own uneasy feelings of inferiority to the good, and also, by making the good ridiculous, of render- ing the transition of others to wickedness easy " (Coleridge). We are thus prepared for the iniquitous attempt of Antonio against the life of his former ally, Alonso, whose suzerainty he finds burdensome, and of the upright (though somewhat prosy) Gonzalo, whose " prating " he detests. To make such an attempt at the moment when he has been miraculously saved from death, and to enlist Alonso's brother as an accomplice, is a refinement of _ villain,y. The foiling of the plot is the first move in Prospero's policy of " countercheck " against his foes. I. Beseech. See note on i. 2. 473. 2-3. " Our escape much more than balances our loss." 3. hint. See note on i. 2. 134-135. 5-6. " The owners of some merchantman, and the merchant who has shipped cargo in her." The double use of merchant in the same line, first for " the vessel " and then for " the trader," is awkward. II. The visitor, applied derisively by Antonio to Gonzalo, who is trying to console Alonso after the manner of a visitor to the sick. Scene One] NOTES 107 12-13. According to Halliwell, watches that struck the hours were known by the beginning of the sixteenth century. 15. tell, count; O. E. tellan. Cf. Milton, L' Allegro, where the shepherds are counting their sheep : " Every shepherd tells his tale Under the hawthorne in the dale." Sebastian, carrying on his jest about the watch, implies that each word of Gonzalo's represents a stroke. 16-20. Gonzalo begins to moralize upon the result of enter- taining or " giving welcome to " every grief that approaches us. Sebastian, punning upon entertainer in its general application and in its specialized sense of " an innkeeper," flippantly sug- gests that the entertainer gets a dollar for his pains. Gonzalo retorts with a play upon dollar and dolour (grief). 20. truer, more truly; the adjective for the adverb. 22. wiselier, comparative form of adverb. 28-29. Which, of he or Adrian, . . . begins to crow? We seem to have here a mixture of two constructions — " which of the two, viz. he and Adrian? " and " which, he or Adrian? " Of belongs to the first construction, and or to the second. Cf. A Midsummer Night's Dream, iii. 2. 336-337 : " Now follow, if thou darest, to try whose right — Of thine or mine — is most in Helena." 33. a laughter. Antonio proposes this as the wager. It is just possible, as Ingleby has suggested, that a laughter may be " the cant name for'some small coin commonly laid in betting." There is indeed no evidence in support of such an interpretation, but the pun involved would harmonize^with the verbal quibbling in the rest of the passage, and would give point to what seems otherwise an almost meaningless jest. Sebastian accepts the conditions with the usual formula of assent, a match. He loses through Adrian being the first to speak, and then bursting out into Ha, ha, ha, adds. So, you re paid. On Ingleby's hypothesis the jest consists in Sebastian paying Antonio with a ha, ha, ha, instead of a coin. The Ff give So, you're paid to Antonio, but Theobald's conjecture that the words belong to Sebastian renders the passage more intelligible. 35-55. From Adrian and Gonzalo's description, in spite of Antonio and Sebastian's unmannerly interruptions, we learn what the climate and the scenery of the island are like. 108 THE TEMPEST [Act Two 40. He could not miss *t. Either (1) he could not avoid introducing yet, or (2) he could not do without the island just now, uninhabitable as it is. Cf. Prospero's statement about Caliban, i. 2. 311 : " We cannot miss him." This interpreta- tion is more in keeping with Antonio's character than the former. He is more likely to make a fresh move in the game of repartee than merely to record the success of Sebastian's last stroke. 42. temperance, temperature. In the next line the word is used as a proper name, like Charity. 45. delivered, declared. 52. lush and lusty, luxuriant and fresh. 55. an eye of green, a slight shade of green. Eye was used for a small portion of anything and especially for a tinge of color, as when Boyle states : " Red with an eye of blue makes a purple." Malone quotes from A True Declaration of the Estate of the Colonie in Virginia, 1600 : " Not an eye of sturgeon as yet appeared in the river." Sebastian insinuates that the credulous Gonzalo is the green spot in the grass. 56. *' He is not far wrong." 63. glosses. We should more naturally use the singular. 65-66. It is not very clear why one of Gonzalo's pockets should give the lie to his previous statement. The remark seems chiefly introduced to lead up to the pun in the next line. 75. to their queen. To is here used in the sense of as or in the capacity of. Cf. St. Luke, iii. 8 : " We have Abraham to our father." 76. widow Dido. The reference is to the famous Queen of Carthage, who was one of the favorite heroines of Renaissance poetry. Marlowe and Nash wrote a play about her. The jesting allusion to her as widow is possibly founded on. '^ome ballad of the day. She was, in point of fact, a widow when iEneas enjoyed her hospitality. 82. of that, concerning that. Cf . Abbott, § 174. 86-87. The miraculous harp is that of Amphion, which raised the walls of Thebes, or that of Apollo, which raised the walls of Troy. So Gonzalo's word has raised anew the walls, and the houses also, of ancient Carthage. See Tennyson's lyric Am- phion. 94. Ay. The Ff assign this to Gonzalo, but it is preferable to adopt Staunton's conjecture that it is an exclamation uttered by Alonso on awaking from his trance of grief. This would explain Antonio's " Why, in good time," which refers ironically to Alonso's return to consciousness. It explains further why Scene One] NOTES 109 Gonzalo in 1. 96 begins to recapitulate to the king the substance of the preceding conversation. 104. Deighton gives the most plausible explanation of the obscure pun in this line : " You fished a long time before you succeeded in catching that word sort. You have repeatedly tried to make out that our garments are as fresh as if they had never been immersed in the sea, and now at last you qualify your assertion by the word sort." " In fished there is possibly an allusion also to their difficulty in fishing themselves out of the water." (Furness.) 106-107. " You force these words into my ears, which are as loath to receive them as the stomach is to take food that it does not want." 118-119. oafd Himself, impelled himself with arms as oars. 120. shore, the cliffs on the shore. 124. that has for its antecedent yourself in the previous line. 127. Who hath cause to wet the grief on 't. Who may have as its antecedent either she or eye. If the former, paraphrase : *' Who lost to sight by banishment, though not by death, hath yet cause to fill your eyes with tears " (Wright). If eye be the antecedent, interpret : " which has cause to give tearful expres- sion to the sorrow for your folly " (Abbott). For other instances of the use of who with a neuter antecedent, of. Abbott, § 264. 130. Weigh' d, hung evenly. loathness, reluctance. 130-131. at Which end o' the beam should bow. If we pre- serve this, the Ff reading, the best explanation is Wright's, that it, whose antecedent is the indecision of Claribel described in 1. 130, has been omitted ; cf . Abbott, § 404. But it is the beam of the balance itself that one naturally thinks of as bowing, and Spence's emendation " at which end o 't th' beam should bow " gives excellent sense, with a trifling change in the reading. 135. the deafst, the most acutely felt part. Dear is used in E. E. to denote the excess or superlative of that to which it may be applied. Cf . Hamlet, i. 2. 182 : " Would I had met my dearest foe in heaven." 138. time, seasonable time. 142. cloudy, gloomy. 143. plantation. Gonzalo uses the word in the sense of coloni- zation. Cf. Bacon's Essay of Plantations. Antonio jestingly interprets it in its ordinary sense. 147-164. Gonzalo's sketch of his imaginary commonwealth is closely modeled on a passage in Montaigne, Book i. c. 30, " of 110 THE TEMPEST [Act Two the Caniballes," wMch Shakespeare had read in Florio's trans- lation : " It is a nation . . . that hath no kinde of traflake, no knowledge of Letters, no intelligence of numbers, no name of magistrate, nor of politike superioritie ; no use of service, of riches or of povertie ; no contracts, no successions, no partitions, no occupation but idle ; no respect of kindred, but common, no apparell but naturall, no manuring of lands, no vse of wine, corne, or mettle. The very words that import lying, falshood, treason, dissimulations, covetousness, envie, detraction, and pardon were never heard of amongst them." 152. Bourn, limit. 156-158. Gonzalo had begun (1. 145) by supposing himself king of the island. But in his enthusiastic description of an ideal commonwealth in which all social obligations and class distinctions are to be abolished, he forgets the basis from which he started, and asserts that there is to be no sovereignty on the island. Sebastian and Antonio are quick to rally him on this self-contradiction, and for once they are probably Shakespeare's mouthpiece. For from the early days when he wrote (as is probable) the " Jack Cade " scenes in S Henry VI until the end of his career, he is always found ridiculing Utopian or com- munistic theories. " He who had earned the New Place, and become a landed gentleman by years of irksome toil, did not see that he was bound to share his tenements and lands with his less industrious neighbours. On the contrary, he meant to hold them himself by every legal title, and at his decease to hand them down to his daughter, and her sons, and sons' sons '* (Dowden). 161. engine, instrument of war. 163. it own. Cf. note on i. 2. 95, and Abbott, § 228. It is ** an early provincial form of the old genitive." Cf. King Lear, i. 4. 235-236 : ** The hedge-sparrow fed the cuckoo so long. That it had it head bit off by it young." 168. Save. Before this word we must understand ** God,'* which was probably omitted in the Ff in deference to the Act i. Jac. 21, against profanity. 171. nothing, nonsense. 174. minister occasion, offer a cue. 175. sensible, sensitive. -Ible and -able have often an active instead of a passive meaning in E. E. Scene One] NOTES 111 181. An, if. Printed and in the Ff . Cf . Bacon, Essay 23 : ** They will set an house on fire, and it were but to roast their eggs." And is, in fact, the more correct spelling, for which an has been substituted by an editorial convention. An is fre- quently conjoined with if: cf. Richard II, iv. 1. 49: " An if I do not," and Prof. Herford's note ad loc: "An is the modern form of the E. E. and, ' if,' which is probably merely a special usage of the ordinary conjunction and. From being used to in- troduce a hypothetical sentence, and acquired itself a hypotheti- cal sense. An if is a trace of the process, before that sense had been definitely reached ; but in E. E. it is used simply as = if. It survives in the Somersetshire nif" 183. would, here used for the conditional should. Cf. Wright's note on the line. 185. a bat-fowling : a is the weakened form of the preposition on. Bat-fowling is explained by Gervase Markham in his Hunger s Prevention (1621) quoted by Wright. " For the man- ner of Bat-fowling it may be vsed either with Nettes, or without Nettes : if you use it without Nettes (which indeede is the most common of the two) you shall then proceede in this manner. First, there shall be one to carry the Cresset of fire (as was shewed for the Lowbell) then a certaine number, as two, three, or foure (according to the greatnesse of your company), and these shall haue poales bound with dry round wispes of hay, straw, or such like stuffe, or else bound with pieces of Linkes, or Hurdes, dipt in Pitch, Rosen, Grease, or any such like matter that will blaze. . . . Then another company shall be armed with long poales, very rough and bushy at the vpper endes, of which the Willow, Byrche, or long Hazell are best, but indeed according as the country will afford so you must be content to take. . . . Thus being prepared, and comming into the Bushy, or rough ground where the haunts of Birds are, you shall then first kindle some of your fiers as halfe, or a third part, according as your provision is, and then with your other bushy and rough poales you shall beat the Bushes, Trees, and haunts of the Birds to enforce them to rise, which done you shall see the Birds which are raysed to flye and play about the lights and flames of the fier, for it is their nature through their amazednesse,. and affright at the strangenes of the light and the extreame darknesse round about it, not to depart from it, but as it were almost to scorch their wings in the same, so that those who have the rough bushye poales may (at their pleasures) beat them down with the same, & so take them." 11^ THE TEMPEST [Act Twa 187-188. adventure my discretion, imperil my reputation for discretion. 190. Halliwell-Phillips interprets this obscure line as follows : " Gonzalo asks them to laugh him to sleep, for he is very drowsy. Antonio replies, ' Go to sleep and hear us laugh,' the sound of which laughter, from a little distance, would soothe the drowsy counsellor into slumber. Antonio's speech, by the common idiom of inversion, is equivalent to ' Hear us and go to sleep.' " This explanation, however, is far from convincing, and more point is given to the passage if laugh is interpreted in the sense of " laugh at " (cf. " Scoffing his state," Richard II, iii. 2. 163, and " Smile you my speeches? " King Lear, ii. 2. 88). Gonzalo thus inquires, " Will you gentlemen, who are always a-laughing (cf. 175-176), continue to laugh at me when I am asleep? " Antonio retorts rudely, " Go to sleep, and then you'll find out whether we are laughing at you or not." 194. the heavy offer, the offer that brings heaviness or drowsi- ness. 204-296. " The scene of the intended assassination of Alonso and Gonzalo is an exact counterpart of the scene between Macbeth and his lady, only pitched in a lower key throughout, as designed to be frustrated and concealed, and exhibiting the same profound management in the manner of familiarizing a mind, not immediately recipient, to the suggestion of guilt, by associating the proposed crime with something ludicrous or out of place, — something not habitually matter of reverence. By this kind of sophistry the imagination and fancy are first bribed to contemplate the suggested act, and at length to become acquainted with it " (Coleridge). 207. What thou shouldst he, what thou oughtest to be. Cf. Abbott, § 323, for other instances of this use of should. the occasion speaks thee : either " the opportunity calls to thee " or " declares what thou mayest be." 216. wink'st, closest thy eyes. 220. if heed me: for the ellipsis of you, cf. Abbott, § 387. 221. Trebles thee o'er, makes thee three times as great as thou art. standing water, neither ebbing nor flowing, and so ready to be moved in either direction. 224-226. " If you but knew how you encourage the design even while you mock at it, how in exposing it in its nakedness you clothe it with greater seriousness. Men who let their fortunes ebb do indeed, as you say, most frequently lose them- Scene OneI NOTES 113 selves in shallows through their own fears and sloth." For the metaphor of. Julius Ccesar, iv. 3. 218-221, quoted in note on i. 2. 180-184. 229. proclaim : attracted into the plural by " eye " and *' cheek." 230. A matter, an important business, full of meaning. 231. throes, pains. 232-236. The passage may be paraphrased : " Although this lord with his weak memory (who, when once laid in the ground, shall be as little remembered as he now remembers other things) has here almost persuaded (for he is the very soul of persuasion, and to practice it is his only profession) the king that his son is alive." 232. this lord. In all probability Gonzalo, who has been the king's chief comforter, though it is Francisco, according to the Ff, who gave the detailed narrative of Ferdinand's escape by his feat of swimming. 236. Professes, practices as a profession; cf. 1 Henry IV, v. 2. 91-92 : " I thank him, that he cuts me from my tale. For I profess not talking." 242. a wink, here used of an infinitesimal portion of space; more usually of time. 243. But doubt discovery there. If the Ff reading be re- tained, either but doubt means " without doubting " or " can- not " is carried on from the former line, " cannot but doubt discovery there," i.e. is uncertain whether it can find anything at this extreme limit of its vision. " Ambition itself cannot feel any further than that hope " (Porter). Capell reads ** doubts." 247. Ten leagues beyond man's life. Such a rhetorically exaggerated phrase need not be interpreted too precisely, but Antonio probably means " ten leagues beyond the point a man could arrive at by traveling all his life." 248. note, knowledge, intimation. 250. she that — from whom. The Ff reading, though gram- matically pleonastic, is probably correct. Antonio begins this clause, like the three previous ones, with she that, and then changes to from whom, which makes that superflu- ous. From whom is practically equivalent to " coming from whom." 114 THE TEMPEST [Act Two 251. cast, thrown up by the sea. But the theatrical usage of the word, to " cast " for a part, suggests " act " and *' pro- logue " in the following lines, 252. " And by the same destiny that cast us ashore we are fated to perform an act." 253. prologue. Many plays in Shakespeare's time were preceded by a prologue. Cf. the workmen's play in A Mid- summer Night's Dream and the play scene in Hamlet. For the same theatrical metaphor see Macbeth, i. 3. 127-129 : " Two truths are told. As happy prologues to the swelling act Of the imperial theme." 253-254. what to come In yours and my discharge, what is to come lies with us to perform. Discharge is another theatrical term. Cf . A Midsummer Night's Dream, i. 2. 95: " 1 will dis- charge it [the part of Pyramus] in either your straw-colour beard, ... or your French-crown-colour beard." 259. Keep. By an abrupt change of construction Claribel is directly addressed by " every cubit," instead of being referred to in the third person as " that Claribel," as in the previous line. 265-266. could make A chough of as deep chat, could teach a red-legged crow to talk as profoundly. Cf. All's Well that Ends Well, iv. 1. 22-23 : " chough's language, gabble enough, and good enough." 270. Tender, regard. 274. fellows, companions. 277. 'T would put me to my slipper, it would make me have to wear a slipper instead of a boot. 279. candied, congealed. Cf. Timon of Athens, iv. 3. 225- 227: " will the cold brook. Candied with ice, caudle thy morning taste. To cure thy^o'er-night surfeit? "> Preserving the Ff reading, we may interpret the passage : " Let twenty consciences, that bar my way to the throne of Milan, be frozen or be melted into insensibility before they cause me a twinge." In this case melt is the past participle for melted. Cf. note on i. 2. 31. Upton proposed to read " discandied," from " discandy," which is used as equivalent to " melt " in Antony and Cleopatra, iv. 12. 20-23: Scene One] NOTES 115 " The hearts . . . discandy, melt their sweets On blossoming Caesar." 283. Whom, referring to brother in 1. 280. 285. perpetual wink, the everlasting sleep, or closing of eyes. Cf. 1. 216. 286. morsel, here applied contemptuously by Antonio to Gonzalo. For a somewhat similar use of the word Wright compares Measure for Measure, iii. 2. 56-57 : " How doth my dear morsel, thy mistress.? " 287. Should not, would not in that case. Cf. Troilus and Cressida, i. 3. 115-116: " the rude son should strike his father dead : Force should be right." Cf. Abbott, § 322. 288. suggestion, prompting, temptation. Cf . Sonnet cxliv : " Two loves I have of comfort and despair. Which like two spirits do suggest me still." 289. tell the clock, count the strokes of the clock. Cf. 1. 15. 296. fall it, let it fall. Cf. Abbott, § 291. 298. you, his friend. 299. them. The abrupt change from the second person singular to the third plural has led some critics to adopt thee instead of them. But this is unneces- sary. " Ariel soliloquizes, and is reviewing what he has to do. Gonzalo, the especial friend, is in imminent danger, and must be at once protected ; and all of them must be kept alive, just as he had saved them in the tempest when not a hair perished " (Furness). 306. sudden, speedy. 308-309. Why, how now? ... ghastly looking? Staunton, from a comparison of these lines with 317-322, assigned them to Gonzalo, and transferred " What's the matter? " to Alonso. Dyce adopts this emendation, and adds the following stage directions : " Gon. [waJcing.] Now, good angels Preserve the king. [To Seb. and Ant.] Why, how now! [To Alon.] Ho ! awake ! — [To Seb. and Ant.] Why are you drawn? Wherefore thia ghastly looking? Alon. [waking.] What's the matter ? " 116 THE TEMPEST [Act Two 310. securing, guarding. 319. shaked. For this weak form of the past tense instead of the strong shook, cf. 1 Henry IV, iii. 1. 16-17: " The frame and huge foundation of the earth Shaked like a coward." 321. That 's verily. For this use of an adverb instead of an. adjective, cf. Abbott, § 78. SCENE 2 This scene opens the comic underplot of the play. Caliban, who has hitherto been seen in contrast with humanity in its highest development, is now brought into contact with the dregs of civilized society in the persons of Stephano and Trinculo. Stephano's " bottle " wins from the savage the ready allegiance which Prospero's nobler gifts had failed to obtain. Yet the " very shallow monster," with his perverted instinct of adoration and his rude poetic sense, is felt to be superior to the drunken butler and jester with whom he forms a league against the *' tyrant " Prospero. The conspiracy, hallowed by Caliban's impassioned Ode to Liberty, is the burlesque counterpart of the conspiracy in the previous scene. 5. urchin-shows, apparitions of goblins. By derivation urchin means hedgehog. Cf. note on i. 2. 326, and for the use of urchin as an adjective cf . Milton's Comust 845, " urchin blasts." 9. Sometime, sometimes. 10. after, afterwards. 11. my barefoot way, the path in which I walk barefoot. mount, raise. 13. wound, twisted around by. 15. and, and that too. For this emphatic use of and, cf. Abbott, § 96. 18-19. bear off, a pregnant phrase, equivalent to " bear and so keep off me." 21. bombard, a large vessel for holding liquor. Halli well- Phillips quotes the following notice of them from Heywood's Philocothonista, 1635 : " Other Bottles wee have of Leather, but they most used amongst the Shepheards and harvest people of the Countrey ; small Jacks wee have in many Ale-houses of the Citie, and Suburbs, tipt with silver, besides the great black Jacks Scene Two] NOTES 117 and bombards at the Court, which when the French-men first saw, they reported at their returne into their Countrey, that the English-men used to drink out of their Bootes." In 1 Henry I V, n. 4. 496-497, Falstaff is called " that huge bombard of sack." The word is derived from O. F. bombarde, and is used by Lyd- gate, Caxton, and others for " a cannon " throwing a stone-ball or large shot. Thence applied to a vessel for liquor on account of some resemblance to an early cannon. 29. am