PR 2833 .A2N4 1920 LIBRARY OF CONGRESS DDDD31fiE7El ♦• *^' »^ %''''^'\^'' \**^t^\^^>. ^^. 'J ° ^V'-^. \ *^o« •* o'^ -^^^ XjOjU&^t^t.^^C--^C''ct. UJ ^UUUuau^ %\st Hafee Cnglis^l) Clasigics; REVISED EDITION WITH HELPS TO STUDY SHAKSPERE'S THE TEMPEST EDITED PX:)R SCHOOE I'SE WILLIAM ALLAN NEILSON PRESIDENT SMITH COLLEGE SCOTT, FORESMAN AND COMPANY CHICAGO NEW YORK CoPYRiGiH 1914, 1920 By Scott, Foresman and Company NOV 26'IS20 ©CLA60J.904 •> jt. k PREFACE As in the previous volumes of this series, the aim has been to present a satisfactory text of the play, modernized in spelling and punctua- tion, and to furnish in the introduction and notes comment enough to render it thoroughly intelligible. The first section of the introduc- tion is intended to give the student an idea of the place of the play in the history of the Eng- lish drama in general, and of Shakspere's de- velopment in particular. The second section deals with the date and sources of The Tempest, and discusses Shakspere's meter and language. In stating the result of research into the source of the plot, I have dealt witli-the sug- gested originals somewhat fully, in spite of the fact that I believe the true source has not yet been discovered. The accounts given here, how- ever, are sufficient to enable the student to judge for himself whether- either the German play or the Spanish tale is Avorthy of further study in this connection. Since the restoration of authen- ticity to Cunningham's extracts from the Ac- counts of the Revels at Court by Mr. Ernest Law the date of the production of The Tempest 7 8 PEEFACE can be fixed within the limits of a year, and much of the discussion over the performance of the play at the marriage of the Princess Eliza- beth, Avith all the attempts to find in it a courtly allegor}', can now be dispensed with. The interest of The Tempest is not primarily dramatic. The element of conflict, so essential for dramatic vitality whether in comedy or tragedy, is not powerful enough here to create any greaj degree of suspense. Before we know of Prospero's danger from Caliban and his fellow-conspirators, or of the risk run by Alonso from the more serious villains of the piece, we are too well assured of the all-sufficient power of the magician to have any real doubt as to the success of his plans; while the course of Ferdinand and- Miranda's true love runs smooth to all eyes but their own. Yet the play bears abundant testimony to Shakspere's mature mas- tery of technic, both in the (for him) rare ob- servance of the unities of place and time, and in the employment of many devices for the sus- tainmg of interest. The drawing of character is simpler than in perhaps any other of the later plays. In the case of the heroine this is a natural outcome of her situation : but even the sophisticated Italian courtiers show little trace of any attempt to give ^em complexity. They are painted with detail enough to justify their parts in the action, PEEJTACE 9 and with that the author seems to have been content. Yet few of Shakspere's plays possess a more marked charm than this, a charm derived chiefly from the delightful poetry of the lines, from the mellow wisdom of the speeches of Prospero, and from the definiteness with which the atmosphere of the enchanted island is brought before our imaginations. To create a due appreciation of these elements in the minds of his pupils is the main task of anyone who would teach The Tempest. For further details on the life and work of Shakspere the following may be referred to: Dowden's Shakspere Primer , and Shakspere, His Mind and Art; Sir Sidney Lee's Life of William Shakespeare (revised edition, 1909) ; Boas's Shakspere and His Predecessors; and The Facts about Shakespeare, by Neilson and Thorndike. For a general account of the English drama of the period, see A. W. Ward's History of English Dramatic Literature (revised edition, 1899), F. E. Schelling's Elizabethan Drama, and vol- umes y and VI of The Cambridge History of English Literature, all of, Avhich contain abun- dant bibliographical material. For questions of language and grammar, see A. Schmidt's Shake- speare-Lexicon; J. Bartlett's Concordance to Shakespeare; Onions 's Shakespeare Glossary, s.nd E. A. Abbott's Shakespearian Grammar. As 10 PREFACE usual, Dr. H. H. Furness's New Variorum edi- tion of the present play is a valuable compen- dium of the results of scholarship on the subject. In the preparation of the present edition I have been much indebted to Mr. H. W. Her- rington. W. A. N. Harvard University. October, 1913. CONTENTS PAGE Preface ■ 7 Introduction — I. Shakspere and the Englisli Drama ... 13 II. The Tempest 32 Text . 49 Notes 161 Word Index 196 Appendix Helps to Study 2C6 Theme Subjects 212 INTRODUCTION I. SHAKSPERE AND THE ENGLISH DRAMA The wonderful rapidity of the development of the English drama in the last quarter of the sixteenth century stands in striking contrast to the slowness of its growth before that period. The religious drama, out of which the modern dramatic forms were to spring, had dragged through centuries with comparatively little change, and was still alive when, in 1576, the first theater was built in London. By 1600 Shakspere had written more than half his plays and stood complete master of the art which he brought to a pitch unsurpassed in any age. Much of this extraordinary later progress was due to contemporary causes; but there entered into it also certain other elements which can be understood only in the light of the attempts that had been made in the three or four preceding centuries. In England, as in Greece, the drama sprang from religious ceremonial. The ]Mass, the center of the public worship of the Roman before^ churcli, coutaiucd dramatic mate- rial in the gestures of the officiat- ing priests, in the narratives contained in the 13 14 INTEODUCTION Lessons, and in the responsive singing and chanting. Latin, the language in which the services were conducted, was unintelligible to the mass of the people, and as early as the fifth century the clergy had begun to use such de- vices as tableaux vivants of scenes like the mar- riage in Cana and the Adoration of the Magi, to make comprehensible important events in Bible history. Later, the Easter services were illu- minated by representations of the scene at the sepulcher on the morning of the Resurrection, in which a wooden, and afterwards a stone, structure was used for the tomb itself, and the dialogue was chanted by different speakers rep- resenting respectively the angel, the disciples, and the women. From such beginnings as this there gradually evolved the earliest form of the Miracle Play, As the presentations became more elaborate, the place of performance was moved first to the churchyard, then to the fields, and finally to the streets and open spaces of the towns. "With this change of locality went a change in the language and in the actors and an extension of the field from which the subjects were chosen. Latin gave way to the vernacular, and the priests to laymen ; and miracle plays representing the lives of patron saints were given by schools, trade gilds, and other lay institutions. A fur ther development appeared when, instead of SHAKSPEEE AND ENGLISH DEAMA 15 single plays, whole series such, as the extant York, Chester, and Coventry cycles were given, dealing in chronological order with the most important events in Bible history from the Cre- ation to the Day of Judgment. The stage used for the miracle play as thus developed was a platform mounted on wheels, which was moved from space to space through the streets. Each trade undertook one or more plays, and, Avhen possible, these were allotted with reference to the nature of the particular trade. Thus the play representing the visit of the Magi bearing gifts to the infant Christ was given to the goldsmiths, and the building of the Ark to the carpenters. The costumes were conventional and frequently grotesfjue. Judas always wore red hair and a red beard; Herod appeared as a fierce Saracen ; the devil had a terrifying mask and a tail;, and divine person- ages Avore gilt hair. Meanwhile the attitude of the church toward these performances had changed. Priests were forbidden to take part in them, and as early as the fourteenth century we find sermons directed against them. The secular management had a more important result in the introduction of comic elements. Figures such as Noah's wife and Herod became frankly farcical, and whole episodes drawn from contemporar}^ life and full of local color were invented, in which the orig- IQ INTEODUCTION inai aim of edification was displaced by an ex- plicit attempt ' at pure entertainment. Most of these features were characteristic of the religious drama in general throughout Western Europe. But the local and contemporary elements nat- urally tended to become national; and in Eng- land we find in these humorous episodes the beginnings of native comedy. Long before the miracle plays had reached their height, the next stage in llie development of the drama had begun. Even in very early performances there had appeared, among the drama 'is personce drawn from the Scriptures. personifications of abstract qualities such as Righteousness, Peace, Mercy, and Truth. In the fifteenth century this allegorical tendency, which was prevalent also in the non-dramatic literature of the age, resulted in the rise of an- other kind of play, the Morality^ in which the action had an allegorical signification, the char- acters were mainly personifications or highly universalized tjq^es, and the aim was the teach- ing of moral lessons or social or religious reform. Thus the most powerful of all the Moralities, Sir David Lindesay's Satire of the Three Estates, is a direct attack upon the corruption in the church just before the Reformation The advance implied in the Morality consisted not so much in any increase in the vitality of the characters or in the interest of the plot (in iSMAKSPEEE AND ENGLISH Di:A:MA 17 both of which, indeed, there was usually a fall- ing off), as in the fact that in it the drama had freed itself from the bondage of having to choose its subject matter from one set of sources — the Bible, the Apocrypha, and the Lives of the Saints. This freedom was shared by the Inter- lude, a form not always to be distinguished from the Morality, but one in which the tend- ency was to substitute for personified abstrac- tions actual social types such as the Priest, the Pardoner, or the Palmer, and the plot had no double meaning. A feature of both forms was the Vice, a humorous character who appeared under the various disguises of Hypocrisy, Fraud, and the 'ike, and whose function it was to make fun, chiefly at the expense of the Devil. The Vice is historically important as having be- ({ueathed some of his characteristics to the Fool of the later drama. John Heywood, the most important writer of Interludes, lived well into the reign of Eliza- beth, and even the miracle play persisted into the reign of her successor in the seventeenth centur.v. But long before it finally disappeared it had become a mere medieval survival. A new England had meantime come into being and new forces w^ere at w^ork, manifesting themselves in a dramatic literature infinitely bej^ond anything even suggested by the crude forms which have been described. 18 INTEODrCTION The great European intellectual movement known as the Renaissance had at last reached England, and it brought with it materials for an unparalleled advance in all the living forms of literature. Italy and the classics, especially, supplied literary models and material. Not only were translations from these sources abundant, but Italian players visited England, and per- formed before Queen Elizabeth. France and Spain, as well as Italy, flooded the literary market with collections of tales, from which, both in the original languages and in such translations as are found in Paynter's Palace of Pleasure (published 1566-67), the dramatists drew materials for their plots. These literary conditions, however, did not do much beyond offering a means of expression. For a movement so magnificent in scale as that which produced the Elizabethan Drama, some- thing is needed besides models and material. In the present instance this something is to be found in the state of exaltation which charac- terized the spirit of the English people in the days of Queen Elizabeth. Politically, the nation was at last one, after the protracted divisions of the Reformation, and its pride was stimulated by its success in the fight with Spain. Intellec- tually, it was sharing with the rest of Europe the exhilaration of the Renaissance. New lines of action in all parts of the world, new lines of SHAKSPERE AND ENGLISH DKAMA 19 thought in all departments of scholarship and intellectual speculation, were opening up; and the whole land was throbbing with life. * In its very beginnings the new movement in England showed signs of that combination of native tradition and foreign influence which was to characterize it throughout. The first regular English comedy, Udall's Ralph Roister Doister, was an adaptation of the underplot of the Eiinu- chiis of Terence to contemporary English life. After a short period of experiment by amateurs working chiefly under the influence of Seneca, we come upon a band of professional play- wrights who not onl}^ prepared the way for Shaklspere, but in some instances produced works of great intrinsic worth. The mytholog- ical dramas of Lyly with the bright repartee of their prose . dialogue and the music of their occasional lyrics, the interesting experiments of Greene and Peele, and the horrors of the tragedy of Kyd, are all full of suggestions of what was to come. But by far the greatest of Shak- spere's forerunners was Christopher Marlowe, who not only has the credit of fixing blank verse as the future poetic medium for English tragedy, but who in his plays from Tamhurlaine to Ed- ward II. contributed to the list of the permanent masterpieces of the English drama. It was in the professional society of these men that Shakspere found himself when he came to 20 INTRODUCTION London. Born in the provincial town of Strat- ford-on-Avon in the heart of England, he was baptized on April 26, 1564 (May Shakspere's g|-]^ according to our reckoning). Early Life. ? to &/ The exact day of his birth is un- known. His father was John Shakspere, a fairly prosperous tradesman, who may be supposed to have followed the custom of his class in edu- cating his son. If this were so, William would be sent to the Grammar School, already able to read, when he was seven, and there he would be set to work on Latin Grammar, followed by reading, up to the fourth year, in Cato 's Maxims^ ^sop's Fables, and parts of Ovid, Cicero, and the medieval poet Mantuanus. If he continued through the fifth and sixth years, he would read parts of Vergil, Horace, Terence, Plautus, and the Satirists. Greek was not usually taught in the Grammar Schools. Whether he went through this course or not we have no means of knowing, except the evidence afforded by the use of the classics in his works, and the famous dictum of his friend, Ben Jonson, that he had ''small Latin and less Greek." What we are sure of is that he was a boy of remarkable acuteness of observation, who used his chances for picking up facts of all kinds; for only thus could he have accumulated the fund of information which he put to such a variety of uses in his writings. Throughout the poet's early boyhood the for- SHAKSPERE AND ENGLISH DRAMA 21 tunes of John Shakspere kept improving until he reached the position of High Bailiff or Mayor of Stratford. When William was about thirteen, however, his father began to meet with reverses, and these are conjectured to have led to the boy's being taken from school early and set to work. What business he was taught we do not know, and indeed we have little more informa- tion about him till the date of his marriage in November, 1582, to Anne Hathaway, a woman from a neighboring village, who was seven years his senior. Concerning his occupations in the years immediately preceding and succeeding his marriage several traditions have come down, — of his having been apprenticed as a butcher, of his having taken part in poaching expeditions, and the like — but none of these is based upon sufficient evidence. About 1585 he left Strat- ford, and probably by the next year he had found his way to London. How soon and in what capacity he first be- came attached to the theaters we are again unable to say, but by 1592 he had certainly been engaged in theatrical affairs long enough to give some occasion for the jealous outburst of a rival playwright, Robert Greene, who in a pamphlet posthumously published in that year, accused him of plagiarism. Henry Chettle, the editor of Greene's pamphlet, shortly after apologized for his connection with the charge, and bore witness 22 INTEODUCTION to Shakspere's honorable reputation as a man and to his skill both as an actor and a dramatist. Robert Greene, who thus supplies us with the earliest extant indications of his rival's presence in London, was in many ways a typical figure among the playwrights with whom Shakspere worked during this early period. A member of both universities, Greene came to the metropolis while yet a young man, and there led a life of the most diversified literary activity, varied with bouts of the wildest debauchery. He was a writer of satirical and controversial pamphlets, of romantic tales, of elegiac, pastoral, and lyric poetry, a translator, a dramatist, — in fact, a literary jack-of -all-trades. The society ip which he lived consisted in part of ''University "Wits" like himself, in part of the low men and women who haunted the vile taverns of the slums to prey upon such as he. ''A world of black- guardism dashed with genius, ' ' it has been called and the phrase is fit enough. Among such sur- roundings Greene lived, and among them he died, bankrupt in body and estate, the victim of his own ill-governed passions. In conjunction with such men as this Shak- spere began his life-work. His first dramatic efforts were made in revising the plays of his predecessors with a view to their revival on the stage; and in Titus Andronicus and the first part of Henry VI. we have examples of this kind SHAKSPxEEE AXD ENGLISH DEAMA 03 of work. The next step was probably the pro- duction of plays in collaboration with other writers, and to this practice, which he almost abandoned in the middle of his career, he seems to have returned in his later years in such plays as Pericles, Henry VIII. , and The Two Nohle Kinsmeyi. How far Shakspere was of this disso- lute set to which his fellow-workers belonged it is impossible to tell; but we know that by and by, as he gained mastery over his art and be- came more and more independent in work and in fortune, he left this sordid life behind him, and aimed at the establishment of a family. In half a dozen years from the time of Greene's attack, he had reached the top of his profession, was a sharer in the profits of his theater, and had invested his savings in land and houses in liis native town. The youth who ten years before had left Stratford poor and burdened with a wife and three children, had now become "Wil- liam Shakspere, Gentleman." During these years Shakspere 's literary work was not confined to the drama, which, indeed, was then hardly regarded as a form of literature. In 1593 he published Venus and Adonis, and in 1594, Lucrece, two poems belonging to a class of highl}^ wrought versions of classical legends w^hich was then fashionable, and of which Mar- lowe 's Hero and, Leander is the other most fa- mous example. For several years, too, in the last 24 INTEODUCTION decade of the sixteenth century and the first few years of the seventeenth, he was composing a series of sonnets on love and friendship, in this also following a literary fashion of the time. Yet these give lis more in the way of self-revelation than anything else he has left. From them we seem to be able to catch glimpses of his attitude toward his profession, and one of them makes us realize so vividly his perception of the tragic risks of his surroundings that it is set down here : O, for my sake do you with Fortune chide, The guilty goddess of my harmful deeds, That did not better for my life provide Than public means which public manners breeds. Thence comes it that my name receives a brand. And almost thence my nature is subdued To what it works in, like the dyer's hand: Pity me then and wish I were renewed; Whilst, like a willing patient, I will drink Potions of eisel 'gainst my strong infection; No bitterness that I will bitter think. Nor double penance to correct correction. Pity me then, dear friend, and I assure ye Even that your pity is enough to cure me. It does not seem possible to avoid the inferences lying on the surface of this poem ; but whatever confessions it may imply, it serves, too, to give us the assurance that Shakspere did not easily and blindly yield to the temptations that sur- rounded the life of the theater of his time. SHAKSPEEE AND ENGLISH DEAMA 25 For the theater of Sliakspere's day was no very reputable affair. Externally it appears' to ns now a very meager apparatus — almost absurdly so, when we reflect on the grandeur of the compositions for which it gave ii]iizabetiian occasiou. A rouo'hlv cH'cular 1 dealer. . . . wooden building, with a roof over the stage and over the galleries, but with the pit often open to the wind and weather, having very little scenery and practically no attempt at the achievement of stage-illusion, such was the scene of the production of some of the greatest imagi- native works the world has seen. Nor was the audience very choice. The more respectable citi- zens of Puritan tendencies frowned on the theater to such an extent that it was found advisable to place the buildings outside the city limits and. beyond t]ie jurisdiction of the city fathers. The pit was thronged with a motley crowd of petty tradesfolk and the dregs of the town; the gallants of the time sat on stools on the stage, '"drinking" tobacco and chaffing the actors, their efforts divided between displaying their wit and their clothes. The actors were all male, the women's parts being taken by boA^s whose voices were not vet broken. The costumes, frequently the cast-off clothing of the gallants, were often gorgeous, but seldom appropriate. Thus the success of the performance had to de- pend upon the excellence of the piece, the merit 26 INTEODTJCTIOX of the acting, and the readiness of appreciation of the audience. This last point, however, was more to be relied upon than a modern student might imagine. Despite their dubious respectability, the Eliza- bethan playgoers must have been of wonderfully keen intellectual susceptibilities. For clever feats in the manipulation of language, for puns, happy alliterations, delicate melody such as we find in the lyrics of the times, for the thunder of the pentameter as it rolls through the trage- dies of Marlowe, they had a practised taste. Qualities which we now expect to appeal chiefly to the literary appear to have been relished by men who could neither read nor write, and who at the same time enjoyed jokes which would be too broad, and stage massacres which would be too bloody, for a modern audience of sensibilities much less acute in these other directions. In it all we see how far-reaching was the wonderful vitality of the time. This audience Shakspere knew thoroughly^ and in his writing he showed himself always, with whatever growth in perma- Dramatic ncut artistic qualitics, the clever Development. man of business with his eye on the market. Thus we can trace throughout the course of his production two main lines: one indicative of the changes of theatrical fashions ; one, more subtle and more liable to misinter- SHAKSPERE AND ENGLISH DRAMA 27 'I rcit-l ^^ o ^ o w o z^ fH '7', bn r— . ''tl o Ci 1—1 m Ci G5 O lO o LO CO rememj&er, I. ii. 38. 40 INTEODUCTION 2. Frequently what seems an extra syllable is to be slurred in reading. Thus ''Prospero" is dissyllabic in such lines as the following: And Prosjpero the | prime duke, | being so | repiijted, I. ii. 72. in which ''being" also may be slurred, or may be treated as two light syllables. Compare also these lines : But tliat I the sea, | mounting [ to the wel] kin's cheek, I. ii. 4. Out of ] his (s\\?i\rity, who \' ~being then | appointed, I. ii. 162. 3. Sometimes an emphatic syllable, or one accompanied by a pause, stands alone as a foot, without an unaccented sjdlable, e.g., Say j again, where didst thou leave these varlets? IV. i. 170. Good 1 my lord, give me thy favour still, IV. i. 204, and perhaps. Twelve 1 year since, Miranda, twelve year since, I. ii. 53. Make the prize light. | One | word more; I charge thee, I. ii. 452. 4. Short lines, lacking one or more feet, occur, especially at the beginning or end of a speech, e.g., By Providence divine, I. ii. 159. (Beginning) To every article, I. ii. 195. (Beginning) Bound sadly home for Naples, I. ii. 235. (Middle) THE TEMPEST 41 Upon thy wicked dam, come forth! I. ii. 320. (End) No, it begins again, I. ii. 395. (End) 5. Long lines of twelve or thirteen syllables occur, e.g., Pi'ofesjses to | persuade | the King | his son's | alive |, II. i. 240. Which since | have stead|ed much; | so, of j his gen- | tleness |, I. ii. 165. These may be regarded as alexandrines, i.e., lines of six iambic feet ; but sometimes the extra syllables are due to the occurrence of trisyllabic feet, like the anapests, i. e., feet with two unac- cented syllables before the accent, in the fol- lowing: Go make j thyself | liJce a nymph \ o' iJie sea; \ be sub- f ject, I. ii. 301. 6. Frequently, especially in the first foot, a trochee is substituted for an iambus, i.e., the ac- cent falls on the odd instead of on the even syllable, e.g.. Weeping ] again the King my father's wreck, T. ii. 390. Sounds and | sweet airs, that give delight and hurt not, III. ii. 150. In the following, the trochee occurs after the caesura : But that the sea, || mounting \ to the welkin's cheek, I. ii. 4. By accident most strange, || 'b6unii\tul Fortune, I. ii 178. 42 IXTEODUCTION It must be remembered, however, that the pro- nunciation of many words has changed since Shakspere's time. Examples are "revenue" in I. ii. 98: "opportune" in IV. i. 26; "aches," pronounced "aitches," in I. ii. 370; "support- able, " V. i. 145 ; ' ' solemnized, " V. i. 309. Espe- cially characteristic are the dissyllabic end- ings in "presci-ence", I. ii. 180; "nupti-al," V. i. 308; "passi-on," IV. i. 143. Although differences between the language o£ Shakspere and that of our own day are obvious to the most casual reader, there is Langnaage. a risk that the student may under- estimate the extent of these differences, and, assuming that similarity of form implies identity ' of meaning, miss the true interpretation. The most important instances of change of meaning are explained in the notes; but a clearer view of the nature and extent of the contrast between the idiom of The Tempest and that of modern English will be gained by a classification of the most frequent features of this contrast. Some of the Shaksperean usages are merely results of the carelessness and freedom which the more elastic standards of the Elizabethan time per- mitted; others are forms of expression at that date quite accurate, but now become obsolete. 1. Nouns, (a) Shakspere frequently uses an abstract noun with "of" where modern Englisii has an adjective; e.g., in I. ii. 210, "tricks of THE TEMPEST 43 desperation "= desperate tricks; in III. iii. 53, ' ' men of sin ' '= sinful men. Converseh^ in V. i. 81, * ' reasonable shore ' '= shore of reason. (b) Abstract nouns are often used in the plural; e.g., Your swords are now too massy for your strengihs, III. iii. 67. Whose wraths to guard you from, III. iii. 79. (c) The plural ending is sometimes omitted in nouns ending in a sibilant; e.g., "princess" for princesses in I. ii. 173, "place" for places in I. ii. 338. In other cases the "s" is written' but not sounded, as in Let us not burden our remembrances with, V. i. 199. 2. Adjectives, {a) Double comparatives and superlatives occur; e. g., "more better," I. ii. 19 ; "more braver," I. ii. 439; "worser," lY. i. 27. (5) Adjectives are used as nouns, as in "Nay, good, be patient," I. i. 17; "That vast of night," I. ii. 327. 3. Pronouns, (a) The nominative is some- times used for the objective; e.g.. Who I have left asleep, I. ii. 231, 232. Who to advance, I. ii. 80. Who once again I tender to thy hand, I\. i. -i,- 5. Of he or Adrian, II. i. 28. {!)) The neuter possessive is usually "his," rarely "its;" e.g., 44 INTEODUCTION I will rend an oak And peg thee in Ms knotty entrails, I. ii. 294, 295. A foul bombard that would shed Ms liquor, II. ii. 21-22. Occasionally ''it" occurs as a possessive; e.g., ''of it own kind/' II. i. 166. (c) The modern usage as to personal and re- flexive pronouns is often reversed ; eg., " How I may bear me," I. ii. 425, "Myself am Naples," I. ii. 434: "I will disease me," V. i. 85. (d) The objective case of the personal pro- nouns is at times used where modern English requires no object; e.g., "I needs must rest me," III. iii. 4. (e) The ethical dative is commoner than in modern speech; e.g., Which is not yet perform 'd me, I. ii. 244. To do me business in the veins o' the earth, I. ii. 255. (/) The modern distinctions among the rela- tive pronouns, tvho, which, that, as, is not ob- served by Shakspere; e.g., A brave vessel Who had, I. ii. 6, 7. I am all the subjects that you have, WMch first was mine own king, I ii, 341, 342. This gallant wMch thou seest, I. ii. 413. Grief, that's beauty's canker, I. ii. 415 (non-restrictive). The elements. Of luhom your swords are temper 'd, III. iii. 61, 62. (g) The relative pronoun is oftener omitted than now, especially after there is, there are; e.g., THE TEMPEST 45 There's nothing ill can d\vell in such a temple, I. ii. 457. There be seme sports are painful, III. i. 1. (/i) The possessive pronoun is sometimes used for the possessive adjective when the noun does not follow immediately; e.g., Tour^ and my discharge, II. i. 258. And his and mine lov'd darling, III. iii. 93. 4. Verbs, {a) A singular verb is often found Avith a plural subject or with two or more sub- jects; e.g., What cares these roarers, I. i. 18, 19, Lies at my mercy all mine enemies, IV. i. 265. How fares the King and's followers? V. i. 7. All torment, trouble, wonder, and amazement Inhabits here, V. i. 104, 105. {])) Plural verbs occur with singular subjects, through the attraction of a neighboring plural; e.g., Of his bones are coral made, I. ii. 397. (c) The ''n" is frequently dropped from th& ending of the past participle of strong verbs in cases where it is retained at the present day ; e.g., ' ' broke, ' ' III. i. 37 ; ^ ' spoke, ' ' IV. i. 31 ; and V. i. 201. Cf. also ^4iolp," I. ii. 63, for "holpen,"- now- weak, ' ' helped. ' ' (d) ''Be" is sometimes used for "are;" e.g.. There he that can rule Naples, II. i. 266. There he some sports are painful, III. i 1. These he brave spirits, V. i. 261. 46 INTKODUCTTON (e) Verbs of motion are often omitted; e.g., And away with the rest, IV. i. 247. To the King's shij), invisible as thou art; V. i. 97. (/) "To" is sometimes used with the infinitive where it is omitted in modern English ; e.g., And would no more endure This wooden slavery than to suffer, II. i. 61, 62. Conversely, ''to" is at times omitted where mod^rn usage requires it ; e.g., To suffer The flesh-fly blow my mouth, TIF. i. 62, 63. Will't please you taste, Til. iii. 42. {g) The infinitive with ''to" is sometimes used for the gerund with another preposition ; e.g.. What do you mean To doat (=by doating) thus on such luggage? IV. i. 230, 231. I have broke y.our hest io say (= by saying) so! III. i. 37. (h) Some verbs now only intransitive are at times used transitively; e.g., Mine eyes, even sociable to the shew of thine, Fall fellowdy drops. V. i. 63, 64. ILearlcens my brother's suit, I. ii. 122. Cf. the converse in III. iii. 57, "Where man doth not inhabit. ' ' 5. Adverbs, {a) Double negatives are used with a merely intensive force; e.g., "Nor go THE TEMPEST 47 neither," III. ii. 23; "nor liath not One spirit," HI. ii. 105, 106; ''they Will not, nor cannot," III. iii. 15, 16. (h) The form of the adjective is often used for the adverb ; e.g., With foreheads villanous low, IV. i. 2.j0. You have spokeu truer than you purposM. II. i. 19, '20 (c) Adverbs are sometimes used where modern usage requires an adjective ; e.g., Safely in harbour Is the King's ship, J. ii. 226, 227. You look 'Wearily, III. i. 32. 6. Prepositions, (a) The usage in prepositions Avas less definitely fixed than it is today. Thus "out on't"=out of it, I. ii. 87; "cause. .. .ot* joy "= cause for joy, II. i. 1, 2 ; "to"=for, in "such a paragon to their ([ueen, " II. i. .74, 75; ^'of"=from, m "thrust forth of Milan," Y. i. 160. (?)) A preposition is occasionally used where a modern verb takes a direct object ; e.g., Whom I left cooling of the air with sighs, I. ii. 222. THE TEMPEST 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, ) Francisco, \ ^^'"^'- Caliban, a savage and deformed Slave. Trinculo, a Jester. Stephano, a drunken Butler. Master of a Ship. Boatswain. IMariners. i\IiRANDA, daughter to Prospero. Ariel, an airy Spirit. Iris, Ceres, Juno, r Spirits. Nymphs, Reapers, [Other Spirits attending on Prospero.'J ■ Scene: [A ship at sea;'] an uninJiaMted island. THE TEMPEST ACT FIRST 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. Be- 5 stir, 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. 10 Alon. - Good boatswain, have care. Where's the master ? Play the men. 51 '^2 THE TEMPEST [ActI, Sc.i Boats. I pray now, keep below. Ant. Where is the master, boatswain? Boats. Do you not hear him? Yon mar onr labour. Keep your cabins ; you do assist the is storm. Gon. Nay, good, be patient. Boats. When the sea is. Hence ! What cares these roarers for the name of king"? To cabin ! silence ! trouble us not. 20 Gon. Good, yet remember whom thou hast 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 25 the present, we will not hand a rope more ; use your authority. If you cannot, give thanks you have liv'd so long, and make yourself ready in your cabin for the mis- chance of the hour, if it so hap. — Cheerly, 30 good hearts ! — Out of our way, I say. Exit. Gon. I have great comfort from this fellow. Methinks he hath no drowning mark upon him ; his complexion is perfect gallows. Stand fast, good Fate, to his hanging; make 35 the rope of his destiny our cable, for our own doth little advantage. If he be not born to be hang'd, our case is miserable. Exeicnt. ACT I, Sc. i] THE TEMPEST 53 Re-enter Boatswain. Boats. Down with the topmast! yare! lower, 40 lower I Bring her to try wi' the main-course. A plague {A cry within.) Enter Sebastian, Antonio, and Gonzalo. -upon this howling! They are louder than the weather or our office. — Yet again ! What do you here ? Shall wx give o 'er and drown ? 45 Have you a mind to sink? Seh. A pox o' your throat, you bawling, blas- phemous, incharitable dog! Boats. "Work you, then. Ant. Hang, cur! hang, you insolent noise- so maker! We are less afraid to be drown 'd than thou art. Gon. I'll warrant him for drowning though the ship were no stronger than a nut-shell. Boats. Lay her a-hold, a-hold! Set her two 55 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? 54 THE TEMPEST [ActI, Sc.i Gon. The King and Prince at prayers ! Let 's assist them, For our case is as theirs. Seh. I'm out of patience. eo Ant. "We are merely cheated of our lives by drunkards. This wide-chapp'd rascal — would thou mightst lie drowning The washing of ten tides! Gfon. He'll be hang'd yet, Though every drop of water swear against it And gape at wid'st to glut him. g5 A confused noise wilhin. 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 wi' the King. Seh. Let's take leave of him. Exit, lo Gon. Now would I give a thousand furlongs of sea for an acre of barren ground, long heath, brown furze, anything. The wills above be done ! but I would fain die a dry death. Exeunt. 75 Act I, Sc. ii] THE TEMPEST 55 Scene II [The island. Before Prosperous cell.'] Enter Prospero anel 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, 5 Dashes the fire out. 0, 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 I 0, the cry did knock Against my very heart. Poor souls, they perish 'd. 10 Had I been any god of power, I would 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. 0, woe the day ! 56 THE TEMPEST " [Act I, Sc. ii Pros. No harm. i5 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. Mir. More to know Did never meddle with my thoughts. Fros. ^Tis time I should inform thee farther. Lend thy hand. And pluck my magic garment from me. So, [Lays down Ms mantle.^ Lie there, my art. "Wipe thou thine eyes; have comfort. 25 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 80 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 ACTI, Sc.ii] THE TEMPEST 57 35 And left me to a bootless inquisition, Concluding, "Stay, not yet." I'rus. The hour's now come ; The very minute bids thee ope thine ear. Obey and be attentive. Canst thou remem- ber A time before we came unto this cell? 40 I do not think thou canst, for then thou wast not Out three years old. xl//r. Certainly, sir, I can. Pros. J^Y what ? By any other house or person ? Of anything the image tell me, that Hath kept with thy remembrance. Mir. ^ 'Tis far off 45 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 50 In the dark backward and abysm of time? If thou rememb'rest aught ere thou cam'st here. How thou cam'st here thou may'st. Mir. But that I do not. Pros. Twelve year since, ^Miranda, twelve year since, Thy father was the Duke of :Milan and 58 THE TEMPEST [Act I, Sc. ii A prince of power. Mir. Sir, are not you my father ? 55 Pros. Thy mother was a piece of virtue, and She said thou wast my daughter ; and thy father "Was Duke of Milan, and his only heir And princess no worse issued. Mir. the heavens! What foul play had we, that we came from thence? . .eo Or blessed was 't we did ? Pros. Both, both, my girl. By foul play, as thou saj^ 'st, were we heav 'd thence. But blessedly holp hither. Mir. 0, my heart bleeds To think 0' the teen that I have turn'd you to, _ Which is from my remembrance ! Please' you, farther. "66 Pros. My brother and thy uncle, call'd An- tonio — I pray thee, mark me — that a brother should Be so perfidious ! — he whom next thyself Of all the world I lov'd, and to him put The manage of my state; as at that time to Through all the signories it w^as the first, And Prospero the prime duke, being so re- puted In dignity, and for the liberal arts Act I, Sc. ii] THE TEMPEST 59 Without a parallel; those being all my study, 75 The government I cast upon my brother And to my state grew stranger, being trans- ported And rapt in secret studies. Thy false uncle — Dost thou attend me? ^lir. Sir, most heedfuUy. Pros. Being once perfected how to grant suits, 80 How to deny them, who to advance and who To trash for overtopping, new created The creatures that were mine, I say, or chang'd 'em, Or else new form'd 'em ; having both the key Of officer and office, set all hearts i ' the state 85 To what tune pleas 'd his ear; that now he was The ivy which had hid ni}^ princely trunk, And suck'd my verdure out on't. Thou attend 'st not. Mir. 0, good sir, I do. Pros. I pray thee, mark me. I. thus neglecting worldly ends, all dedi- cated 90 To closeness and the bettering of my mind With that which, but by being so retir'd, O'er-priz'd all popular rate, in my false brother Awak'd an evil nature; and my trust. 60 THE TEMPEST [Act I, Sc. ii Like a good parent, did beget of liim A falsehood, in its contrary as great ss 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 sub- stitution, And executing the outward face of royalty, "With all prerogative, hence his ambition growing — 105 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 110 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, ACTI, Sc. ii] THE TEMPEST 61 Subject his coronet to his crown, and bend The dukedom yet unbow'd — alas, poor 115 Milan ! — To most ignoble stooping. Mir. 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 v^ombs have borne bad sons. 120 Pros. Now the jCondition. This King of Naples, being an enemy To me inveterate, hearkens my brother's suit ; Which was, that he, in lieu o* the premises. Of homage and I know not how much trib- ute, 125 Should presently extirpate me and mine Out of the dukedom, and confer fair Milan With all the honours on my brother ; where- on, A treacherous army levied, one midnight Fated to the purpose did Antonio open The gates of Milan; and, i* the dead of 130 darkness. The ministers for the purpose hurried thence Me and thy crying self. Mir. • Alack, for pity ! 62 THE TEMPEST [Act I, Sc. ii I, not rememb 'ring how I cried out then, Will cry it o'er again. It is a hint That wrings mine eyes to't. Pros. Hear l little further, 135 And then I '11 bring thee to the present busi- ness 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 i40 (So dear the love my people bore me) 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 145 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, To cry to the sea that roar'd to us. to sigh To the winds whose pity, sighing back again, • 150 Did us but loving wrong. Mir. Alack, what trouble Was I then to you! • Act i, tSe. ii] 'lliZ TL^iPZoT 63 Pros. 0, a clierubin Thou wast that did preserve me. Thou didst smile, Infused with a fortitude from heaven, AVhen I have deck'd the sea with drops full 155 salt, Under my burden groan 'd; which rais'd 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 160 that A noble Neapolitan, Gonzalo, Out of his charity, who being then ap- pointed ]\Iaster of this design, did give us, with Ri,ch garments, linens, stuffs, and neces- saries, AVhieh since. have steaded much; so, of his 165 gentleness. Knowing I lov'd 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. [Puts on his rohe.l 170 Sit still, and hear the last of our sea-sorrow. 64 THE TEMPEST [Act I, Sc. ii Here in this island we arriv'd; and here Have I, thy schoolmaster, made thee more profit Than other princess can that have more time For vainer hours, and tutors not so careful. Mir. Heavens thank you for 't ! And now, I pray you, sir, i75 For still 'tis beating in my mind, your rea- son For raising this sea-storm ? Pros. Know thus far forth. By accident most strange, bountiful For- tune, Now my dear lady, hath mine enemies Brought to this shore ; and by my prescience iso I find my zenith doth depend upon A most auspicious star, whose influence If now I court not but omit, my fortunes Will 6ver after droop. Here cease more * questions. Thou art inclin 'd to sleep ; 'tis a good dul- ness, 185 And give it way. I know thou canst not choose. [Miranda sleeps.l Come away, servant, come ; I am ready now. Approach, my Ariel; come. Enter Ariel. Ari. All hail, great master! grave sir, hail! I come Act I, Sc. ii] THE TEMPEST 65 190 To answer thy best pleasure, be't to fly, To swim, to dive into the fire, to ride On the ciirl'd clouds. To thy strong bid- ding task Ariel and all his quality. Tros. Hast thou, spirit, Perform 'd to point the tempest that I bade thee? 195 Ari. To every article. I boarded the king 's ship ; now on the beak. Now in the waist, the deck, in every cabin, I flam'd amazement. Sometime I'd divide. And burn in many places. On the topmast. The yards and bowsprit, would I flame dis- 200 tinctly. Then meet and join. Jove's lightnings, the precursors 0' the dreadful thimder-claps, more mo- mentary And sight-outrunning were not ; the fire and cracks Of sulphurous roaring the most mighty Neptune Seem to besiege, and make his bold waves 205 tremble. Yea, his dread trident shake. Fros. ■ My brave spirit ! Who w^as so firm, so constant, that this coil Would not infect his reason ? 66 THE TEMPEST [Act I, Sc. ii Ari. Not a soul But felt a fever of the mad, and play 'd Some tricks of desperation. All but mari- ners 210 Plung'd in the foaming brine and quit the vessel, Then all afire with me. The King's sIdu, 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 I 215 But was not this nigh shore? Ari. Close by, my master. Pros. But are they, Ariel, sa f e 1 Ari. Not a hair perish 'd; On their sustaining garments not a blemish, But fresher than before ; and, as thou bad'st 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. Pros. Of the King's ship. The mariners say how thou hast dispos'd, 225 And all the rest 0' the fleet. AcTl,8c. iij THE TEMPEST 67 ^^'"^'- Safely in harbour Is the King's ship; in the deep nook, where once Thou cairdst me up at midnight to fetch dew From the still-vex 'd Bermoothes, there she's hid; • The mariners all under hatches stow'd. Who, with a charm join'd to their suff'red labour, I have left asleep; and for^ the rest o' the fleet, Which I dispersed, they all have met again, And are upon the IMediterranean float, 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? A)'i. Past the mid season. Pros. At least tw^o glasses. The time 'twixt six 240 and now ^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 prom- is 'd, 68 THE TEMPEST [Act I, Sc. il Which is not yet perform 'd me. Fros. How now? moody? What is't thou canst demand? « Ari. My liberty. 245 Pros. Before the time be out ? No more ! Ari. ' I prithee, Remember I have done thee worthy service, Told thee no lies, made thee no mistakings, serv 'd Without or grudge or grumblings. Thou did 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 ' the earth 255 When it is bak'd 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. Act I, Sc. ii] THE TEMPEST 69 Pros. Thou hast. Where was she born f Speak ; 260 tell me. Ari. Sir, in Argier. Pros. 0, 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 ter- rible 265 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-ey'd hag was hither brought with child, 270 And here was left by the sailors. Thou, my slave. As thou report 'st thyself, was then her ser* - ant; And, for thou wast a spirit too delicate To act her earthy and abhorr'd commands, Eefusing her grand bests, she did confine thee, 275 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 70 THE TEMPEST [Act I, Sc. ii A dozen years ; within which space she died And left thee there, where thou didst vent thy groans As fast as mill-wheels strike. Then was this island— 280 Save for the son that she did litter here, « A freckl'd whelp, hag-born, — not honour 'd with A human shape. Ari. , Yes, Caliban, her son. Pros. Dull thing, I say so; he, that Caliban 285 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 Qf 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 arriv'd 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 295 Thou hast howl'd away twelve winters. Ain. Pardon, master; AcTi, Sc. ii] . THE TEMPEST 71 I will be correspondent to command And do ni}^ spiriting gently. Pros. Do so, and after two days I will discharge thee. Ari. That's my noble master! 300 What shall I do? say what. What shall I do? Pros. Go make thyself 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. 305 Awake, dear heart, aw^ake ! Thou hast slept well ; Awake ! Mir. The strangeness of your story put Heaviness in me. Pros. Shake it off. Come on, We'll visit Caliban my slave, who never Yields us kind answer. Mir. 'Tis a villain, sir, 310 I do not love to look on. Pros. But, as 't is, 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. 72 THE TEMPEST [Act I, Sc. ii Pros. Come forth, I say! there's other business for thee. sis Come, thou tortoise ! when ? Re-enter Ariel like a water-nymph. Fine apparition ! My quaint Ariel, Hark in thine ear. 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 'er ! Pros. For this, be sure, to-night thou shalt have cramps, 32.5 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. AcTi, Sc. ii] THE TEMPEST 73 330 Cal. I must eat my dinner. This island's mine, by Sycorax my mother, Which thou tak'st from me. When thou camest first, Thou strok'dst me and made mucii of me, wouldst give me Water with berries in't, and teach me how 335 To name the bigger light, and how the less, That burn by day and night ; and then I I'ov'd thee And show'd thee all the qualities o' the isle, The fresh springs, brine-pits, barren place and fertile. Curs 'd be I that did sq ! All the charms 340 Of Sycorax, toads, beetles, bats, light on you ! For I am all the subjects that you have. 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, 345 Whom stripes may move, not kindness ! I have us'd thee. Filth as thou art, with human care, and lodg'd thee In mine own cell, till thou didst seek to violate The honour of my child. 74 THE TEMPEST [Act I, Sc. li Cal. lio, ho! would 't had been done! Thou didst prevent me; I had peopl'd else 35o 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, 355 Know thine own meaning, but wouldst gab- ble like A thing most brutish, I endow 'd thy pur- poses 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 360 Deservedly confined into this rock, .^. Who hadst deserv'd 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 ! Pros. Hag-seed, hence ! 365 Fetch us in fuel ; and be quick, thou 'rt best. ACTI, Sc.ii] THE TEMPEST 75 To answer other business. Shrug 'st thou, malice? If thou neglect 'st or dost unwillingly What I command, I'll rack thee with old cramps, 370 Fill all thy bones with aches, make thee roar That beasts shall tremble ^t thy din. Cat. No, pray thee. [Aside.] I must obey. His art is of such powder It would control my dam's god, Setebos, •375 And make a vassal of him. Pros. 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. Curtsied when you have, and kiss'd The wild waves whist, 380 Foot it featly here and there. And,' sweet sprites, the burden bear. Burden {dispersedly) . Hark, hark! Bow-wow. The watch-dogs bark! Bow-wow. 76 TjlIE tempest [Act I. Sc. ii Ari. Hark, hark! I hear The strain of strutting chanticleer sgx Cry, ' ' Cock-a-diddle-dow. ' ' Fer. Where should this music be? I' the air or the earth? 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 follow 'd it, Or it hath drawn me rather. But 'tis gone. No, it begins again. 395 Ariel ^s Song. 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 : Burden. Ding-dong. [Art.] Hark! now I hear them, — ding-dong, bell. JFer. The ditty does remember my drovm'd father. 405 This is no mortal business, nor no sound That the earth owes. I hear it now above me. AcTl,Sc. ii] THE TEMPEST 77 L'ros. The fringed curtains of thine eye advance And say what thou seest yond. Mir. What is 't? A spirit? 410 Lord, how it looks about ! Believe me, sir, It carries a brave form. But 'tis a spirit. Pros. No, wench; it eats and sleeps and hath such senses As we have, sucli. This gallant which thou seest Was in the wreck; and, but he's something stain 'd 115 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. Vros. [Aside.] It goes on, I see, 420 ' As my soul prompts it. Spirit, fine spirit ! I'll free thee AVithin two days for this. Fev. 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 425 How I may bear me here. Aly prime re- quest. 78 THE TEMPEST [Act I, Sc. II Which I do last pronounce, is, yoii won- ' der ! If you be maid or no ? Mir. No wonder, sir. But certainly a maid. Fer. iMy language ! heavens ! I am the best of them that speak this speech, Were I but where 'tis 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, be- held 435 The King my father wreck 'd. Mir. Alack, for mercy*! 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" 'twere fit to do't. At the first sight 440 They have chang'd eyes. Delicate Ariel, I'll set thee free for this. [To Fer.] A word, good sir; AcTl,Sc.ii]. THE TEMPEST 79 I fear you have done yourself some wrong; a word. Mir. Why speaks my father so uiigently ? This 445 Is the third man that e'er I saw, the first That e'er I sigh'd for. Pity move my father To be inclin 'd my way ! Fer. 0, if a virgin, And your affection not gone forth, I '11 make you The Queen of Naples. Pi'os. Soft, sir ! one word more. 450 [Aside.] They are both in cither's powers; but this swift business 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 ow 'st not ; and hast put thy- self 455 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 witli 't. Pros. Follow me. 460 Speak not you for him; he's a traitor. Come, so THE TEMPEST [Act I, Sc. li I'll 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. He draws, and is cliarmed from moving. Mir. dear father, Make not too rash a trial of him, for He's gentle and not fearful. Pros. What ! T say ; IMy foot my tutor! Put thy sword up, traitor^ Who mak'st a show but dar'st 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'll be his surety. Pros. Silence ! one word more 475 Shall make me chide thee, if not hate thee. What ! Ac T 1, Sc. ii. THE TEMPEST , 81 An advocate for an impostor 1 hush I Thou think 'st there is no more such shapes as he, Having seen but him and Caliban. Foolish wench ! ISO To the most of men this is a Caliban, And they to him are angels. ^'^lir. M}^ 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 485 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, T,o whom I am subdu'd, are but light to me, 490 Might I but through my prison once a day 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.] 495 Follow me. [To Ari.] Hark what thou else shalt do me. Mir. Be of comfort ; My father's of a better nature, sir, '82 THE TEMPEST [Act I, Sc. 11 Than lie appears by speech. This is un- wonted Which now came from him. Pros. [To Ari.l Thou shalt be as free As mountain winds; but then exactly do ^oo All points of my command. Ari. To the syllable. Pros, [To Mir. and Fer.] Come, follow. Speak not for him. Exeunt. ACT SECOND. Scene I / [Anoilicr part of the island.] ^ Enter Alonso, Sebastian, Antonio, Gonzalo, Adrian, Francisco, and others. Gon. Beseech 3^011, 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 mer- chant Have just our theme of Avoe ; 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. 10 Seb. He receives comfort like cold porridge. Ant. The visitor Avill not give him o'er so. 83 84 THE TEMPEST [ActII, Sc. i SeJ). Look, he's winding up the Avatch of his wit ; by and by it will strike, Gon. Sir, — Seh. One. Tell. 15 Gon. "When every grief is entertain'd that's offer 'd, Comes to the entertainer — Seh. A dollar. Gon. Dolour comes to him, indeed; you have spoken truer than you purpos'd. 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 I Alon. I prithee, spare. 25 Gon. Well, I liave done. But yet. — SeJ). He will In^ talking. Ant. Which, of he or Adrian, for a good wager, first begins to crow? Seh. The old cock. 30 Ant. The cockerel. Seh. Done. The wager? Ant. A laughter, Seh. A match! Adr. Though this island seem to be desert, — 35 Seh. Ha, ha, ha! Antonio! So you're paid, Adr. Uninhabitable and almost inaccessible, — Seh. Yet,— Adr. Yet,— Ant. He could not :::'""'\ 40 Aci li,8c' i] THE TEMPEST 85 Adv. It must needs be of subtle, tender, and delicate temperance. Ant. Temperance was a delicate wench. 8 eh. Ay, anU a subtle; as he most learnedly 45 deliver 'd. Adr. Tlie air breathes upon us here most sweet- ly- Seh. As if it had lungs and rotten ones. Ant. Or as 'twere perfum'd by a fen, GoK. Here is everything advantageous to life. 50 Ant. True: save means to live. Seh. Of that there's none, or little. Gon. How lush and lusty the grass looks ! How green ! Ant. The ground indeed is tawny. 55 Seh. With an eye of green in't. Ant. He misses not much. Seh. No; he doth but mistake the truth totally. Gon. But the rarity of it is, — which is indeed almost beyond credit, — 60 Seh. As many vouch 'd rarities are. Gon. That our garments, being, as they were, drench 'd in the sea, hold notwithstanding their freshness and glosses, being rather new-dy'd than stain 'd with salt water. 65 Ant. If but one of his pockets could speak, would it not say he lies ? . Seh. 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 S6 THE TEMPEST [Act II, Sc. i marriage of the King's fair daughter Clari- 7o bel to the King of Tunis. 8 eh. 'Twas a sweet marriage, and we prosper well in our return. <• Adr. Tunis was never grac'd before with such a paragon to their queen. 75 Gon. Not since widow Dido's time. Ant. Widow ! a pox ' that ! How came that widow in ? "Widow Dido ! 8 eh. What if he had said ''widower JEneas" 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 ? 85 Gon. I assure you, Carthage. Ant. His word is more than the miraculous harp. 8 eh. He hath rais'd the wall and houses too. Ant. What impossible matter will he make easy 90 next? 8 eh. I think he will carry this island home in his pocket and give it his son for an apple. Ant. And, sowing the kernels of it in the sea, bring forth more islands. 95 Gon. Ay, Ant. Why, in good time. Gon. Sir, we were talking that our garments seem now as fresh as when we were at ACTll, So. i] THE TEMPEST 87 100 Tunis at the marriage of your daughter, who is now Queen. Ant. And the rarest that e'er came there. Sch. Bate, I beseech you, widow Dido. Ant. 0, widow Dido I ay, widow Dido. 105 Gon. Is not, sir, my doublet as fresh as the first day 1 wore it? I mean, in a sort. Ant. That sort was well fish'd for. Go7i. When I wore it at your daughter's marx riage ? Alon. You cram these words into mine ears against 110 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 I ne'er again shall see her. thou mine heir 115^ Of Naples and of Milan, what strange fish Hath made his meal on thee? F}-an. Sir, he may live. I saw him beat the surges under him. And ride upon their backs. He trod the water, 120 Whose enmity he flung aside, and breasted The surge most swoln that met him. His bold head 88 THE TEMPEST [Act II, Sc. i 'Bove the contentious waves he kept, and oared Himself with his good arms in lusty stroke To the shore, that o'er his wave-worn basis bowed, As stooping to relieve him. I /not doubt He came alive to land. Alon. No, no, he's gone. 125 Seb. Sir, you may thank yourself for this great loss. That would not bless our Europe with your daughter, 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. Alon. Prithee, peace. i30 8eh. You were kneel'd to and importun'd other- wise By all of us, and the fair soul herself Weigh 'd between loathness and obedience, at Which end o' the beam should bow. We have lost j^our son, I fear, for ever. Milan and Naples have i3£ Moe widows in them of this business' mak- ing Than we bring men to comfort them. The fault's your own. Alon. So is the dear'st 0' the loss. Go7i. My lord Sebastian, ACTlI, Sc. i] THE TEMPEST 89 140 The truth you speak doth lack some gentle- ness And time to speak it in. You rub the sore, AVhen you should bring the plaster. Sch. Ver}^ well. Ant. And most chirurgeonl}'. Go)i. It is foul weather in us all, good sir, 145 When you are cloudy. Seh. Foul weather? Ant. Very foul. Gon. Had I plantation of this isle, my lord, — Anf. He'd sow't with nettle-seed. Sib. Or docks, or mallows. Gon. And were the king on't, what would I do? S( h. Scape being drunk for want of wine. i'"^ (Jon. I' the commonwealth I would by contraries Execute all things ; for no kind of traffic Would I admit ; no name of magistrate ; Letters should not be known; riches, poverty. And use of service, none; contract, succes- sion, 156 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; — Seh. Yet he would be king on't. 160 Anf. The latter end of his commonwealth for- gets the beginning. 90 THE TEMPEST [Act II, Sc. i Gon. All tilings in common nature should produce Without sweat or endeavour; treason, felony, Sword, pike, knife, gun, or need of any engine, Would I not have ; but nature should bring forth, 165 Of it own kind, all foison, all abundance. To feed my innocent people. 8eh. No marrying 'mong his subjects? Ant. None, man; all idle. Gon. I would with such perfection govern, sir, no To excel the golden age. Seb. Save his Majesty ! Ant. Long live Gonzalo ! Gon. And, — do you mark me, sir? , Alon. Prithee, no more; thou dost talk nothing to me. Gon. I do well believe your Highness; and did 175 it to minister occasion to these gentlemen, who are of such sensible and nimble lungs that they always use to laugh at nothing. Ant. 'Twas you we laugh 'd at. Gon. Who in this kind of merry fooling am 180 nothing to you. So you may continue and laugh at nothing still. Ant. What a blow was there given ! Sel). An it had not fallen flatlong, Gon. You are gentlemen of brave mettle ; you 185 ACT II, Sc. i] THE TEMPEST 91 would lift the moon out of her sphere, if she would continue in it five weeks without changing. Enter Ariel [invisible], playing solemn music. Seh. We would so, and then go a bat-fowling. 190 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. [All sleep except Alon., Set)., and Ant.] 195 Alon. What, all so soon asleep ! I wish mine eyes Would, with themselves, shut up my thoughts. I find They are inclin'd to do so. 8 eh. Please you, sir, Do not omit the heavy offer of it. It seldom visits sorrow; when it doth, 200 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.] Seh. What a strange drowsiness possesses them. Ant. It is the quality o' the climate. Sel). . Why 92 THE TEMPEST [Act II, Sc. 1 Doth it not then our eyelids sink? I find not 205 Myself dispos'd 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, 0, what might — ? No more : — 210 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. Seh. What, art thou waking? Ant. Do you not hear me speak? Seh. I do; and surely 215 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, speak in^^ moving, And yet so fast asleep. Ant. Noble Sebastian, Thou let'st thy fortune sleep — die. r^jtler; 220 wink^st Whiles thou art waking. Seh. Thou dost snore distinctly; There 's meaning in thy snores. Ant. I am more serious than my custom; you I ACTII, Sc. ij THE TEMPEST 93 Must be so too, if heed me ; which to do 225 Trebles thee o'er. Seb. Well, I am standing water. Ant. I'll teach you how to flow. Seb. Do so. To ebb Hereditary sloth instructs me. Ant. 0, If you but knew how you the purpose cherish Whiles thus you mock it ! how, in stripping it, 230 You more invest it ! Ebbing men, indeed, ]\Iost often do so near the bottom run By their own fear or sloth. Seb. P.rithee, say on. The setting of thine eye and cheek proclaim A matter from thee, and a birth indeed 235 Which throes thee much to yield. Ant. Thus, sir^ Although this lord of weak remembrance, this, AVho shall be of as little memory * When he is earth 'd, hath here almost per- suaded — For he's a spirit of persuasion, only 240 Professes to persuade — the King his son's alive, 'Tis as impossible that he's undrown'd As he that sleeps here swims. Seb. I have no hope 94 THE TEMPEST [ActII, Sc.l : That he's undrown'd. Ant. 0, out of that no hope What great hope have you ! No hope that way is ^ Another way so high a hope that even 245 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? Seh. Claribel. Ant. She that is Queen of Tunis; she that dwells 250 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 We all were sea-swallow 'd, though some cast again, 255 And by that destiny to perform an act Whereof what's past is prologue, what to come In yours and my discljarge. Seh. What stuff is this ! How say you? ACT II, Sc. ij THE TEMPEST 95 'Tis true, my brother's daughter's Queen of Tunis; 260 So is she heir of Naples; 'twixt which regions There is some space. Ant. A space whose every cubit Seems to cry out, "How shall that Claribel Measure us back to Naples ? Keep in Tunis, And let Sebastian wake." Say, this were death ■265 That now hath seiz 'd 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 myself could make 270 A chough of as deep chat. 0, that you bore The mind that I do ! what a sleep were. this For your advancement 1 Do you understand me? Seh. Methinks I do. Ant. And how does your content Tender your own good fortune? Seh. I remember 275 You did supplant your brother Prospero. Ant. True. And look how well my garments sit upon me; 96 THE TEMPEST [ActII, Sc.i Much feater than before. My brother's servants . Were then my fellows; now they are my men. Seh. But, for your conscience? Ant. Ay, sir, where lies that? It 'twere a kibe, 280 'Twould 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. No better than the earth he lies upon 285 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 This ancient morsel, this Sir Prudence, who 290 Should not upbraid our course. For all the rest, They'll take suggestion as a cat laps milk; They'll tell the clock to any business that We say befits the hour. Seh. Thy case, dear friend. Shall be my precedent ; as thou got'st Milan, 295 Act II, Sc. ij THE TEMPEST 97 I '11 come by Naples. Draw thy sword. One stroke Shall free thee from the tribute which thou pay est. And I the King shall love thee. Ant. Draw together; And when I rear my hand, do j^ou the likfi, 300 To fall it on Gonzalo. Set. 0, but one word. [They talk apart.] Be-enter ArHel [invisible] , ivith music and song, 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 liv- i:Dig. Sings in Gonzalo' s ear. While you here do snoring lie, 305 Open-ey'd Conspiracy His time doth take. If of life 3^ou keep a care, Shake off slumber, and beware ; Awake, awake ! ** 310 Ant. Then let us both be sudden. Oon. Now, good angels Preserve the King. [Wahes Alon.] 98 THE TEMPEST [Act II, Sc. i Alon. Why, how ndw? Ho, awake ! Why are you drawn? Wherefore this ghastly looking? Gon. What's the matter? 8 eh. Whiles we stood here securing your repose, Even now, we heard a hollow burst of bel- lowing 315 Like bulls, or rather lions. Did't not wake you? * It struck mine ear most terribly. Alon. I heard nothing. Ant. 0, 'twas 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 ? 320- Gon. Upon mine honour, sir, I heard a hum- ming And that a strange one too, which did awake me, I shak'd you, sir, and cried. As mine eyes open 'd, I saw their weapons drawn. There was a noise. That's verily. 'Tis best we stand upon our guard, 325 Or that we quit this place. Let's draw our weapons. Alon. Lead off this ground; and let's make further search AcTll, Sc.iiJ THE TEMPEaT 99 For my poor son. Gon. Heavens keep him from these beasts ! For he is, sure, i' the island. Alon. Lead away. 330 Ari. Prospero my lord shall know what 1 have done. So, King, go safely on to seek thy son. Exeunt. Scene II [Another part of the island.'] Enter Caliban xvitk a burden of ivood. A fwise of thunder heard. Cal. All the infections that the sun sucks up From bogs, fens, flats, on Prosper fall and make him By inch-meal a disease I His spirits hear me And 3^et I needs must curse. But they'll 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. 100 THE TEMPEST [ActII. Sc. ii Sometime like apes that mow and chatter at me And after bite me, then like hedgehogs which 10 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 15 For bringing wood in slowly. I'll 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 brew- ing; I hear it sing i' the wind. Yond same 20 black cloud, 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. What 25 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 so but this fish painted, not a holiday fool there ACT II, Sc. ii] THE TEMPEST 101 but would give a piece of silver. There would this monster make a man; any strange beast there makes a man. When 35 they will not give a doit to relieve a lame beggar, they will la5" out ten to see a dead Indian. Legg'd like a man! and his fins like arms! Warm, o' my troth! I do now let loose my opinion, hold it no longer : this 40 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 shelter hereabout. Misery 45 acquaints a man with strange bedfellows. 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 — '^ 50 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 Lov'd Moll, Meg, and Marian, and Margery, 55 But none of us car'd for Kate ; For she had a tongue with a tang, Would cry to a sailor. Go hang! 102 THE TEMPEST [ActII, Sc.ii She lov 'd not the savour of tar nor of pitch, Then to sea, boys, and let her go hang!*' qq This is a scurvy tune too; but here's my comfort. Drinks. Cat. Do not torment me ! Oh ! 8te. Wliat's the matter? Have we devils here? Do 3^ou put tricks upon's with savages and men 65 of Ind, ha ? I have not scap 'd 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 Avhile Stephano 70 breathes at nostrils. Cal. The spirit torments me ! Oh ! 8tc. 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 Ian- 75 guage ? I will give him some relief, if it be but for that. If I can 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. so 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 85 ACT II, Sc. ii] ^ THE TEMPEST 103 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 him that hath him, and that soundly. 90 Cal. Thou dost me yet little hurt ; thou wilt anon, I know it by thy trembling. Now Prosper works upon thee. Ste. Come on your ways. Open your mouth ; here is that which will give language to you, 95 cat. Open your mouth ; this will shake your shaking, I can tell you, and that soundh^ You cannot tell who's your friend. Open your chaps again. Trin. I should know that voice ; it should be 100 — but he is drown 'd; and these are devils. defend me ! Ste. Four legs and two voices; a most delicate monster ! His forward voice now is to speak well of his friend; his backward voice is to 105 utter foul speeches and to detract. If all the wine in my bottle will recover him, I will help his ague. Come. Amen I I will pour some in thy other mouth. Trin. Stephano ! no Ste. Doth thy other mouth call me ? ^lercy, mercy ! This is a devil, and no monster. I will leave him ; I have no long spoon. Ti'in. Stephano ! If thou beest Stephano, touch me and speak to me; for I am Trinculo, — 115 be not afeard — thy good friend Trinculo. 104 THE TEMPEST [Act II, Sc. ii 8te. If thou beest Trinculo, come forth. I'll pull tiiee b}^ the lesser legs. If any be Trin- culo's legs, these are they. Thou art very Trinculo indeed ! How cam 'st thou to be the siege of this moon-calf ? Can he vent 120 Trinculos ? "rin. I took him to be kilFd with a thunder- ■ stroke. But art thou not drowTi'd, Ste- phano? I hope now thou art not drown 'd. Is the storm overblown ? I hid me under the 125 dead moon-calf's gaberdine for fear of the storm. And art thou living, Stephano? Stephano, two Neapolitans scap'd! 8te. Prithee, do not turn me about ; my stomach is not constant. i30 Cat. [Aside.] These be fine things, an if they be not sprites. That's a brave god and bears celestial liquor. I will kneel to him. 8te. How didst thou scape? How eam'st thou hither ? Swear by this bottle how thou 135 eam'st hither, — I escap'd upon a butt of sack which the sailors heaved o'erboard — ^by this bottle, which I made of fhe bark of a tree with mine own hands since I was cast ashore. 140 Cal. I'll swear upon that bottle to be thy true subject; for the liquor is not earthly. ^te. Here; swear then how thou eseap'dst. ACTII, Sc.iij THE TEMPEST 105 THn. Swam ashore, man, like a duck. I can 145 swim like a duck, I'll be sworn. 8te. Here, kiss the book. Though thou canst . swim like a duck, thou art made like a goose. Trin. Stephano, hast any more of this? 8te. The whole butt, man. My cellar is in a 150 rock by the seaside where my wine is hid. How now, moon-calf! how does thine ague? Col. Hast thou not dropp'd from heaven? Ste. Out o' the moon, I do assure thee. T was the man i' the moon when time was. 155 Cat. 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 160 monster! I a f card of him! A ver^- weak monster ! The man i ' the moon ! A most poor credulous monster ! Well drawn, monster, in good sooth! Cal. I'll show thee every fertile inch o' the 165 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. 170 Cal. I'll kiss thy foot. I'll swear myself thy subject. Ste. Come on then : down, and swear. 106 * • THE TEMPEST [ACTlI.Sc.ii Trin. I shall laugh myself to death at this pup- P3^-headed monster. A most scurvy mon- ster ! I could find in my heart to beat him — Ste. Come, kiss. 175 Trin. But that the poor monster's in drink. An abominable monster! Cal. I'll show thee the best springs; I'll pluck thee berries; I'll fish for thee and get thee wood enough. A plague upon the tyrant that I serve! 180 I '11 bear him no more sticks, but follow thee, Thou wondrous man. Trin. A most ridiculous monster, to make a wonder 01 a poor drunkard ! Cal. I prithee, let me bring thee where crabs grow ; 185 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'll bring thee To clust'ring filberts and sometimes I'll get thee Young scameis from the rock. Wilt thou go with me ? i90 Ste. I prithee now, lead the way without any more talking. Trinculo, the King and all our company else being drown 'd, we will Act II, Sc. ii] THE TEMPEST ^ 107 inherit here. Here ! bear my bottle. Fel- 195 low Trinculo, we '11 fill him by and by again. Cal. {Si7igs drunkenly.) Farewell, master; farewell, farewell! Trin. A howling monster ; a drunken monster ! Cal. No more dams I'll make for fish; Nor fetch in firing 200 At requiring; Nor scrape trenchering, nor wash dish. 'Ban, 'Ban, Cacaliban 205 Has a new master, get a new man. Freedom, hey-day ! hey-day, freedom ! free- dom, hey-day, freedom ! Ste. brave monster! Lead the way. Exeunt. ACT THIRD. Scene I [Before Prosperous cell.] Enter Ferdinand, hearing a log. Fer. There be some sports are painful, and their labour Delight in them sets off ; some kinds of base- ness Are nobly undergone, and most poor mat- ters Point to rich ends. This my mean task Would be as heavy to me as odious, but 5 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 crabbed, And he's compos 'd of harshness. I mii^t remove Some thousands of these logs and pile them up, 10 108 .AcTllI, Sc. i] THE TEMPEST 109 Upon a sore injunction. My sweet mistress Weeps when she sees me work^ and sa}.- such baseness Had never like executor. I forget ; But these sweet thoughts do even refresh my labours, 15 Most busy least, when I do it. Enter Miranda; and Prospero [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, 'Twill weep for having wearied you. ^ly father 20 Is hard at study; pray now, rest yourself; He's safe for these three hours. Fer. most dear mistress. The sun will set before I shall discharge What I must strive to do. Mir. If you'll sit down, I'll bear your logs the while. Pray, give me that; 25 I'll carr}^ it to the pile. Fer. No, precious -creature ; 110 THE TEMPEST [Act III, Sc. i 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 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 ; 'tis fresh morning with me When you are by at night. I do beseech you — Chiefly that I might set it in my prayers — 35 What is your name? Mir. Miranda. — my father, I have broke your best to say so ! Fer. Admir'd Miranda! Indeed the top of admiration ! worth What's dearest to the world! Full many a lady I have ey'd with best regard, and many a time 40 The harmony of their tongues hath into bondage Brought my too diligent ear; for several virtues ACTIII, Sc. i] THE TEMPEST 111 Have I lik'd several women, never any With so full soul, but some defect in her 45 Did quarrel with the noblest grace she ow'd And put it to the foil; but you, 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, 50 Save, from my glass, mine own; nor have I seen 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, Th€ jewel in my dower, I would not wish 55 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 pre- cepts I therein do forget. Fer. I am in my condition 50 A prince, Miranda ; I do think, a king ; I Avould, not so! — and would no more en- dure This wooden slavery than to suffer The flesh-fly blow my mouth. Hear my soul speak. The very instant that I saw you, did 112 THE TEMPEST [AcTlll,Sc. i My heart fly to your service ; there resides, 65 To make me slave to it; and for your sake Am I this patient log-man. ^^ir. Do you love me? Fer. heaven, earth, bear witness to this sound, And crown what I profess with kind event If I speak true ! if hollowly, invert to What best is boded me to mischief ! I Beyond all limit of what else i ' the world Do love, prize, honour you. Mr. I am a fool To weep at what I am glad of. Pros, Fair encounter Of two most rare affections! Heavens rain grace 75 On that which breeds between 'em ! Fer. Wherefore weep you? 3Iir. 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 tri- fling; And all the more it seeks to hide itself, so 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, 85 Whether vou will or no. AcTlU, iSc. ii] TilE TEMPEST 113 Fe7\ ]\Iy 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. 30 Mi7\ And mine, with my heart in't. And now farewell Till half an hour hence. Fer. A thousand thousand t Exeunt [Fer. and Mir. severally^. Pros. So glad of this as they I cannot be, Who are surpris'd withal; but my rejoicing At nothing can be more. I'll to my book, 95 For yet ere supper-time must I perform Much business appertaining. Exit. Scene II [Afiother part of the island.] Enter Caliban, Stephano, and Trin<:ulo. 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. 5 Trin. Servant-monster ! the folly of this island ! They say ■ there 's but five upon this isle : 114 . THE TEMPEST [Act III, Sc. U we are three of tliem; if the other two be brain 'd like us, the state totters. Ste. Drink, servant-monster, when I bid thee. Thy eyes are ahnost 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 15 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. Your lieutenant, if you list ; he 's no 20 standard. Ste. We'll not run. Monsieur Monster. Trin. Nor go neither; but you'll lie like dogs and yet say nothing neither. Ste. Moon-calf, speak once in thy life, if thou 25 beest a good moon-calf. Cal. How does thy honour? Let me lick thy shoe. I'll not serve him; he's not valiant. Trin. Thou liest, most ignorant monster! I am in case to justle a constable. Why, thou so debosh'd fish, thou, was there ever man a coward that hath drunk so much sack as I today? Wilt thou tell a monstrous lie, be- ing but half a fish and half a monster ? Cal. Lo, how he mocks me ! Wilt thou let him, 35 my . lord ? Act III, Sc. ii] THE TEMPEST 115 Trin. ''Lord" quoth he ! That a monster should be such a natural! Cal. Lo, lo, again ! Bite him to death, I 40 prithee. 8te. Trinculo, keep a good tongue in your head. If you prove a mutineer, — the next tree ! The poor monster's my subject and he shall not suffer indignity. 45 Cal. I thank my noble lord. Wilt thou be pleas 'd 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, invisihle. 50 Cal. As I told thee before. T am subject to a tyrant, a sorcerer, that by his cunning hath cheated me of the island. Aii. Thou liest. Cal. Thou liest, thou jesting monkey, thou. I 55 would my valiant master would destroy thee ! I do not lie. 8te. Trinculo, if you trouble him any more in 's tale, by this hand, I will supplant some of your teeth. 60 Trin. Why, I said nothing. 8te. Mum, then, and no more. Proceed. Cal. I say, by sorcery he got this isle; From me he got it. If thy greatness will Revenge it on him, — for I know thou dar 'st, 116 THE TEMPEST [Act III, Sc. ii But this thing dare not, — 65 Ste. That's most certain. Cat. Thou shalt be lord of it and I'll serve thee. Ste. How now shall this be compass 'd? Canst thou bring me to the party? Col. Yea, yea, my lord. I'll yield him thee asleep, 70 Where thou mayst knock a nail into his head. An. Thou liest ; thou canst not. Cat. "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 75 He shall drink nought but brine; for I'll not show him Wliere the quick freshes are. 8te. Trinculo, run into no further danger. In- terrupt the monster one word further, and, by this hand, I '11 turn my mercy out o ' 80 doors and make a stock-fish of thee. Trin. Why, what did I? I did nothing. I'll go farther off. 8te. Didst thou not say he lied? An. Thou liest. - 85 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 AcTlII. Sc. ii] THE TEMPEST 117 90 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! 95 Ste. Now, forward with your tale. Prithee, stand farther off. Cal. Beat him enough. After a little time I'll beat him too. Ste. Stand farther. Come, proceed. Cal. Why, as I told thee, 'tis a custom with him, 100 I' the afternoon to sleep. There thou mayst brain him, Having first seiz'd his books, or with a log Batter his skull, or paunch him with a stake, Or cut his wezand with thy knife. Remem- ber First to possess his books ; for without them 105 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'll deck withal. 110 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 Syeorax my dam and she; 118 THE TEMPEST [Act III. Sc. ii But she as far surpasseth Sycorax As greatest does least. Ste. Is it so brave a lass? us Cal. Ay, lord; she will become th}^ bed, I war- rant, And bring thee forth brave brood. 8te. Monster, I will kill this man. His daughter and I will be king and queen, — save our Graces ! — and Trinculo and thyself shall be 120 viceroys. Dost thou like the plot, Trinculo ? Trin. Excellent. 8te. Give me thy hand. I am sorry I beat thee ; but, while thou liv'st,.keep a good tongue in thy head. 125 Cal. Within this half hour will he be asleep. Wilt thou destroy him then ? Ste. Ay, on mine honour. Ari. This will I tell my master. Cal. Thou mak 'st me merry ; I am full of pleas- ure. Let us be jocund. Will you troll the catch 130 You taught me but while-ere? 8te. At thy request, monster, I will do reason, any reason. Come on, Trinculo, let us sing. Sings. Flout 'em and scout 'em And scout 'em and flout 'em ; 135 Thought is free. Cal. That's not the tune. Ariel plays the tune on a tahor and pipe. ACT III, Sc. ii] THE TEMPEST 119 Ste. What is this same ? Trin. This is the tune of our catch, played by 140 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. 0, forgive me my sins ! 145 Sle. He that dies pays all debts. I defy thee. ]Mercy upon us ! Cal. Art thou afeard? Ste. No, monster, not I. Cal. Be not afeard. The isle is full of noises, 150 Sounds and sweet airs, that give delight and hurt not. Sometimes a thousand twangling instru- ments Will hum about mine ears, and sometime voices That, if I then had wak'd after long sleep, Will make me sleep again; and then, in dreaming, 155 The clouds methought would open and show riches Read}" to drop upon me, that, when I wak'd, I cried to dream again. Ste. This will prove a brave kingdom to me, where I shall have my music for nothing. 160 Cal. When Prospero is destroy 'd. Ste. That shall be by and by. I remember the story. 120 THE TEMPEST [Act III, Sc. iii Trin. The sound is going away. Let's follow it, and after do our work. Ste. Lead, monster; we'll follow. I would 1 165 could see this taborer ; he lays it on. Trin. Wilt come? I'll follow, Stephano. Exeu7it, Scene III [Anothet^ part of the islaTid.] Enter Alonso, Se'bastian, Antonio, Gonzalo, Adrian, Francisco, etc. Gon. By'r lakin, I can go no further, sir; My old bones ache. Here's a maze trod in- deed Through forth-rights and meanders! By your patience, I needs must rest me. Alon. Old lord, I cannot blame thee, "Who am myself attach 'd with weariness 5 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 AcTlll, Sc. iii] THE TEMPEST 121 Ant. [Aside to Seh.] I am right glad that he's so out of hope. Do not, for one_ repulse, forego the purpose That you resolv'd to effect. Seh. [Aside to Ant.] The next ad- vantage Will we take throughly. Ant. [Aside to Seh.] Let it be to-night; 15 For, now they are oppress 'd with travel, they Will not, nor cannot, use such vigilance As when they are fresh. Solemn and strange music; and Prospero on the tof} invisible. Enter several strange shapes, hringing in a banquet; and dance about it luith gentle actions of salutation ; and, inviting the King, etc., to eat, they depai't. Seb. [Aside to Ant.] 1 say, to-night. No more. Alon. What harmony is this? My good friends, hark ! Go)i. Marvellous sweet music ! 20 Alon. Give us kind keepers, heavens! What were these? Selj. 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'll believe both: 25 And what does c::-o w;^iit credit, come to me, 122 THE TEMPEST [Act III, Sc. iii And I'll be sworn 'tis 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 — 33 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 raid well ; for some of you there present 35 Are worse than devils. Alon. I cannot too much muse Such shapes, such gesture, and such sound, expressing, Although they w^ant the use of tongue, a kind Of excellent dumb discourse. Pros. ' [Aside.] Praise in departing. Fran. They vanish 'd strangely. Seh. No matter, since 40 They have left their viands behind, for w^e have stomachs. Will't please you taste of what is here? ACT 111, !Sc. iii] THE TEMPEST 123 A Ion, Not I. Gon. Faith, sir, you need not fear. When we were boys, Who would believe that there were moun- taineers 45 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, 50 Although my last. No matter, since I feel The best is past. Brother, my lord the Duke, Stand to and do as we. Thunder and ligJitning. Enter Ariel like a harpy; claps his ivings upon the table; and, ivith a quaint device, the hariquet vanishes. Ari. You are three men of sin, whom Destiny, That hath to instrument this lower world 55 And what is in't, the never-surfeited sea Hath caus'd 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; 124 THE TEMPEST [Act III, Sc. iii And even with snch-like valour men hang and drown Their proper selves. [Alon., Seh., etc., draw their stvords.] You fools! I and my fellc^Ys eo Are ministers of Fate. The elements, Of whom your swords are temper 'd, may as well Wound the loud winds, or with bemock'd-at stabs Killthe still-closing waters, as diminish One dowle that's in my plume. My fellow- ministers 65 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 Expos 'd unto the sea, which hath requit it, Him and his innocent child ; for which foul deed The powers, delaying, not forgetting, have Incens'd the seas and shores, yea. all the creatures. Against your peace. Thee of t]i.y son, Alonso^ 75 They have bereft ; and do pronounce by me Ling 'ring perdition, worse than any death Arr III, Ho. iiij THE TEMPEST 125 Can be at once, shall step by step attend . You and your ways ; whose wraths to guard you from — 80 Which here, in this most desolate isle, else falls Upon your heads — is nothing but heart's sorrow And a clear life ensuing. He vanishes in thunder; then, to soft musicy enter the shapes again, and dance, with raocks and mows, and carrying, out the table. Pros. Bravely the figure of this harpy hast thou Perform 'd, my Ariel; a grace it had, de- vouring. 85 Of my instruction hast thou nothing bated In wha^. thou hadst to say ; so, with good life And observation strange, my meaner min- isters Their several kinds have done. My high charms work, And these mine enemies are all knit up 90 In their distractions. They now are in my power ; And in these fits I leave them, while I visit Young Ferdinand, whom they suppose is drown 'd, And his and mine lov'd darling.. [Exit above.] Gon. V the name of something holy, sir, why stand you 126 THE TEMPEST [Act III, Sc. iii In this strange stare ? Alon. 0, it is monstrous, monstrous ! 95 Methought the billows spoke and told me of it; The winds did sing it to me, and the thun- der, That deep and dreadful organ-pipe, pro- nounc 'd The name of Prosper; it did bass my tres- pass. Therefore my son i' the ooze is bedded, and 100 I'll seek him deeper than e'er plummet sounded And with him there lie mudded. [Exit.] Seh. But one fiend at a time, I '11 fight their legions 'er. Ant. I'll be thy second. Exeunt [Seh. and Ant.] Gon. All three of them are desperate: their great guilt. Like poison given to work a great time after, 105 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. P'ollow, I pray you. Exeunt. ACT FOURTH Scene I [Before Prosperous 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. Ferdinand, Do not smile at me that I boast her off, For thou shalt find she will outstrip all praise And make it halt behind her. Per. 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 minist'red, 127 128 THE TEMPEST [Act IV. Sc. No sweet aspersion shall the heavens let fall To make this contract grow; but barren Hate, Sour-eyed Disdain and Discord shall be- strew 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 'tis now, the murkiest den, 25 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 so 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 35 .\cr.v. S(. ij THE TEMPEST 129 Did woi'thiiy perform; and I nmst 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 40 Bestow upon the eyes of this young couple Some vanity of mine art. It is my promise, And they expect it from me. Ari. Presently? Pros. Ay, with a twink. An. Before you can say ''come" and '^go," 45 And breathe twice and cry "so, so," Each one, tripping 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 50 Till thou dost hear me call. Ari. Well, I conceive. Exit. 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. 130 THE TEMPEST [Act IV, Sc. i Kather 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 eo Of Avheat, 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 best betrims 65 To make cold nymphs chaste crowns; and thy brown groves. Whose shadow the dismissed bachelor loves. Being lass-lorn; thy pole-clipp'd vineyard; 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 sov- ereign grace, Jimo descends. Here on this grass-plot, in this very place, To come and sport ; here peacocks fly amain. Approach, rich Ceres, her to entertain. 75 ACT IV, Sc. i] THE TEMPEST 131 Enter Ceres. Cer. Hail, many-coloured messenger, that ne'er Dost disobey the wife of Jupiter ; Who with thy saffron wings upon my flowers Diffusest honey-drops, refreshing showers, 80 And with each end of thy blue bow dost crown 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; 85 And some donation- freely to estate On the blest lovers. Cer. Tell me, heavenly bow, If Yenus or her son, as thou dost know, ' Do now attend the Queen? Since they did plot The means that dusky Dis my daughter got, 90 Her and her blind boy's scandal'd company 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 132 THE TEMPEST [Act IV, Se. i Some wanton charm upon this man and maid. But in vain. Mars's hot minion is returned again; Her waspish-headed son has broke his ar- rows, Swears he will shoot no more, but play with sparrows loo And be a boy right out. Cer. Highest 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 prosper- ous be And honoured in their issue. Tkey sing. 105 Juno. Honoup, 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, 110 Barns and garners never empty. Vines with clustering bunches growing. Plants with goodly burden bowing. Spring come to you at the farthest ACT IV, Sc i] THE TEMPEST - 133 115 In the very end of harvest ! * Scarcity and want shall shun you ; Geres' blessing so is on you. Fer. This is a most majestic vision, and Harmonious charmingly. May I be bold To think these spirits? 120 Pros. Spirits, which by mine art I have from their confines call'd to enact yiy present fancies. Fer. Let me live here ever; So rare a wond'red father and a wise Makes this place Paradise. Pros. Sweet, now, silence I 125 Juno and Ceres whisper seriously. ' , There's something else to do; hush, and be mute. Or else our spell is marr'd. Juno and Ceres tvkisper, and send Iris on employment. Iris. You nymphs, call'd Naiads, of the winding brooks. With your sedg'd crowns and ever-harmless looks, 130 Leave your crisp channels, and on this green land Answer your summons; Juno does com- mand. Come, temperate nymphs, and help to cele brate A contract of true love : be not too late. 134 " THE TEMPEST [Act IV, Sc. i 'Enter certain Nymphs. You sunburnt sicklemen, of August weary, Come hither from the furrow and be merry. 135'' 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 with the Nymphs in a graceful dance; toivards the end whereof Prospero starts sud- denly, and speaks; after which, to a strange, Jiolloxv, and, confused noise, they heavily van- ish. Pros. [Aside.] I had forgot that foul conspir- acy Of the beast Caliban and his confederates i40 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 passion That works him strongly. Mir. Never till this day Saw I him touched with anger, so distem- pered. 145 Pros. You do look, niy son, in a mov'd sort. As if 3^ou were dismayed. Be cheerful, sir, Act IV, Sc. i] THE TEMPEST 135 Our revels now are ended. These our actors, As I foretold you, were all spirits, and 150 Are melted into air, into thin air ; And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous pal- aces, The solemn temples, the great globe itself. Yea, all which it inherit, shall dissolve 155 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. 160 Be not disturb 'd with my infirmity. If 3^ou be pleas 'd, retire into my cell And there repose. A turn or two I'll walk, To still my beating mind. Fer. Mir. "We wish your peace. Exeunt. Pros. Come with a thought. I thank thee, Ariel ; come. Enter Ariel. 105 A ri. 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, 136 THE TEMPEST [Act IV, Se. i 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 bend- ing Towards their project. Then I beat my tabor; 175 At which, like unback'd colts, they prick 'd their ears, Advanc 'd their eyelids, lifted up their noses As they smelt music. So I charm 'd their ears That calf-like they my lowing follow 'd through Tooth 'd briers, sharp furzes, pricking gorse, and thorns, iso Which ent'red 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 'erstunk their feet. Pros. This was well done, my bird. ACT IV, Sc. i] THE TEMPEST 137 185 Thy shape invisible retain thou still. The trumpery in my house, go bring it hither, For stale to catch these thieves. Ari. , I go, I go. Exit. Pros. A devil, a born devil, on whose nature Nurture can never stick ; on whom my pains, 190 Humanely taken, all, all lost, quite lost; 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 glittering apparel, etc. Come, hang them on this line. \Prospero and Ariel remain, invisihle.] Enter Calihan, Stephano, and Trincido, all wet. Col. Pray you, tread softly, that the blind mole may not 195 Hear a foot fall; we now are near bis cell. Ste. ]\Ionster, your fairy, which you say is a harmless fairy, has done little better than play'd the Jack with us. 200 Ste. Do vou hear, monster? If I should take a 138 THE TEMPEST [Act IV, Sc. i 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'll bring thee to Shall hoodwink this mischance ; therefore 205 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. Trin. That's more to me than my wetting; yet 210 this is your harmless fairy, monster ! Ste. I will fetch off my bottle, though I be o'er ears for my labour. Cal. Prithee, my king, be quiet. See'st thou here, This is the mouth ' the cell. No noise, and 215 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 bloody thoughts. 220 Trin. King Stephano! peer! worthy Stephano ! look what a wardrobe here is for thee ! Cal. Let it alone, thou fool; it is but trash. ACT IV, Sc. i] THE TEMPEST 139 225 Trin. 0, ho, monster ! we know what belongs to a frippery. King Stephano ! Sfe. Put off that gown, Trincnlo ; by this hand, I'll have that gown. Trin. Thy Grace shall have it. 230 Cal. The dropsy drown this fool 1 what do you mean To dote thus on such luggage? Let's alone And do the murder first. If he awake, From toe to crown he'll fill our skins with pinches, Make us strange stuff. « 235 St^, 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, an't 240 like your Grace. Ste. I thank thee for that jest ; here's a garment 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; 245 there's another garment for't. Trin. Monster, come, put some lime upon your fingers, and away with the rest. Cal. 1 will have none on't. We shall lose our time, And all be turn'd to barnacles, or to apes 250 With foreheads villanous low. Ste. Monster, lay-to your fingers. Help to bear 140 THE TEMPEST [Act IV, Sc. i this away where my hogshead of wine is, or I'll turn you out of my kingdom; Go to, carry this. Trin. And this. 255 Sie. Ay, and this. A noise of hunters heard. Enter divers Spirits, . in shape of dogs and hounds, hunting 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., and Trin. are driven out.] Go charge my goblins that they grind their joints 260 With dry convulsions, shorten up their sinews With aged cramps, and more pinch-spotted make them Than pard or cat 0' mountain. Ari. Hark, they roar! Pros. Let them be hunted soundly. At this hour Lies at my mercy all mine enemies. 265 Shortly shall all my labours end, and thou Shalt have the air at freedom. For a little Follow, and do me service. Exeunt. ACT FIFTH Scene I [Before Prosperous ceU.] Enter Prospero in his magic rohes, 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. 5 Pros. I did say so, When first I rais'd the tempest. Say, my spirit, '' How fares the King and's followers? Ari. Confin'd together In the same fashion as you gave in charge, Just as you left them; all prisoners, sir, 10 In the line-grove which weather-fends your cell; They cannot budge till your release. The King, His brother, and yours, abide all three dis- tracted. And the remainder mourning over them, Brimful of sorrow and dismay; but chiefly 141 142 THE TEMPEST [ActV, Sc.i Him that you term'd, sir, "The good old lord, Gonzalo,'' 15 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 affec- tions- 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 feel- ing Of their afflictions, and shall not myself, One of their kind, that relish all as sharply Passion as they, be kindlier mov'd than thou art? Though with their high wrongs I am struck to the quick, 25 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. 30 My charms I'll break, their senses I'll re- store. And they shall be themselves. ^AcT y, Sc. i] THE TEMPEST ^ 143 -^ri. I'll fetch them, sir. Exit. Pros. Ye elves of hills, brooks, standing lakes, and groves, And ye that on the sands Avith printless foot 35 Do chase the ebbing Neptune, and do fly him When he comes back; yoii demi-piippets that By moonshine do the green sour ringlets make. Whereof the ewe not bites; and you whose pastime Is to make midnight mushrooms, that re- joice 40 To hear the solemn curfew ; by whose aid, Weak masters though ye be, I have be- dimm 'd The noontide sun, call'd forth the mutinous winds. And ^twixt the green sea and the azur'd vault Set roaring war ; to the dread rattling thun- der 45 Have I given fire, and rifted Jove's stout oak AVith his own bolt; the strong-bas'd prom- ontory Have I made shake, and by the spurs pluck 'd up 144 THE TEMPEST [Act V, Sc. i The pine and cedar ; graves at my command Have wak'd their sleepers, op'd, and let 'em forth By my so potent art. But this rough magic 5o I here abjure, and, when I have requir'd Some heavenly music, which even now I do, To work mine end upon their senses that This airy charm is for, I'll break my staff, Bury it certain fathoms in the earth, 55 And deeper than did ever plummet sound I'll drown my book. Solemn music. Here enters Ariel before: then Alonso, with a frantic gesturey attended by Gonzalo; Sebas- tian and Antonio in like manner, attended by Adrian and Francisco. They all enter the circle which Prospero had made, and there stand charmed; ivhich 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, 60 For you are spell-stopp 'd. Holy Gonzalo, honourable man. Mine eyes, even sociable to the shew of thine, Fall fellowly drops. The charm dissolves apace, ' And as the morning steals upon the night, 65 Melting the darkness, so their rising senses ACT V, Sc. i] THE TEMPEST 145 Begin to chase the ignorant fumes that mantle Their clearer reason. good Gonzalo, My true preserver, and a loyal sir 70 * To him thou follow 'st ! I will pay thy graces Home both in word and deed. Most cruelly Didst thou, Alonso, use me and my daugh- ter. Thy brother was a furtherer in the act. Thou art pinch 'd for't now, Sebastian. Flesh and blood, 75 You, brother mine, that entertain 'd ambi- tion, Expeird remorse and nature, whom, with Sebastian, Whose inward pinches therefore are most strong, "Would here have kill'd your king, I do for- give thee, Unnatural though thou art. Their under- standing 80 Begins to swell, and the approaching tide 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; 85 I will disease me, and myself present 146 THE TEMPEST [Act V, Sc i As I was sometime Milan. Quickly, spirit; Thou slialt ere long be free. Ariel sings and helps to attire him. Ari. ^^ Where the bee sucks, there suck I. In a cowslip's bell I lie; There I couch when owls do cr}^ 90 On the bat's bare. form a common Eliza- bethan phrase, in which the second merely emphasizes the first. 1. ii. 13. Frnughting souls. Souls who composed her freight. I. ii. 14. Amazement. A much stronger word than today. Overwhelming astonishment, mixed with feelings of horror and teii-or. Piteous. Full of pity. I. ii. 19. More better. See Introd., p. 43. I. ii. 20. Full Very. I. ii. 21. No greater than "master of a full poor cell." I. ii. 22. Meddle. Probably = mix, mingle. I. ii. 25. Lie there, my art. Prospero's robe is both an instrument and a symbol of his magic power. T. ii. 27. Virtne. Essence, substance. I. ii. 2f>. Soul. He was going to add "lost," but instead he breaks the construction, and ends the sentence in a differ- ent fashion. An anacoluthon. I. ii. 30. Perdition. Loss. 164 NOTES I ii. iil. Betid. Betided, happened. The usual older form of the past participle. I. ii. 32. Which . . . cry Referring to crentxire. Which . . sink. Referring to vessel. For a similar con.struction, of. Macbeth, I. iii. 60, 61 : "Speak then to me, who neither beg nor fear Your favours nor your hate.'' I. ii. 35. Bootless inquisition. Profitless inquiry. I. ii. 41. Out. Fully. Cf. IV. i. 101, "And be a boy right out." I. ii. 44. Kept. Intransitive use. Remained, abided I. ii. 53, For meter of this line, see Introd., p. 40. I. ii. 56. Piece. Perfect specimen, masterpiece. I. ii. 59. And princess. Many editors emend "and" to "a." I. ii. 63. Holp. P. p., for an older "holpeu." "Help" was originally a strong or irregular verb. See Introd., p. 45. I. ii. 64. Teen. Trouble, anxiety. I. ii. 65. From. The emphatic from, very common in Shakspere, denoting separation, not origin. Away from, out of. I. ii. 66 ff. Note the anacolutha, or breaks in construc- tion, in Prospero's speech. Luce remarks, "The broken sen- tences and rapid transitions partly express emotion and partly the difficulty of making Miranda understand circum- stances new to her experience. I. ii. 70. Manage. Management, administration. I. ii. 71. Bigyiories. States under a Signior or Lord : prin- cipalities : referring to tlie Ghibelline states of northern Italy, whose princes acknowledged obedience to the Holy Roman Emperor, as opposed to the Guelf states, who looked for leadership to the Pope. T. ii. 77. Secret. Mysterious, occult ; meaning here, of course, magic. I. ii. 78. Attend. Pay attention to. L ii. 80. Who for "whom." See Introd., p. 43. I. ii. 81. To trash for overtopping. "To trash" was to impede the speed of a fleet dog ; hence, to restrain those who sought to "overtop," i. e., to rise too high in the state. "Overtop" does not appear as a technical hunting term. Some editors regard it as a figure from gardening In this case, either there is a mixture of metaphors, or else "trash" means "lop," "cut down," a sense which does not seem to occur elsewhere in Elizabethan English. I. ii. 83. Prospero's speeches are full of swift transitions. NOTES 165 He first thinks .of "key" in the metaphorical sense which we employ in "'keys of office." This suggests the key with which one tunes musical instruments. I. ii. 85. That. So that. I. ii. 87. Verdure. Sap, life, vigor. In the inaccurate natural history of Shakspere's time the ivy was regarded as destroying trees in this manner. On't. Of it, I. ii. 89, 90. Dedicated to closeness. Devoted to seclusion. I. ii. 91. But hy being so retir'd. Except for the fact that my studies compelled a life of retirement. I. ii. 92. O'er-priz'd all popular rate. Was of more value than the esteem of the vulgar. I. ii. 94. A. good parent. "Alluding to the observation that a father above the common rate of men has commonly a son below it." — Johnson. I. ii. 97. Sans. Witliout This French preposition had considerable use in Elizabethan English. Lorded. Made a lord. I. ii. 98. Revenue. Accented on second syllable. See Introd., p. 42. I. ii. 99-102. Like one who having into truth, etc. The simplest way to read this difficult passage is to consider "into" as equivalent to "unto," and "it" as an anticipatory reference to "lie." "Like one w^ho having made his memory such a sinner against truth as to credit his own lie by the telling of it." I. ii. 103. Out o' the suhstitution. In consequence of acting as my deputy. I. ii. 109. Ahsolute Milan. Absolutely, completely Duke of Milan. I. ii. 110. Temporal royalties. Practical powers of royalty. I. ii. 112. Dry. Thirsty. I. ii. 117. Event. Issue, consequences of the compact. I. ii. 119. But. Otherwise than. I. ii. 123. In lieu o' the premises. In return for the things stipulated. I. ii. 125. Presently. At once. I. ii. 131. Ministers. Agents. I. ii. 134. Cry it o'er. "It" is used impersonally, as in "to fight it out." Hint. Occasion, cause, motive for action. Distinguish carefully between this customary Elizabethan sense and the modern usage. I. ii. 138. Impertinent. Not pertinent ; irrelevant. I. ii. 139. Well demanded, tvench. "A very natural ques- tion, dear." (Luce.) Cf. French demander, to ask. Wench was in familiar but not vulgar use, and often expressed, as here, affection. 166 ' NOTES I. ii. 140. Provokes. Calls forth, suggests. I. ii. 144. In few. In few words ; in short. 1. 11. 146. Butt. A large cask, especially for wine. See II. ii. 125. Perhaps here used contemptuously for the miser- able hulk on which Prospero and Miranda were set, "a mere tub of a boat." Some think, however, this is a genuine nautical term, now lost to us, for some type of boat. I. ii. 148. Hare. A sudden shift to the vivid historical present of narration. It may be a misprint in Fi for had. Hoist. Continuation of the historical present, or a past tense, either (1) for holsecl, -past of the now obsolete verb hoise, to carry off, to make away with, to heave away; or (2) con- tracted past of hoist. I. ii. 151. Did us Mt loving tvrong. All the wrong they did us was to express their pity by sighing in sympathy with us. I. ii. 152. Cheriihin. CheruMm (of which this is a by- form, derived through the French or Italian) is a Hebrew plural, misunderstood as a singular, and often used as such. An English plural, cheruMns, was even formed from it. I. ii. 155. Deck'd. Covered. Others believe it a northern dialect word, usually spelled "deg(g)" or "dag(g)," meaning "to sprinkle clothes." I. ii. 156. Which. Referring to smile and fortitude in 11. 153, 154. I. ii. 157. An undergoing stomach. Courage to endure. I. ii. 162. Who. Either a nominative absolute, or another case of anacoluthon. I. ii. 165. Steaded much. ' Been of much use. Oentleness. Kindness. I. ii. 169. Xotr I arise. Prospero here assumes his magic garment in order to cast a sleep upon Miranda (see I. ii. 185-6). I. ii. 172. Profit. An infinitive after made; or perhaps a noun, in which case can (1. 173) means "have acquired." I. ii. 173. Princess. A plural. See Introd., p. 43. I. ii. 1 79. yoir my dear lady. Who is my auspicious mistress now (whereas formerly she was ungracious). I. ii. 181. Zenith. The point in the heavens directly over- head, where planets were supposed to be at the height of their power over human destiny, according to the old astrology. "The climax of my fortunes depends upon my taking advan- tage of this auspicious moment." I. ii. 182. Inflnenre. Another astrological term. The power exercised upon Prospero by his "auspicious star." NOTES 167 I. ii. 1S3. Oniif. Nogleot. Cf. with this whole passage the celebrated words of Brutus in Julius Caesar, IV. iii. 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." I. ii. 185. Dulness. Drgwsiness. I. ii. 187. Come away. Come here, come to me. I. ii. 180. Grove. Reverend. I. ii. 190-1. Be't to fly, etc. Note that the references here and in 1. 255 show that Ariel was at home in all four elements. See note to Dramatis Personae, "Ariel." I. ii. 193. Quality. Peculiar and characteristic power. Some interpret as "confederates, profession." I. ii. 194. To point. In every detail, to the very letter. I. ii. 198. / flam'd amazement. Ariel's description corre- sponds to the natural phenomenon known as "St. Elmo's fire," a light which is sometimes seen to play about the masts of a ship during a thunderstorm. It is said to be especially common in the Mediterranean. I. ii. 200. Distinctly. In different and distinct fires ; separately. I. ii. 203-4. Crack was a much stronger word than today, meaning a loud report. The figure in the passage is of the heavens bombarding the sea. I. ii. 206. Trident. The three-pronged scepter wielded by Neptune (identified with the Greek Poseidon), the classical god of the sea. Brave. Fine, splendid. See I. ii. 6, note. I. ii. 207. Constant. Self-possessed. Coil. Turmoil, con- fusion.' I. ii. 209. Of the mad. Such as madmen feel. I. ii. 210. Tricks of desperation. For idiom, see Introd., pp. 42, 43. I. ii. 213. Up-staring. Standing on end. I. ii. 218. Sustaining. Probably, that bore them up in the water. Cf. Hamlet, IV. vii. 176-7 : "Her clothes spread wide ; And, mermaid-llke, a while they bore her up :" I. ii. 222. Cooling. Really a verbal noun, not a participle, hence the "of" following. Verbal nouns in this construction .formerly had a preposition preceding, "a," the worn-down form of an older "on," meaning "in the act of." Cf. "a bat- fowling" (II. i. 189). 168 NOTES I. ii. 223. Odd angle. Out-of-the-way corner. I. ii. 224 TTiis sad knot. Folding his arms with a melan- choly gesture. I. ii, 226. Safely. For grammar, see Introd., p. 47. I ii. 228. Deic was regarded as efficacious in magic. See 11. 821-4. Gathered at midnight, it '^ould be especially potent. I ii. 229. Still-vejc'd. Constantly agitated (by storms). Bermoothes. The Bermudas. One of the several variant spellings of the word. Slow's Annals (ed. Howe, 1631, p. 1020) speaks of "that dreadfull coast of the Bermodes, which Ilandfs] were of all Nations, said and supposed to bee in- chanted and inhabited with witches, and deuills, which grew by reason of accustomed monstrous Thunder, storme, _and tempest, neere vnto those Hands, also for that the who.}e coast is so wonderous dangerous, of Rockes, that few can approach them, but with vnspeakable hazard of ship-wrack.'" (Wright.) I. ii. 231. With a charm, etc. The mariners are asleep from the effects of the charm and the weariness from the labors they have suffered. I. ii. 234. Float. A now obsolete word for flood, wave, sea. I. ii. 240. Glasses. Presumably hour-glasses, though at sea the glass is usually a half-hour ; but see V. i. 223, and note. I, ii. 242. Is there more toil? Ariel's spirit of rebellion, and the opposition which it meets from Prospero, are very skillfully made by Shakspere the occasion for an account of Ariel, Sycorax, Caliban, and their relations to Prospero. Pains. Tasks to perform, labors. I. ii. 243. Rememher. For transitive use, see Introd., p. 46. I. ii. 244. Me. Ethical dative. See Introd., p. 44, and cf. 11. 250 and 255, below. Moody. Sulky. The spirits employed by magicians as their servants or familiars are represented in medieval magic-lore as chafing under the restrictions thus imposed and longing ever for freedom. In- deed, only by the most powerful charms could they customarily be forced to yield obedience. Ariel does not appear to rest under any spell of Prospero's, but he is true to the nature of his kind in forgetting his obligations and rebelling under his servitude ; hence the harshness which Prospero finds it necessary to use. T. ii. 250. Bate me a full year. Abate, reduce (my time of servitude by) a full year. I. ii. 252. Ooze. Soft mud at the bottom of a body of water. xOTrs 169 I. ii. 2riS. Enrij. Malice. A common Elizabrthan mcMiiiim'. I. ii. 261. Argier. Old name for Algiers. I. ii. 266. One thing she did Terhaps a reference to a detail in Shakspere's undiscovered source. I. ii. 269. Blue-ey'd. With dark circles about the eyes. Cf. As You Like It (III. ii. 393), among the marks of a lover, "a blue eye and sunken." I. ii. 273. Abhorr'd. To be abhorred, abhorrent. I. ii. 274. Hests. Commands. Behest is from the same root plus a common prefix. I. ii. 280. Strike. Used of the sound of .the wheels striking the water. I. ii. 281-2. Litter. Whelp. Note the use of words prop- erly applicable to beasts. I. ii. 295. His. For use instead of modern its, see Introd., p. 43. I. ii. 297. Correspondent. Agreeing, hence obedient. I. ii. 298. Spiriting. Spelled in Fi "spryting," and doubt- less to be so pronounced. "Spirit" in the meter of this play seems commonly monosyllabic. Gently. "Without or grudge or grumblings" ; willingly. I. ii. 307. Heaviness. Drowsiness. The sleep has really been produced by Prospero's magic. See 11, 185, 186. I. ii. 311. Miss. Do without. I. ii. 313. Profit. Help, are of use to. • I. ii. 319. When? An expression of impatience. I, ii. 317. Quaint. Fine, dainty. I. ii. 321. Wicked. Baneful. Dew. See note on I. ii. 228. I. ii. 322. Raven's feather. The raven was a bird of ill- omen. I. ii. 323. South-west. In England, south and south-west winds were conceived as bringing, with their heat and fogs, disease and even pestilence. I. ii. 326. Urchins. Originally the word meant hedge-hogs : then elves who might assiame the form of hedge-hogs. The latter is the sense here. I. ii. 327. For that vast, etc. During that desolate period of the night in which they may work. I. ii. 328. Exercise. Practice their torments. I. ii. 334. Water with berries. Possibly this was suggested by a passage in one of Shakspere's sources. Strachey's True Reportory (see Introd., p. 36). Strachey says the Bermudas were "full of Shawes of goodly Cedar. . .the Berries whereof, our men seething, straining, and letting stand some three or foure dales, made a kind of pleasant drinke." 170 NOTES I. ii. 338. Brine-pits. "Salt springs with salt deposits." (Luce.) I. ii. 340. Toads, beetles] hats. Animals considered allied to llie powers of evil, and constantly associated with witch- craft. Cf. the witches' charm in Macbeth, IV. i. I. ii. 342. Sty. Pen, confine. ■ I. ii. 346. Human care. Humane care, kindness. Modern English has developed two words, "human" and "humane." The one word had both sets of meanings in Elizabethan English. I. ii. 351-362. Abhorred slave, etc. Fi gives this speech to Miranda. I. ii. 352. ^Yhich. Who. See Introd., p. 44. I. ii. 353. Capable. Apt to receive impressions. 1.11.358-. Face. Hereditary nature. I. ii. 363. On't. "Of if or "from it." See Introd., p. 47. I. ii. 364. Red plague. Old medical books speak of three kinds of plague sores — red, yellow, and black. Rid. Destroy. I. ii. 365. Learning. "Learn" for "teach," now a vulgar- ism, was in good use in the time of Shakspere. Hag-seed. Offspring of a hag. I. ii, 36,6. Thoii'rt best. An old impersonal construction, "(To) thee (it) were best," misunderstood and made over, a nominative pronoun ("thou") replacing the old dative. I. ii. 367. Malice. Malignant thing. Abstract for concrete, I. ii. 369. Old cramps. Cramps such as old people suffer. Cf. "aged cramps," IV. i. 262. Some editors think that "old" here, as often, has simply an intensive force, as in the modern children's "mean old thing," etc. I. ii. 370. Aches. Two syllables. This word, when a noun, was pronounced like the name of the letter "h," "aitches." I. ii. 373> Setebos. Mentioned in Eden's History of Trav- aile, 1577, in a translated account of the voyages of Magellan, as the chief deity of the Patagonians, Shakspere may have seen this work. See Introd., p, 37. 1. ii. 375. Stage-dir. Invisible to Ferdinand, but not to the audience. He was perhaps dressed in some garment suggesting invisibility. Cf. 1. 302 above. I. ii. 379. Whist. Silent. Probably an absolute construc- tion, "the wild waves being silent." This interpretation implies that the preceding line refers to the ceremonial curt- sy and kiss before an Elizabethan dance; but the text, following Fi, has no comma after kissed, so that it may mean "kissed into silence." NOTES 171 I. ii. 380. Foot it, i. e., dance. For it, cf. I. ii. 134, note. Feaily. Nimbly, gracefully. I. ii. 381, Burden. In old music, the burden was the bass pr under-song. Here the word seems to carry much its modern sense of refrain, I. ii. 382. Dispersedly, i. e., the several parts by different persons or from different corners of the stage. I. ii. 392. Passion. Grief- — a common meaning. Thiv word is used for strong emotion of any kind. T. ii. 393. Its. A rare pronoun in Shakspere. See Introd., p. 43. I. ii. 397. Are. Plural by attraction of preceding plural, "bones." See Introd., p. 45. I. ii. 399. That doth fade. That is subject to decay. I, ii. 405. Remember. Recall, commemorate. I. ii. 406. Nor no sound. On the double negative, see Introd., p. 46. I. ii. 407. Owes. Owns, possesses. '"That belongs to the earth." I. ii. 408. Advance. Lift up. Cf. IV. 177. I. ii. 409. Yond. Yonder. I. ii. 411. Brave. Fine, handsome. See nore on I. ii. 6. Wench. See note on I. ii. 139. I. ii. 413. Which. Whom. See Introd., p. 44. I. ii. 414. But. Excevt that. /Sfome?7ii»3 of the moon. IT. ii. 130. Constant. Steady. TI. ii. 137. f^a(-k. "The generic name of Spanish and Canary wines." — Schmidt. II. ii. 143. Here, etc. Stephano addresses this speech to Trinculo. not noting Caliban's interruption. IT. ii. 146. Kiss the hook. He gives him the bottle, in place of the Bible, to swear upon. II. ii. 154. When time teas. Once tipon a time. TI. ii. 156. Thee and thy dog and thy hush. All distin- guished by the Elizabethans on the face of the moon. Cf. M. N. Dream, V. i. 136, 137. TI. ii. 162. Well drawn. A fine draught of wine : IT. ii. 163. fiootli. Truth. IT. ii. 185. Crahs. Crab-apples. IT. ii. 186. Pig-nvts. Earthnuts. TT. ii. 188. Marmoset. A variety of small South and Central American monkey. II. ii. 190. Scamels. Most probably a misprint for "sea- mel(l)," a variant form of "sea-mew." The young sea-mews were considered delicacies. A diminutive form of "scams," a local name for the shell-fish limpet, has also been proposed, and many other emendations even less likelv. II. ii. 194. Inherit. Take possession. Cf. TV. i. 154. TI. ii. 201. Trenchering. Caliban's drunken coinage from "trencher" (wooden platter") ; or perhaps a collective form. 180 NOTES ACT III. III. i. This scene of exalted sentiment, carrying forward tbe love-plot, is in effective contrast with the low comedy of the preceding. III. i. 1. Be. See Introd., p. 45. Sports [which] are pain- ful. On omission of the relative, see Introd., p. 44. Painful. Requiring pains or labor. Labour. Object of sets off. III. i. 2. Sets off. Counterbalances. III. i. 3. Are nobly undergone. It is noble to undergo. III. i. 6. Which. Whom. See Introd., p. 44. Quickens what's dead. Makes a living, joyous thing of this lifeless task. III. i. 11. Upon a sore injunction. Under penalty of severe punishment. III. i. IH. Executor. Performer. I forget. He had stopped in his task. III. i. 15. One of the most famous diflSculties in Shakspere. The general meaning seems to be that my busiest moments become least toilsome when I refresh myself with sweet thoughts about Miranda. But the text may be corrupt. III. i. 21. Safe. "Safe out of the way." (Verity.) Of course, the audience sees Prospero at the back and knows he is not "safe." An example of "dramatic irony." III. i. 31. Worm. Creature. Here expressing pity. Thou art infected. You have caught the disease of love. III. i. 32. Wearily. For adverb instead of adjective, see Introd., p. 47. III. i. 37. Broke. Past part. On form, see Introd., p. 45. Admir'd. Admirable, to be regarded with wonder. A play on Miranda's name, which means the same thing. III. i. 42. Several. Separate, different. Virtues, Goo*d qualities, not necessarily moral. III. i. 45. Ow'd. Owned, possessed. III. i. 46. Put it to the foil. Foiled, defeated it. III. i. 51. More that I may call men. Phrased so as to exclude Caliban. III. i. 52. Ho%v features are abroad. "What people look like in other lands." Features was used of the general appearance of people, not alone of the face. III. i. 53. Skilless. Ignorant. III. i. 59. Condition. Rank. III. i. 62. Wooden slavery. Referring to his enforced task of piling logs. Than to suffer. The "to" is omitted before the first infinitive, "endure," but supplied with the second, "suffer" — a not uncommon Elizabethan idiom. See Introd., p. 46. NOTES 181 III. i. 63. Flesh-ffi/. "Blow-fly" ; flies the maggots of which feed on flesh. Blow. To deposit eggs upon. On omission of the "to," see Introd., p. 46. III. i. 69. Kind event. Favorable outcome. Cf. I. ii. 117. III. i. 70. Invert, etc. Turn the best fortune destined to my lot to misfortune. III. i. 72. What. Whatever, anything. III. i. 77. That agrees with "me" implied in "mine." III. i. 79. To want. For lack of. See Introd., p. 46. III. i. 80. It. Miranda's modesty forbids her to speak out the word "love." III. i. 84. Your maid. Double meaning of "your servant" and "virgin for your sake." Fellow. Parallel to "wife" (1.83). III. i. 87. Thus humble. Ferdinand kneels. III. i. 89. As bondage, etc. "As a prisoner was ever desir- ous of freedom." III. i. 93. Who. Fbr they. Cf. II. i. 113. WWial. With it. III. i. 94. Book. Book of magic. III. ii. continues II. ii., and reveals, in the plot of Caliban, Trinculo, and Stephano, a danger threatening the success of Prospero's plans, but one which Ariel is prepared to avert. Note how the low comedy scenes are distributed between more serious or more emotional scenes. III. ii. 1. Tell not me. Trinculo has made the suggestion that they be more sparing with the wine. III. ii. 3. Bear up. Bring the vessel into the direction of the wind. The "enemy" Stephano contemplates attacking is, of course, the bottle. III. ii. 10. Set. Fixed in a drunken stare. III. ii. 19. Standard, Standard-bearer or ensign. Trinculo, in his bad pun, makes "standard" mean "stander." "He's too drunk to stand." III. ii. 20. List. Please, desire. III. ii. 22. Run — from the enemy ; continuing Stephano's military phraseology. III. ii. 23. Nor (jo neither. Nor walk. On the double negative, see Introd., p. 46. Lie. In both senses. III. ii. 30. In case. In condition, able, Justle. Jostle. III. ii. 31. Debosh'd. Debauched, III, ii. 38. Natural. Idiot. Ill, ii. 42. The next tree! You'll be hanged on the next tree ! III. ii. 48, Marry. A very common Elizabethan oath, originally by the virgin Mary. 182 XOTES III. ii. 54. Thou jesting monkey. Addressed to Trinculo, whom Caliban conceives to have spoken. The same situation recurs at 11. 78-75. Ariel so contrives that his interruptions are not heard by Trinculo. III. ii. 65. This thing. Trinculo. III. ii. 70. Yield. Hand him over. Thee. Dative, III. ii. 73. Pied ninny. Party-colored fool. Alluding to Trinculo' s jester's motley. III. ii. 77. . QuicTi freshes. Fresh springs. III. ii. 81. StocJc-fish. Beat thee as a stockfish (dried cod) is beaten before it is boiled. III. ii. 91. Murrain. Plague. Now restricted to diseases of animals. III. ii. 102. Paunch. Rip his belly up. III. ii. 103. Wezand. Wind-pipe. III. ii. 105. Sot. Fool. Nor hath not. On double negatives, see Introd., p. 40. III. ii. 107. Burn Tjut his T)00ks. Only burn his books. III. ii. 108. Utensils. Accented on first syllable. III. ii. 109. Deck. Adorn. Withal. With (governing "which"). III. ii. 110. That. Demonstrative. To consider. Active infinitive for passive. The phrase that . . . to consider is subject of "is." Or we may understand "which is" after that. III. ii. 112. Nonpareil. One without an equal. III. ii. 118. She. Used for the grammatically correct "her," as often when the preposition is remote. III. ii. 130. Troll. Sing the parts in succession. Catch. A part-song in which the words of one part are made to answer, or catch, the other,, Cf. the "catch" in Twelfth Night, II. iii. 59ff. III. ii. 181. While-ere. Erewhile, a while before, a short time since. III. ii. 137. Stage-dir. Tahor. A small drum often attacluxl to a flageolet or pipe. III. ii. 140. Nohody. Probably some topical allusion. A cut prefixed to an old comedy. No-hody and Some-tody, showed the picture of a man all head, arms, and legs ; with, literally, "no body." Other figures of "No-body" are known. III. ii. 142, 143. Take't as thou list. "Take my remarks in what manner you please." III. ii. 157. Cried. Cried out. demanded, III. ii. 166. Lays it on. Plays vigorously. III. iii. continues IT. i., and marks the turning point of the action with regard to Prospero's chief enemies. Through the NOTES j^;,' agency of Ariel, Alonso, Antonio, and Sebastian nr^ shown their guilt, punished, and driven to distraction. I'repaiatiou is made for the repentance of .Alonso and the submission of the others. III. iii. 1. By'r lakin. Contracted from "by our ladykin" (little lady), originally an oath by the virgin Mary. 111. iii. 3. Forth-riylits and meanders. Straight and Vi'ind- ing raths. lil^e those in an artificial maze. 111. iii. 4. Me. For personal instead of reflexive form, see In trod., p. 44. III. iii. 5. Attach'd. Seized (the regular Elizabethan m^'an- ins). Cf. legal nse of the word. III. iii. 7. Put off. Dismiss. HI. iii. 10. Frustrate. Vain. III. iii. 12. For. Because of. III. iii. 14. Throughly. Thoroughly. III. iii. IC). A'or cannot. See Introd.. p. 46. III. iii. 17. Stage-dir. On the iop. Ou the balcony at the rear of the Elizabethan stage. III. iii. 19. Marvellous. Adjective for adverb. See Introd., p. 47. III. iii. 20. Kind keepers. Loving guardians. III. iii. 21. Drollery. A puppet-show. A "living" drollery, ont* in which the actors were living persons, not wooden figures. III. iii. 22. Unicorn. A fabulous horse-like animal with one long, straight horn in the center of his forehead. HI. iii. 23. Phoenix. The well-known mythical bird, which every five hundred years builds for itself a funeral pyre and is consumed thereon, only to rise re-created from the ashes. According to the orthodox version of the story there is but one. which lives in Arabia on a special tree. III. iii. 25. Does . . . ^cant credit. Lacks belief, Is not believed in. HI. iii. 30. Certes. Certainly. HI. iii. 31. Monstrous. Not human. HI. iii. 31, 32. Who-. . . their manners are. Anacoluthon. TIT. iii. 33. Our human generation. The race of men. HI. iii. 36. Muse. Wonder at. HI. iii. 38. Want. Lack. HI. iii. 39. Praise in departing. Don't utter praises until you see how your entertainment is going to end. A proverbial expression. HI. iii. 45. Deu--lapp'd. With loose skin and flesh hanging from the throat, which laps up the dew. 184 ^'OTES in. iii. 4Q. Wallets of flesh. Probably an allusion to the diseast; called goitre, which is of frequent occurrence in Alpine regions. III. iii. 47. Whose heads stood in their breasts. A tribe answering this description is told of in Hakluyt's Voyages. Such books of travel were very popular in the time of Shakspere, when imaginations were stirred by the tales of explorations in the New World. III. iii. 48. Each putter-out of five for one. Each traveler. The reference is to an Elizabethan system of insurance. A man on going upon a journey might leave with a banker a sum of money on condition that if he returned safely he was to receive five times the amount deposited ; the banker, mean- time, having the use of the money, and the chance of keeping it if the traveler did not return. III. iii. 49. Stand to. Fall to work. Feed. Not confined to animals in Shakspere's day. III. iii. 52. Stage-dir. Harpy. In classical mythology, a monster having a woman's head and body, and a bird's wings, tail, legs, and claws. In the Aeneid, III. 225, Aeneas narrates the breaking-up of a feast of the Trojans by harpies. With a quaint device. By an ingenious mechanism. III. iii. 54. Hath to instrument. Uges as its instrument. III. iii. 56. You. A second object of "belch up," the far- removed "whom" (1. 53) being forgotten. III. iii. 57. Inhabit. Now used only transitively. See Introd., p. 46. III. iii. 60. Proper. Own. a III. iii. 61. Elements. Materials. III. iii, 62. Whom for "which." See Introd., p. 44. Tem- per'd. Compounded. III. iii. 64. Still-closing. Ever closing after being cut througii. III. iii. 65. Doiole. Downy feather. Plume. Plumage (on Ariel's head in his shape of harpy). III. iii. 66. Like. Alike with me. III. iii. 67. Massy. Massive ; large and heavy. Strengths. See Introd., p. 43, and "wraths, "" I. 79, below. III. iii. 70. Supplant. Remove: ns in III. ii. 58. III. iii. 71. Requit. Contracted past participle for "re- quited." It. The pronoun "it" (as frequently in Shakspere) has no antecedent, referring to the general idea "exposure," implied in the preceding clause. Cf. the "it" of III. i. 15. III. iii. 79. Whose. Antecedent, "they" (1. 76), i.e., the powers. KOTES 185 III. iii. 80. Falls. On singular verb with plural subject, see Tntrod.. p. 45. III. Iii. 81. 7s nothing hut. There is no remedy except. III. iii. 82. Clear. Blameless. III. iii. 82. Stage-dir. Mocks and motes. Mocking gestures and grimaces. Cf. II. ii. 9. III. iii. 83. Bravely. See note on I. ii. 6. III. iii. 84. Devouring, i. €., when it seemed to devour the banquet. III. iii. 85. Bated. Excepted, left out. Cf. I. ii. 250. III. iii. 86.. ^itU good life. In a very life-like manner. III. iii. 87. Ohservation strange. Rare attention (to their parts). Cf. IV. i. 7 for "strangely" in same sense. Meaner viinislers, i. €., those inferior to Ariel. III. iii. 88. Kinds, i. e., of task. III. iii. 89, 90. Knit up in. Tied up, entangled in, i. e., under the Influence of. III. iii. 92. WJiom for "who" is thought of as the object \ot suppose, hence the form. Or there may be a confusion of two constructions, "who, they suppose, is," and "whom they suppose the." III. iii. 93. Mine for "my." See note on II. i. 257, 258. III. iii. 95. Monstrous. Preternatural. III. iii. 99. Did tass my trespass. Uttered my sin in its doep bass voice. III. iii. 100. Therefore. For my trespass. III. iii. 101. Plummet. Lead for sounding depths of water. See V. i. 56. III. iii. 102. Mudded. Note the freedom with which the Elizabethans made one part of speech do duty as another. III. iii. 105. To ivork. With the intention of producing its effect. III. iii. 106. Gins. Begins. Bite the spirits. Note the same metaphor in the word "remorse," literally "a biting back." III. iii. 108. Ecstasy. In Elizabethan English, any state of being beside one's self, out of one's mind, by whatever emotion produced. ACT IV. The two chief sub-plots of the play are brought to a conclu- sion in this act : namely, the Ferdinand-Miranda love-story, and the conspiracy of Caliban and his confederates against Prospero's life. The last act is thus left to Prospero, to 186 NOTES deal — in what temper, the playwright still keeps in suspense— with his enemies. The masque in this act is quite in keeping with the spectacular nature of the play. IV. i. 3. Third. The three parts of Prospero's life are his daughter, his dukedom, and his art. IV. i. 4. Who for "whom." See Introd., p. 43. IV. i. 7. Strangely. Rarely, wondrously. Cf. III. iii. 87. IV. i. 9. Boast her off. "Set forth her merits boastfully." (Wright.) "OfE" acts as an intensive to the verb. IV. i. 12. Against an oracle. "Even though an oracle declared otherwise." IV. i. 14. Purchased. Gained, won. "Purchase" has been highly specialized in modern usage ; formerly it meant "to acquire in any way except by gift o^ inheritance." IV. i. 16. Sanctimonious. Holy. IV. i. 18. Aspersion. Sprinkling. IV. 1. 23. Hymen, the god of marriage. IV. i. 26. Opportune. Accent on second syllable. See Introd., p. 42. Suggestion. Prompting to evil, temptation. Cf. II. i. 292. IV. i. 27. Worser. A double comparative. See Introd., p. 43. Genius. Spirit presiding over the destiny of a person. A man was often conceived as having both a good and an evil genius. Can. Is capable of. IV. i. 30, 31. Or . . . or. Either ... or. Phoehus Apollo^ the god of the sun. For possessive without 's, cf. Phoenix, III. iii. 23. Foundered. Lamed. "When I shall think that day will never come to an end." IV. i. 31. Fairly. Honorably, nobly. Spoke for "spoken." See Introd., p. 45. IV. i. 33. What. A common exclamation used in calling a person. IV. i. 37. Rahhle. Simply "crowd," without modern oppro- brious meaning. IV. i. 41. Vanity. Trifle. IV. i. 42. Presently. Immediately. Cf. I. ii. 125. IV. i. 43. Twink. Wink of the eye ; twinkling. IV. i. 47. Mop and moio. A favorite alliterative phrase, both members of which mean "grimace." Cf. II. ii. 9, and note. IV. i. 51. Dalliance. Fondling ;, exchange of caresses. IV. i. 56. Liver. Regarded as the seat of the passions. "Her chaste breast against mine cools my passion." NOTES 1S7 IV. i. 57. Corollary. Surplus: more than enough (spirits to act the play). IV. i. 58. ' Want, Be lacking in. Pertly. Briskly. IV. i. 59. A'o tongue. Strict silence had to be observed at incantations. Noise of any kind broke the charm. Cf. 11. 126, 127, below. IV. 1. 59. Stage-dir. Iris. Goddess of the rainbow and the messenger of Juno. What follows is the most complete example in Shakspere of the incidental masque, introduced into a drama to give spectacle and variety. The independent masque, as written, e.g., by Bon Jonson, was, of course, a much longer and more elaborate composition. IV. i. 60. Ceres, the Roman goddess who presided over agriculture and the fruits of the earth. Leas. Fields. Ordinarily, meadows. IV. i. 63. Thatch'd. Covered. Stover. Coarser kinds of hay suitable for winter fodder. IV. i. 64. Banks with pioned and twilled brims. River banks whose edges are covered with peonies and reeds. Pione is an old form for "peony" ; and twill = reed. But the peony does not grow wild in England, nor does it blossom in April ; while there is some difficulty in proving that tivill was used for sedge or reed, the plant. Accordingly, some editors inter- pret as a reference to the banking and ditching of land in early spring for drainage. Pioned would then mean "dug deep" (cf. "pioneer," originally the digger preceding an army), and tirilled, "ridged" (cf. the ridges on "twilled" cloth). Emendations proposed for t willed are tilled, lilied, willowed, etc. IV! i. 65. Spongy. Wet. rainy. Hest. See note on I. ii. 274. IV. i. 66. Cold. Void of passion, chaste. Brorcn groves. Brown is often used in earlier English for dark, shady, with- out implying precise color. The Folio reading, of which this is an emendation, is "broome groves," but broom is too small a shrub to give shade to jilted lovers. IV. i. 68. Lass-lorn. Having lost his love. Pole-clipp'd. With the poles embraced or twined round ("clipp'd") by the vines. IV. i. 70. The gnern o' the sl:y. .Tuno, referred to in 1. 77 as "the wife of Jupiter." IV. i. 71. ^Vaiery arch. The rainbow. IV. i. 74. Peacocks were sacred to Juno and drew her chariot. Amain. Swiftly. 188 NOTES IV. i. 76. Many-coloured. An allusion to Iris's character as goddess of the rainbow. IV. i. 78. Saffron wings. The epithet is applied to Iris in Phaer's translation of Virgil {Aeneid, IV. 700). IV. i. 81. Bosky. Covered with bushes or underwood. Acres, generally for "ifield, land." "Bosky acres" are con- tracted with "unshrubb'd down," i. e., bare hill tract. IV. i. 85. Estate. Bestow, settle. IV. i. 89. Dusky Dis. "Dis" is another name of the gcfd Pluto, who presided over the gloomy under-world ; hence the classical epithet, "dusky." 31y daughter. Persephone or Proserpine. The story of her abduction by Pluto is one of the most celebrated in Greek mythology. That = hj which; or Dis may be taken as a dative. IV. i. 90. Her Mind hoy. Cupid. Scandal'd. Scandalous. IV. i. 93. PapJios. A town in the island of Cyprus sacred to Venus. IV. i. 94. Dove-draton. Doves were sacred to Venus and drew her chariot. IV. i. 95. Wanton. Lustful. IV. i. 98. Hot. Passionate. Minion. Darling, i.e., Venus, the beloved of Mars. IV. i. 99. Waspish-headed. Irritable. IV. i.lOO. Sparroivs were birds associated with Venus and Cupid. IV. i. 101. Jiight out. Outright. IV. i. 106 fif. Juno speaks her blessing as the goddess presiding over marriage ; Ceres in her character as goddess of the plenteous harvest. IV. i. 108. Still. Always. IV. i. 110. Foison. Abundance. Cf. II. i. 166. IV. i. 111. Garners. Granaries. IV. i. 114, 115. Spring, etc. The idea is that spring sha'll follow immediately upon the harvest ; there shall be no winter. IV. i. 119. Charmingly. Through the power of a magic charm. Bold. So bold as. IV. i. 123. So rare a wond'red father and a wise. A father so rarely endowed with wonders and so wise. Wise. Some copies of Fi appear to read "wife," and some editors prefer this reading. The letter "f" and the old-style long "s" are frequently almost indistinguishable in print. IV. i. 128. Winding. Fi has "windring," which some regard as meant for "wandering." IV. i. 129. Harmless. Innocent. NOTES 189 IV. i. 130. Cnfied, etc. A very famous passage : one of the supreme poetical achievements of our literature. Note the beauty of the images, the majesty of the rhythm, including the masterly arrangement of pauses, the splendor of the vowel and consonant music. IV. i. 154. Inherit. Possess. IV. i. 156. Not a rack. Not a film of cloud. IV. i. 157. On. Of. See lutrod., p. 47. IV. i. 158. Roiivded icith. Either (1) "surrounded by": i. €., its beginning and end a sleep : or (2) "rounded out with," "completed by." IV. 1. 164. With a thought. Quick as a thought. IV. i. 166. Meet with. Encounter, cope with. IV. i. 167. Presented. Represented, acted the part of. IV. i. 176. Unhaclc'd. Unriddon, not broken. IV. i. 177. Advanc'd. Lifted up. Cf. I. ii. 408. IV. i. 178. As. As if. So I charm'd. I so charmed. IV. i. 182, Filthy-mantled. Covered with a filthy scum. IV. i. 184. Bird. A term of endearment, like "chick" (V. i. 316). - IV. 1.186. Trumpery. Showy trash. IV. i. 187. Stale. Decoy ; a live or stuffed bird by which hunters entice others to enter the snare. IV. i. 189. Nurture. Education and good breeding. IV. i. 192. Cankers. Grows malignant or venomous. IV. i. 193. Line. Lime or linden tree. Cf. the "line-grove" in V. i. 10. Some editors believe that a hair clothes-line is meant. IV. i. 194. The hlind mole possesses very acute hearing. 190 NOTES IV. i. 198. Flay'd the Jack. Played the knave. IV. i. 206. Hoodwink. Cover up from sight. IV.' i. 217. Mischief. Harm, injury. A stronger word tha?i today. IV. i. 218. I for "me." Note again faulty grammar owing to the fact that the original structure of the sentence is forgotten. IV. i. 222. O King Stephano! peer! An allusion to a well-known ballad, "Take thy old cloak about thee," a stanza of which, as quoted in Othello, II. iii. 92-95, runs : "King Stephen was and-a worthy peer, His breeches cost him but a crown ; He held them sixpence all too dear, With that he call'd the tailor lown." IV. i. 226. Frippery. An old-clothes shop. "This is no 'trash' such as is kept at an old-clothes shop ; we know the kind of thing sold there." IV. i. 231. To dote. By doting. See Introd., p. 46. Let's alone. If reading of Fi, here adopted, is correct, the verb of motion is omitted (see Introd., p. 46). "Let us go alone." Caliban gives over Trinculo as hopeless, and, turning to Stephano, proposes that they proceed alone. But Stephano is equally interested in the finery. Emendations which have met with much favor are: (1) let's along; (2) left alone. IV. i. 235. Mistress line. Stephano in mock courtesy thus addresses the lime-tree (see note on 1. 193, above), after which he removes the garment from its place, so that it is then "under the line." IV. i. 236. Jerkin. A jacket or short coat. IV. i. 237, 238. You are like to loose your hair, etc. The joke seems to be based on a punning identification of the line or lime-tree and the equinoctial line. Especially in the days of slow sailing vessels, persons voyaging through the hot equatorial regions were likely to contract fevers which caused them to lose their hair. Or, the allusion may be to the customary celebration among mariners on crossing the equator (passing "under the line"), during which unpopular members of the crew are subjected to a mock shaving. For other suggestions, see Var. IV. i. 239. Do, do. Go on, keep it up. By line and level. Trinculo adds his pun on "line." IIere = plumb-line. A phrase borrowed from the carpenter's trade, meaning "according to rule, sj'stematically." An. If. Like. Be pleasing to. , NOTES 191 IV. i. 244. Pass of pate. Thrust of wit, witty sally. IV. i. 246. Lime. Bird-lime. IV. i. 249. Barnacles. Probably Caliban is thinking of "barnacle geese," not the shellfish. In medieval natural history, the notion prevailed that the shellfish grew on trees, dropped into the sea, and there matured into the species of geese variously known as "brant geese," "tree geese," or "barnacles." IV. i. 250. Foreheads. In Elizabethan times, a low fore- head was regarded as a deformity, while a high one was a feature of beauty. Villainous. Adjective form for adverb. See Introd., p. 47. IV. i. 259. Hark. A cry to set on the dogs. IV. 1. 262. Aged cramps. Cramps such as old people suffer. Cf. I. ii. 369. IV. i. 263. Pard. Leopard. Cat o' mountain. A name given to the smaller varieties of the leopard. ' IV. i. 265. Lies. On singular verbs with plural subjects, see Introd., p. 45. ACT V. V. Trospero now has complete power ovt-r his enemies, but in a spirit of exalted magnanimity he foregoes his vengeance and pardons them, at the same time renouncing his use of magic. His dukedom is restored, his daughter's happiness is assured, and the play closes in an atmosphere of repentance and forgiveness. V. i. 2. Crack not. Do not break ; i. e., hold fast, are still potent. V. i. 2, 3. Time goes, etc. Time does not bend even under the burden of so rapid a succession of events. V. i. 4, On. Close upon, approaching. Sixth hour. See I. ii. 239-241, also 11. 136 and 223, below. Note that the events of the play are represented as transpiring in about three hours, or little more than the time needed for their performance on the stage. V. i. 7. Fares. Singular verb with compound subject. See Introd., p. 45j V. i.- 8. Gave in charge. Ordered. V. i. 10. Line-grove. Grove of lime or linden trees. See IV. 1. 193, note. Weather-fends. Protects from the weather. \;. i. 11. Your release. Released by you. V. i. 17. Eaves of reeds. Eaves of a thatched roof. V. i. 18. Affections. Feelings. V. i. 22. Myself. See Introd.. p. 44. 192 NOTES T. i. 23. Relish. Taste ; here, feel. V. i. 24. Passion. Emotion. Noun, object of "relish." Kindlier. More naturally, more in accordance with my and their kind {i.e., human nature). V. i. 25. Their high tcrongs. Great wrongs inflicted by them. V. i. 27. Rarer. Finer, nobler. V. i. 33, Ye elves of hills, etc. In this passage (down to 1. 50), Shakspere is following in general the invocation of the enchantress Medea in Ovid's Metamorphoses, vii., 197- 219, as Englished by Arthur Golding, and often using Gold- ing's very words. There are indications that in some places he is translating the original direct, not following Golding. See Introd., p. 37. V. i. 34. Printless. Leaving no print. V. i. 35. Neptune. The sea personified. V. i. 36. Demi-puppets. Literally, creatures only half as large as puppets — a reference to the diminutive fairies or elves. V. i. 37. Green sour ringlets. So-called "fairy rings," cir- cles of ranker grass common in meadows. V. 1. 39. That rejoice, because at curfew the spirits might leave their prisons and range abroad. Cf. King Lear. IIL iv. 120 : "This is the foul fiend Flibbertigibbet ; he begins at curfew, and walks till the first cock" (i. e., cock-crow). V. i. 41. Weak masters. Weak when left to yourselves, though powerful to aid when ruled and directed by me. V. i. 53. Their senses that. The senses of those whom. Cf. III. L 77 and V. i. 214. V. i. 54. ril hreak my staff. These lines (and indeed the whole speech) have been thought by many to be of auto- biographic significance— a symbolic expression of Shakspere's farewell to the stage. See Introd., p. 33. V. i. 59. For the use of music to restore an unhinged mind, cf . Lear, IV. vii. V. i. 59. Unsettled f(tnci/. Disturbed imagination. Cf. the story of David and Saul, /. 8am., xvi. 14-23. V. i. 61. You. Addressed to the whole party, the first lines probably to Alonso. V. i. 63. Sociable to. Sympathizing with. Shew. Appear- ance. Gonzalo is weeping. V. i. 64. Fall. Let fall. See Introd., p. 46. Fellowly. Fellow-like, companionable. V. 1. 67. Chase. Dispel. Ignorant fumes. Fumes causing ignorance. According to Elizabethan physiology, the befud- ^"OTES 193 dling of the sense worked liy I'rospero's magic is caused by vapois or fumes which rise to the brain aud derange its worldng. Mantle. Envelop. Cf. IV. i. 182. V. i. 68. Clearer. Probably proleptic. "Reason thus made clearer." V. i. 70. Graces. Favors, acts of kindness. V. i. 71. Home. Thoroughly, to the utmost. V. i. 75 ff. You. Prospero addresses his brother by the stern and formal "you,"' but as soon as he has forgiven him (1. 78), employs the more tender "thee." A similar dramatic distinction in 11. 130-132 below. On "you" and "thou," see I. li. 1, note. V. i. 76. Remorse. Pity. Nature. Natural feeling. Whom. Objective for nominative. Cf. Introd., p. 43. V. i. 81. Reasonable shore. Shore of reason. The mind, bereft of its reason, is compared to mud flats when the tide is out. V. i. 85. Disease Remove my magic robes. V. i. 86. Sometime. Formerly. Milan. Duke of Milan. Cf. I. ii. 109. V. i. 96. 8o, so, so. Very good ; that will do (referring to Ariel's assistance in attiring him). V. i. 101. Presently. At once. Cf. I. ii. 125. V. i. 102. / drink the air. "An expression of swiftness of the same kind as 'to devour the way' in 2 Hen. IV.: I. i. 47." ~ • — .Johnson, quoted in Var. V. i. 103. Or ere. Before. See I. ii. 11, note. V. i. 105. Inhabits. Dwells. On singular verb with com- pound subject, see Introd., p. 45. V. i. 111. Whe'er. A common contraction, for metrical purposes, from "whether." A\ i. 112. Trifle. Delusion. Abuse. Deceive. V. i. 117. An if. If if, one conjunction merely rein- forcing the other. Cf. "or ere," I. ii. 11. and V. i. 103. V. i. 118. Thy dukedom I resign. Antonio had made it a fief of Naples. See I. ii. 111-127. V. i. 119. My wrongs. Wrongs inflicted by me. Cf. "their high wrongs," 1. 25, above. V. 1. 124. Subtleties. Illusions : literally, quaint devices of confectionery or pastry. This metaphor from cooking is perhaps suggested by the verb "taste," and may be used by Prospero with some thought of the magic banquet of III. iii.17-52. But taste can mean merely "experience," and there may he no conscious figure here. V. i. 127. Pluck. Draw down. 194 NOTES Y. i. 128. Juslify. rrovc. V. i. 130-132. You . . . Ihn. Seo note on 1. 75, above. V. 1. 136. Whom. Attracted into accusative by "us." Cf. 1. 70. above. V. i. 139. Woe. Sorry, grieved. V. i. 142. Of tchose soft grace. By whose kind favor. ¥.1.14.1. Supportahle. Note transposition. Accent seems to be on first syllable. See Introd., p. 42. V. i. 146. Dew. Grevious. See note on II. i. 138. V. i. 154. Encoiiii'ter. Meeting. Cf. III. i. 74. Admire. Wonder. Cf. III. i. 37, note. V. i. 155. Dei^our their reason. A violent figure, probably suggi'sted by their open-mouthed amazement. V. i. 15G. 1)0 offices of truth, i. e., see truthfully. V. 1. 160. O/. From. See Introd., p. 47. V. i. 164. Relation. Narration. V. i. 171 Stage-dir Discovers. Reveals (by drawing the curtain of the inner stage). V. i. 196. Hers, i. e., her second father. V. i. 213. His own. His own master ; i. e., had control of his senses. V. i. 216. Is. See Introd., p. 45. V. i. 218. Blasfihemij. Abstract for concrete. Cf. "dili- gence" (1. 241), "conduct" (1. 244), and "malice" (I, ii. 367). V i. 219. Sivear'st grace o'erboaid because divine grace woald not protect a ship whore such blasphemy was being uttered. V. i. 223. Three glasses. Three hours by the hour-glass, as is made clear by I. ii. 239-241 in connection with 11. 4 and 136, above. See note on I. ii. 240. Gave out. Declared. V. i. 224. Tight and yare. Without leak and ready (to sail). V. i. 226. Tricksy. A term of affection. Pretty, neat, fine. V. i. 230. Dead of sleep. Like dead men from sleep : or dead asleep. V. 1. 232. Several. Diffeient. V. i. 234, Moe. More. See II. i. 133, note. V. i. 236. Her. Fi. "our."" Freshly. In her fresh con- dition. Adverb instead of predicate adjective. V. 1. 238. Cap'ring to rye her. Dancing with joy at the sight. See Introd., p. 46. V. i 240. Moping. Bewildered. V. i. 244. Conduct of. Conductor of, responsible for. V. i. 246. Infest. Annoy, disturb. V. i. 248. Single. Alone. Resolre you. Explain to you. NOTES 195 V. i. 249. Which to yoi( shall seem probable. Whioli (ex- planation) shall seem probable to you. V. i. 250. Accidents. Events. Cf. 1. 305, below. V. i. 258. Coragio. One of the numerous Italian terms in vogue. V. i. 259. True spies. Honest or trustworthy observers. Cf. "true," L 268, below. V. 1. 262. Fine, in his court garments. V. i. 267. Badges. The silver badges bearing the master's crest worn by servants at this time. V. i. 268, 269. Knave, his mother. "Knave his" may be a possessive. This construction is frequent in earlier English. Or it may be another anacoluthon. V. i. 271. Deal in her command. Wield the moon's powers. Without her power. Either (1) without the moon's author- ization ; or (2) beyond the moon's control. V. i. 272. Demi-devil. See I. ii. 319, 320. V. j. 279. Reeling ripe. Ripe, that is, drunk enough, for reeling. V. i. 279. 280. Should fliei/ find. Can they have found. Cf. Il.ii. 75. V. i. 280. Gilded. A polite slang phrase for "made drunk." V.i. 281,282. PicJde . .pickle. A pun on the slang and the literal meanings. V. i. 284. Fear flu-hlo icing. Cf. III. 1. 63, note. Recounts on the briny swamp he has been in as a preservative. V. i. 288. Sore. With double meaning, (1) smarting, (2) severe. V. i. 302. Waste. Spend. " y. i. 305. Accidents. Cf. 1. 250. note. V. i. 310. Retire me. Ketire is used by Shakspere re- flexively, by us only intransitively. See Introd., p. 46. V. i. 313. Talce. Charm. Deliver all. Tell overvthing. Cf. Il.i. 45. V. i. 316. Chick. Term of endearment, like the "bird" of IV. 1. 184. EPILOGUE. Epilogue. 10. Help of your good hands. The noise of the clapping would dissolve the spell. Cf. IV. i. 59, note ; and IV. 1. 126. Epilogue, 18. Mercy itself. The All-merciful. WORD INDEX Abhorr'd, I. ii. 273; I. ii. 351. abroad, III. i. 52 absolute, I. ii. 109. abuse, V. i. 112. accidents, "V. i. 250; V. i. 305. aches, I. ii. 370. acres, IV. i. 81. admir'd, III. i. 37. Adrian, II. i. 28. advance, I. ii. 408. ( advanc'd, IV. i. 177. advantage, I. i. 37. adventure, II. i. 191, 192. affections, V. i. 18. after, II. ii. 83. ag-ed, IV. i. 262. a-hold, I. i. 54. air, V. i. 102. alone, lY. i. 231. amain, IV. i. 74. amazement, I. ii. 14; I. ii. 198. amen, II. ii. 107. an, II. i. 184; IV. i. 239. and princess, I. ii. 59. an if, V. i. 117. arch, IV. i. 71. are, I. ii. 397. Argier, I. ii. 261. arise^ I. ii. 169. art, I. ii. 1; I. ii. 25. as, IV. i. 178. aspersion, IV. i. 18. attach'd. III. iii. 5. attend, I. ii. 78; I. ii. 453. avoid, IV. i. 142. Badges, V. i. 267. banks, IV. i. 64. barnacles, IV. i. 249. bass, III. iii. 99. bate, I. ii. 250; II. i. 103. bated. III. iii. 85. bat-fowling, II. i. 189. bats, I. ii. 340. be, II. i. 266; III. i. 1. bear me, I. ii. 425. bear off, II. ii. 18, bear up. III. ii. 3. beetles, I. ii. 340. Bermcothes, I. ii. 229. berries, I I. ii. 334. best, I. ii. 429. be't to fly, I. ii. 190-1. betid, I. ii. 31. bird, IV. i. 184. bite. III, iii. 106. blasphemy, V. i. 218, / blind, IV. i. 90; IV. i. 194. blow, I. i. 8, 9; III. i. 63. blue-ey'd, I. ii. 269. boast, IV. i. 9. boatswain, I. i. 1. bold, IV.- i. 119. bombard, II. ii. 22. bondage. III. i. 89. book, II. ii. 146; III. i. 94. books. III. ii. 107. bootless, I. ii. 35. bosky, IV. i. 81. bottom, II. i. 231. bourn, II. i. 155. bow, II. i. 133, 134. boy, IV. i. 90. brave, I, ii. 6; I. ii. 206; I. ii. 411; I. ii, 437, 438; II. i. 185. bravely, III, iii. 83. break, V. i. 54. breasts, III. iii. 47. brine-pits, I. ii. 338. bring, I. i. 40. 196 WOED INDEX 197 brims, IV. i. 64. broke, III. i. 37. brown furze, I. i. 72-73. brown groves, IV. j. CG. burden, I. ii. 381. burn, III. ii. 107. bush, II. ii. 156. but, I. ii. 119; I. ii. 414; I. 4S7-4S9. butt, I. ii. 146. Cable, I. i. 36. can, IV. i. 27. canker, I. ii. 415. cankers, IV. i. 192. capable, I. ii. 353. cap'ring, V. i. 238. cares, I. i. IS. Carthage, II. i. 84. case, III. ii. 30. cast, II. i. 255. cat, II. ii. 95. cat o' mountain, IV. i. 263. catch, III. ii. 130. Ceres, IV. i. 60. certes. III. iii. 30. chang'd, I. ii. 441. chaps, II. ii. 98. charge, V. i. 8. charm, I. ii. 231. charm'd, IV. i. 178. charmingly, IV. i. 119. chase, V. i. 67. cherubin, I. ii. 152. chick, V. i. 316. chirurgeonly, II. i. 143. chough, II. i. 269-270. clear, III. iii. 82. clearer, V. i. 68. closeness, I. ii. 89-90. coil, I. ii. 207, cold, IV. i. 66. come, II. i. 257-258; II. ii. 93. come away, I. ii. 187. command, \'. i. 271. complexion, I. i. 34. condition, III. i. 59. conduct, V. i. 244. consider, III. ii. 110. constant, I. ii. 2C7; II. ii. 130. control, I. ii. 439. cooling, I. Ii. 222. coragio, V. i. 258. corollary, IV. i. 57. correspondent, I. ii. 297. ii. country, IV. i, 138. crabs, II. ii. :|.85. crack, I. ii. 203-4; V. i. 2. cramps, I. ii. 369; IV. i. 262. credit. III. iii. 25. cried. III. ii. 157. crisp, IV. i. 130. ) cry, I. ii. 32. cry it o'er, I. ii. 134. Dalliance, IV. i. 51. daughter, IV. i. 89. dead, II, ii. 36-37; III. i. 6; V. i. 230. deal, V. i. 271. dear, V. i. 146. dear'st, II. i. 138. debosh'd. III. ii. 31. deck. III. ii. 109. deck'd, I. ii. 155. dedicated, I. ii. 89-90. deity, II. i. 282. delicate, I. ii. 441; II. i. 41-44; II. ii. 102. deliver, V. L 313. deliver'd, II. i. 45. demi-devil, V. i. 272. demi-puppets, V. i. 36. departing. III. iii. 39. desert, II. i. 35. desperation, I. ii. 210. destiny, II. i. 256. device, III. iii. 52. devour, V. i. 155. devouring. III. iii. 84. dew, I. ii. 228; I. ii. 321. dew-lapp'd. III. iii. 45. Dis, IV. i. 89. discovered, V. i. 171. discretion, II. i. 191-192. disease, V. i. 85- 198 WOED INDEX dispersedly, I. iL, 3S2. distemper'd, IV. i. 145. distinctly, I. ii. 200. do, do, 1\. i. 2.']9. dog, II. ii. 15C. doit, II. ii. 35. dollar, II. i. 18. dolour, II. i. 19. dote, IV. i. 231. doublet, II. i. 105. dove-drawn, IV. i. 94. dowle. III. iii. 65. drawn, II. i. 312. dregs, II. ii. 46. drink, V. i. 102. drollery, III. iii. 21. dry, I. ii. 112. dukedom, V. i. IIS. dulness, I. ii. 185. dusky, IV. i. 89. Each, III. iii. 48. earth'd, II. i. 238. eaves, V. i. 17. ebb, I. ii. 435; II. i. 26( ecstasy, III. iii. 108. elements. III. iii. 61. elves, V. i. 33. encounter, V. i. l.")4. endeavor, II. i. 1G3. ended, IV. i. 14S. engine, II. i. 1G4. enterlain'd, II. i. 16. . entertainment, I. H. 465. envy, I. ii. 258. . estate, IV. i. 85. event, I. ii. 117; III. i. ( excel, II. i. 171. executor. III. i. 13. exercise, I. ii. 328. eye, II. i. .55; V. i. 238. eyes, I. ii. 441. Fade, I. ii. 399. fairly, IV. i. 31. fall, V. i. 64. fall it, II. i. 300. falls, III. iii. 80. fancy, V. i. 59. fares, V. i. 7. father, IV. i. 123. fearful, I. ii. 468. fear, V. i. 284. feater, II. i. 277. featly, I. ii. 380. features, III. i. 52. feed. III. iii. 49. fellow, III. i. 84. fellowly, V. i. 64. filthy-mantled, IV. i. 182. find, V. i. 279-280. fine, V. i. 262. firebrand, II. ii. 6. fish, II. ii. 31. fit, II. .ii. 83. five. III. iii. 48. flam'd, I. ii. 198. flatlong, II. i. 184. flesh, III. iii. 46. fiesh-fly, III. i. 63. float, I. ii. 2.34. flow, II. i. 226. fly-blowing, V. i. 284. foil. III. i. 46. f Olson, II. i. 166; IV. 1. 110. foot, I. ii. 469. foot it, I. ii. 380. footing, IV. i. 138. for, III. iii. 12. foreheads, IV. i. 250. forget. III. i. 13. forth-rights, III. Iii. 3. foundered, IV. i. 30-31. four, II. ii. 68-69. fraughting, I. ii. 13. freshes. III. ii. 77. fresh-brook, I. ii. 463. freshly, V. i. 236. friend, II. i. 302. frippery, IV. i. 226. from, I. ii. 65. from whom, II. i. 254. frustrate. III. iii. 10. full. I. ii. 20. fumes, V. i. 67. furlong, I. i. 71. WORD INDEX 199 Gaberdine. II. ii. 43. garners, IV. i. 111. gave, V. i. 8. gilded, V. i. 2S0. gins. III. iii. 106. give ground, II. ii. 69. glasses, I ii. 2-40; V. i. 22; glut, I. i. 66. go, II. ii. 85-86. gave out, V. i. 223. generation, III. iii. 33. genius, IV. i. 27. gentle, I. ii. 4G8. gentleness, I. ii. 165. gently, I. ii. 208. go sleep, II. i. 194. golden age, II. i. 171. good, I. i. 3; I. i. 17; III. good my lord, II. i. 190. good sir, II. i. 144. grace, V. i. 142; V. i. 219. graces, V. i. 70. grave, I. ii. 189. green, V. i. 37. Ha, ha, ha! II. i. 36. hag-seed, I. ii. 365. hair, IV. i. 237-238. hands, epilogue, 10. hark, IV. i. 259. harmless, IV. i. 129. harp, II. i. 87-88. harpy, III. iii. 52. have, I. ii. 148. heads. III. iii. 47. hear, I. ii. 433-6; II. i. 194 heavily, iV. i. 138. heaviness, I. ii. 307. heavy, II. i. 193. heavy offer, II. i. 198. hedgehogs, II. ii. 10. heed, II. i. 224. help, epilogue, 10. her, V. i. 2.36. here, II. ii. 143. hers, V. i. 196. hest, IV. i. 65. hests, I. ii. 274. 206. high, V. i. 2.".. hills, V. i. 33. hint, I. ii. i:;4. hint of, II. i. 3. his, I. ii. 295; II. his own, V. i. 213 hoist, I. ii. 148. holp, I. ii. 63. home, V. i. 71. hoodwink, IV. i. hot, IV. i. GS. human, III. iii. .33. human care, I. ii. .340. humhle, III. i. 87. humming, II. i. 321. Hymen, IV. i. 23. I, IV. i. 21S. idle, II. i. 169. ignorant, V. i. 67. impertinent, I. ii. 138. in a sort, II. i. 107. in few, I. ii. 144. in good time, II. i. 97. incharitahle, I. i. 47. inch-meal, II. ii. 3. Indian, II. ii. 36-37. infected, III. i. 31. infest, V. i. 246. influence, I. ii. 182. inhabit. III. iii. 57. inhabits, \ . i. 105. inherit, II. ii. 194: IV. injunction. III, i. 11. inquisition, I. ii. 35. instrument, III. iii. 54. invert. III. i. 70. Iris, I\. i. .59. is, V. i. 216. is nothing but, III. iii. it, I. ii. 494; II. i 80; III. iii. 71. it goes on, J. ii. 419 its, I. ii. 393. Jack, IV. i. 198. jerkin, IV. i. 236. jesting, III. ii. 54. 123; II. ii. 22. 154. i. M. 166: III. 200 WORD INDEX justify, V. i. 12S. justle, III. ii. 30. Keep, II. i. 263. keepers, III. iii. 20. kept, I. ii. 44. kibe, II. i. 2S0. kind, III. i. 69; III. iii. 20. kindlier, V. i. 24. kinds. III. iii. 88. King Stephano, IV. i. 222. kiss, II. ii. 146. knave, V. i. 268-269. knit up in. III. iii. 89-90. knot, 1. ii. 224. know, I. ii. 422-423. Labour, III. i. 1. lady, I. ii. 179. lakin, III. iii. 1. lass-lorn, IV. i. 68. laughter, II. i. 33. lays it on. III. ii. 166. leagues, II. i. 251. learn, II. ii. 75. learning, I. ii. 365. leas, IV. i. 60. leather, II. ii. 80. legs, II. ii. 68-69. let loose, II. ii. 39. let's, IV. i. 231. letters, II. i. 153. level, IV. i. 239. liberty, I. ii. 492. lie, III. ii. 23. lies, IV. i. 265. lieu, I. ii. 123. life, II. i. 251; III. iii. S6. like, III. iii. 66; IV. i. 237-238; IV. i. 239. lime, IV. i. 246. line, IV. i. 193; IV. i. 235; IV. i. 239. line-grove, V. i. 10. list, III. ii. 20; III. ii. 142-143, litter, I. ii. 281-282. liver, IV. i. 56. long, II. ii. 112. long heath, I. i. 72-73, loose, IV. i. 237-238. lord, II. i. 236. lorded, I. ii. 97, loving wrong, I. ii. 151. lush, II. i. 52. - Mad, I. ii. 209. maid, III, i, 84. main-course, I. i. 40. make, II. ii. 34, malice, I. ii. 367. man, II. ii. 34, manage, I. ii. 70, manners, III. iii. 31-32. mantle, V. i. 67, many-coloured, IV. i. 76. marmoset, II. ii. 1S8. marry, III. ii. 48. marvellous. III. iii. 19. massy, III. iii. 67. masters, V. i. 41. matter, II. i. 234. me, I. ii. 24i; I. ii. 496; III. iii. 4. / meanders. III. iii. 3. meaner. III. Iii. 87. meddle, I. ii. 22. meeJ with, IV. i. 166. men III. i. 51. mercj, epilogue, 18. mercy oii us, I. i. 67-69, merely, I. i. 61. methirks, I. i. 33. Milan, I. ii. 109; II. i. 115; V. i. 86. mine. III. iii. 93. minion, IV. i. 98. minister, II. i. 176. ministers, I. ii. 131; III. iii. 87. miraculous, II. i. 87-88, mischief, IV, i. 217. miss, I. ii. 311. miss't, II. i. 40, mistress, IV. i. 235. mocks. III. iii. 82. moe, II. i. 136; V. i. 234. mole, IV. I. 194. WOED INDEX 201 monkey, III. ii. 54. monstrous, III. iii. 31; III. iii. 95. moody, I. ii. 244. moon-calf, II. ii. 120. mop, IV. i. 47. moping, V. i. 240. more, HI. i. 51. more tetter, I. ii. 19. more braver, I. ii. 439. mother, T. i. 268-269. mount, II. ii. 11. mouths he cold, I. i. 58. mov'd, IV. i. 146. mow, II. ii. 9; IV. i. 47. mows, III. iii. 82. much, II. ii. 87-88. mudded, III. iii. 102. murrain. III. ii. 91. muse. III. iii. 36. myself, V. i. 22. Naples, I. ii. 434. natural, III. ii. 38. nature, V. i. 76. near, II. ii. 85-86. neat's, II. ii. 80. Neptune, V. 1. 35. nerves, I. ii. 484. never, I. ii. 435. next, III. ii. 42. nimhle, II. i. 177; II. i. 206. ninny, III. ii. 73. no, IV. i. 59. no greater, I. ii. 21. nobly. III. i. 3. nobody, III. ii. 140. nonpareil. III. ii. 112. nor cannot, III. iii. 16. nor go neither. III. ii. 23. nor hath not, III. ii. 105. nor no, I. ii. 406. not gone forth, I. ii. 448. note, II. i. 252. nothing, II. i. 173. now, I. ii. 169; I. ii. 179. nurture, IV. i. 189. Observation, III. iii. 87. odd angle, I. ii. 223. o'erboard, V. i. 219. o'er-priz'd, I. ii. 92. of, V. i. IGO. office, I. i. 43. offices, V. i. 156. old; I. ii. 369. omit, I. ii.. ie:3; II. i. 19S. on, IV. i. 157; V. i. 4. on the top. III. iii. 17. one, I. ii. 266; III. iii. 48. on't, I. ii. 87; I. ii. 363 ooze, I. ii. 252. open-ey'd, II. i. 305. opportune, IV. i. 26. or, IV. i. 30-31. or ere, I. ii. 11; V. i. 103. oracle, IV. i. 12. out, I. ii. 41. overtopping, I. ii. 81. ow'd, III. i. 45. owes, I. ii. 407. ow'st not, I. ii. 454. Painful, III. i. 1. pains, I. ii. 242. painted, II. ii. 31. Paphos, IV. i. 93. pard, IV, i. 263. parent, I. ii. 94. pass, IV. i. 244. passion, I. ii. 392; IV. i, 143; V. i. 24. pate, IV. i. 244. paunch, III. ii. 102. peacocks, IV. i. 74. peer, IV. i. 222. perdition, I. ii. 30. persuade, II. i. 2.39-240. pertly, IV. i. 58. Phoebus Apollo, IV. i. 30-31. phoenix, III. iii. 23. pickle, V. i. 281-282. piece, I. ii. 56. pied. III. ii. 73. pig-nuts, II. ii. 186. pioned, IV. i. 64. piteous, I. ii. 14. plague, I. ii. 364. 202 WORD INDEX plantation, II. i. 146. play'd, ly. i. 198. pluck, V. i. 127. plummet, III. iii. 101. pocket up, II. i. C7. point, I. ii. 194. ' pole-clipp'd, IV. i. CS. poor John, II. ii. 29. post, II. i. 252. power, V. i. 27. pox, I. i. 46. pox o' that, II. i. 77. praise. III. iii. 39. prayer, I. ii. 422-423. premises, I. ii. 123. present, I. i. 26. presented, IV. i. 107. presently, I. ii. 125; IV. i. 42; V. i. 101. prime, I. ii. 425. princess, I. ii. 173. printless, V. i. 34. prohahle, V. i. 249. professes, II. i. 239-240. profit, I. ii. 172: I. ii. 313. proper, II. ii. 0S-C9; III. iii. 60. provokes, I. ii. 14n. purchas'd, IV. i. 14. put. III. i. 40. put off. III. iii. 7. putter-out. III. iii. 48. Quaint, I. ii. 317; III, iii. 52. quality, I. ii. 193. queen, IV. i. 70. quick. III. ii. 77. quickens. III. i. 6. Rabble, IV. i. 37. race, I. ii. 358. rack, IV. i. 156. rare, IV. i. 123. rarer, V. i. 27. rate, I. ii. 92; II. i. 112. raven's feather, I. ii. 322. reapers, IV. i. 138. reason, V. i. 155. reasonable, V. i. 81. recover, II. ii.. 77. red, I. ii. 364. reeds, V. 1. 17. reeling, V. i. 279. rejoice, V. i, 39. relation, V. i. 164. release, V. i. 11. relish, V. i. 23. remain, I. ii. 423. remember, I. ii. 243;' I. ii. 405. remembrance, II. i. 236. remorse, V. i. 76. remove, II. ii. 85, -S6. requit, III. iii. 71. resig-n, V. i. 118. resolve, V. i. 248. retir'd, I. ii. 91. retire me, V. i. 310. revels, IV. i. 148. revenue, I. ii. 98. rid, I. ii. 364. right out, IV. i. 101. ringlets, V. i. 37. ripe, V. i. 279. room, I. i. 9. rope, I. i. 36. rounded with, IV. i. 158. royalties, I. ii. 110. run. III. ii. 22. Sack, II. ii. 137. sad, I. ii. 224. safe. III. i. 21. safely, I. ii. 226. saffron, IV. i. 78. sanctimonious, IV. i. 16. sans, I. ii. 97. scamels, II, ii. 190. scandal'd, IV. i. 90. scurvy, II. ii. 50. secret, I. ii. 77. securing, II. i. 314. sense, II. i. 110. senses, V. i. 53. sensible, II. i. 177. service, II. i. 154. set, III. ii. 10. Setebos, I. ii. 373. WOED INDEX 203 sets off, III. i. 2. setting:, II. i. 2P.n. several, III. i. 42; V she, III. ii. ll.-?. she that, II. i. 254. shew, V. i. 63. shore, V. i. SI. shroud, II. ii. 46. signories, I. ii. 71. single, I. ii. 4o2; V. sink, II. i. 20.5. sixth hour, V. i. 4. skilless, III. i. 53. sky, IV. i. 70. slave, I. ii. 351-362, slavery, III. i. 62. sleep, V. i. 230. so, so, so, V. i. 96. sociable, V. i. 63. some wrong, I. ii. 443. something, I. ii. 414. sometime, V. i. S6. son, I. ii. 437-438. sooth, II. ii. 163. sore, III. i. 11; V. i. 288. sort, II. i. 107; IV. i. 146 sot, III. ii. 105. soul, I. ii. 29. sound, I. ii. 406. sour, V. i. 37. south-west, I. ii. 323. sparrows, IV. i. 100. speaks, II. i. 211. sphere, 11. i. 186. spies, V. i. 259. spoke, IV. i. 31. spiriting, I. ii. 298. spirits, III. iii. 106. spongy, IV. i. 65. spoon, II. ii. 112. sports, III. i. 7. spring, IV. i. 114-115. staff, V. i. 54. stale, IV. i. 1S7. stand to, III. iii. 49. standard, III. ii. 19. standing water, II. i. 225. steaded much, I. ii. 1G5. stick, I. ii. 472. still, IV. i. lOS. . 232. still-closing. III. iii. 64. still-vex'd, I. ii. 229. stinking pitch, I. ii. 3. stock-fish, III. ii. 81. stomach, I. ii. 1.17; II. stood. III. iii. 47. stover, IV. i. 63. 248. strange. III. iii. 87. strangely, IV. i. 7. strengths. III. iii. 67. strike, I. ii. 2S0. sty. I. ii. 342. substitution, I. ii. 103. subtle, II. i. 41-44. subtleties, V. i. 124. succession, II. i. 154. sudden, II. i. 310. suffer, III. i. 62. suffered, II. ii. 41. suggestion, IV. i. 26. supplant, III. iii. 70. supportable, V. i. 14.5. sustaining, I. ii. 218. swabber, II. ii. 52. swear'st, V. i. 219. Tabor, III. ii. 1.37. take, II. i. .306; s II. ii. i. 313. take't. III. ii. 142-143. tang, II. ii. 5G. teen, I. ii. 64. tell, II. i. 15; III. ii. 1. temperance, II. i. 42-43. temperate, IV. i. 132. temper'd. III. iii. 02. temporal, I. ii. 110. ten, II. i. 251. that, I. ii. 85: II. i. 82: III. ii. 110: IV. i. 89. that's, I. ii. 415. thatch'd, IV. i. 63. thee, II. ii. 1-56; III. ii. then, II. i. 189. there is, I. ii. 478..^ therefore. III. iii. 100. V. 204 WORD INDEX thing, I. ii. 266; III. ii. 65. third, IV. i. 3. thought, IV. i. 164. thou'rt hest, I. ii. 366. throes, II. i. 235. throughly. III. iii. 14. thy, V. i. 130-132. tight, V. i. 224. tilth, •!. i. 155. time, II. i. 141; II. i. 306; II. ii. 154. time goes, V. i. 2-3. to, I. ii. 480-481; II. i. 75. toads, I. ii. 34U, *oil, I. ii. 242. tongue, IV. i. 59. , topsail, I. i. 7. traffic, II. i. 151. ^ trash, I. ii. 81. trehles, II. i. 225. tree. III. ii. 42. .tremhling, II. ii. 91. trenchering, II. ii. 201. trespass. III. iii. 99. tricks, I. ii. 210; II. ii. 65. tricksy, V. i. 226. trident, I. ii. 206. trifle, V. i. 112. troll, III. ii. 130. true, V. i. 259. trumpery, IV. i. 186. truth, I. ii. 99-102; V. i. 156. try, I. i. 40. Tunis, II. i. 84. tutor, I. ii. 469. twilled, IV. i. 64. ^ twink, IV. i. 43. Unhack'd, IV. i. 176. undergoing, I. ii. 157. undergone. III. i. 3. uneasy, I. ii. 451. unicorn. III. iii. 22. unsettled, V. i. 159. up-staring, I. ii. 213. lU'chins, I. ii. 326. urchin showg, II. ii. 5. «c, II. i. 263. use, II. i. 154. utensils. III. ii. 108. Vanity, IV. i. 41. vast, I. Ii. 327. verdure, I. ii. 87. verily, II. i. 325. villainous, IV. i. 250. virtue, I. ii. 27. virtues. III. i. 42. visitor, II. i. 11. vouchsafe, I. ii. 422-423. Wallets, III. iii. 46. want. III. i. 79; III. iii. 25; III. iii. 38; IV. 1. 58. wanton, V. i. 95. ward, I. ii. 471. waspish-headed, IV. 1. 99. waste, V. i. 302. water, I. ii. 334. watery, IV. i. 71. ways, II. ii. 98. weak, V. i. 41. wearily. III. i. 32. weather-fends, V. i. 10. weigh, II. i. 8-9. weigh'd, II. i. 133. welkin's cheek, I. ii. 4. well demanded, I. ii. 139. well drawn, II. ii. 162. wench, I. ii. 139; I. ii. 411; I. Ii. 479. went, II. ii. 68-69. wezand. III. ii. 103. what, II. i. 257-258; III. i. 72; IV. i. 33. whe'er, V. i. 111. whelp, I. ii. 281-282. when, I. ii. 316. which, I. ii. 156; I. ii. 352; I. ii. 413; II. i. 28; III. i. 6. which to do, II. i. 224. while-ere. III. ii. 131. whiles, II. i. 221. whist, I. ii. 379. who, I. ii. 7; I. ii. 162; II. i. 130; ^ III. 4. 93; IV. i. 4. WOED INDEX 205 who is, II. i. 113. whom, III. iii. 62; III. iii. 92; V. i. 76; V. i. 136. whose. III. iii. 79. wicked, I. ii. 321. wide-chapp'd, I. i. 62. • wind, I. i. S-9. winding, IV. i. 128, wings, IV. i. 7S. wink'st, II. i. 220. wise, iv. i. 123. wisest, IT. ii. S3. withal. III. ii. 109. woe, "V. i. 139. wonder, I. ii. 426. wond'red, IV. i. 123. wooden. III. i. 62, work, III. iii, 105. worm, III. i. 31, worser, IV. i, 27, wound, II, ii. 13. wrongs, V. i. 25; V. i. 119, Yare, V. i. 224. yarely, I. i. 4. year, I. ii. 250. yield, II. i. 235; III. ii. 70. yond, I. ii. 409. you, II. i. 302; III. iii. 56; V. 61; V. i, 75; V. i. 130-132. your, I. ii. 1. Zanith. I, ii, 181, APPENDIX (Adapted, and enlarged, from the Manual for the Study of English Classics, by George L, Marsh) HELPS TO STUDY The Drama In what did the drama originate? Describe briefly the miracle plays, or ''mysteries," tell- ing where they were performed, by whom, and what, in general, was their subject matter (pp. 13-16). What elements were contained in the miracle plays that had an influence toward the development of comedy? What were moralities? Interludes? What foreign influences contributed to the develop- ment of the Elizabethan drama (pp. IS, 19) ? Name several of Shakspere 's predecessors in the drama. Who was the greatest of them? Describe briefly the theater of Shakspere 's day (pp. 25-6). The characteristics of an Elizabethan audieace. Did Shakspere write his plays for posterity or to please an audience of his own time? Shakspere 's Career When and where was Shakspere born? What can you say as to his education (p. 20) ? , His occupations before he went to London? What do we know about his early years in London? What were his first dramatic efforts (p. 22) ? What 206 - APPENDIX 207 other literary work, besides the writing of plays, did he do? Leani the general characteristics of Shakspere's work during each of the four periods into which it is divided, and the names of representative plays of each period (pp. 27-30). Perry Pictures 73-75 have to do with Shakspere and his home. The Tempest — The Play in Detail Just what is the situation presupposed, and how do we learn it (principally pp. 57-64, but there are also hints elsewhere, which should be picked out and put together) ? Why "does Shakspere have the play begin with a storm? Is there any hint in I, i, that the storm is magic? Let any available person acquainted with sailing exi:)lain, as nntechnically as possible, the seamanship of the first scene and test its soundness. Why does Prospero so repeatedly urge Miranda 's at- tention during his narration in I, ii (e. g., p 59) ? Is he al)stracted, or she, or is she already feeling drowsy? Why is she made to sleep? Note, in I, ii, the rousing of anxiety in relation to the storm (pp. 55, 56), followed very speedily by relief. Note also devices for breaking up Prospero 's narrative. Why is Ferdinand made the first to leave the ship (p. 66) ? Why have him separated from the others? Why should Prospero and Ariel quarrel in I, ii? (Note that opportunity for the relation of Ariel's history is given, and there is character revelation.) Does Prospero soem needlessly harsh? Why is it helpful to have the pa5;t history of Ariel and Caliban put before us so fully? What is the purpose of Ariel's song to Ferdinand (pp. 75-76) ? What is to be said of the song as poetry? Why does Prospero treat Ferdinand harshly? Do you find any of the thii^gs said, or any of the inci- 208 APPENEi:: dents, in Act 1, somewhat forced, somewhat lacking in motive? If so, can you assign reasons for this? What additional light is given, as to plot and charac- ters, in the first part of II, i — before all but Sebastian and Antonio fall asleep? What purposes of plot or ac- tion are served by the introduction of Alonzo 's daughter Claribel? How and why does Ariel prevent the success of the counterplot of Antonio and Sebastian? Might it not have been to Prosperous advantage to have Alonzo killed, since Ferdinand would have succeeded? Is it a defect in the play that danger from this counterplot is so soon removed? Which seems likelier — that Shakspere intended the talk about Gonzalo's ideal commonwealth (pp. 89, 90) to be satirical, or that he was favorable to Utopian schemes? Who comes out best at last in the wit combat — the quick Antonio and Sebastian, or the thoughtful Gonzalo? Compare Antonio's suggestions of murder (pp. 95, 96) with similar speeches in other plays of Shakspere (e. g., by Macbeth, King John, Oliver in As You Like It, Claudius) . In II, ii, how far is the second counterplot (whicli is fully revealed in III, ii) foreshadowed? What justification is there in III, 1, for the assertion that the chief key-note- of this play is ' ' that true freedom consists in service ' ' ? The 'Hove at first sight" of Ferdinand and Miranda may profitably be compared with similar love affairs else- where in Shakspere — Eomeo and Juliet, Orlando and Eosalind, etc. How is the plot against Prospero interfered with in III, ii? Is the part of Ariel in this scene effective as comedy? How should it be handled in stage presentation? What is the effect of the ' ' living drollery ' ' and ' ' quaint device" of III, iii, upon the ''three men of sin" for APPENDIX 209 whom it was designed? In what way, or for what reason, could this be called the climax of the play? What is the dramatic purpose of the masque of god- desses in IV, if Does it delay the action unduly at a critical juncture? Why is Prospero so much disturbed (p. 134) at his remembi-ance of so paltry a plot as that of Caliban and his companions? How is Caliban's superior caution in relation to the ' ' glistering apparel " to be explained ? Note the purely corporal nature of the punishment of the lesser plotters. How does it differ from the punish- ment of those in higher station? To what extent does the dramatist's desire for comic action account for this? What distinctions does Prospero make among the sin- ners whom he pardons in V, i, and why? Is there any reason to suppose that Antonio, Sebastian, and Trinculo are repentant? Is it out of character for Caliban to be? General Considerations When was The Tempest first published? What place in the order of plays did it occupy (p. 32) ? What in- ference was drawn? What are the reasons for aban- doning this inference? Find examples of the various characteristics mentioned on page 32. What external evidences are there of the late date of The Tempest.'' W^hat possibility as to the position of this among Shak- spere's plays? Interpret in detail, in the light of this possibility, Prospero 's abandonment of his magic. What are the principal suggestions as to direct sources of The Tempest (pp. 34, 35) ? What documents probably suggested details (pp. 35-37)? Discuss the need of searcliing for sources. Mr. Kipling's suggestions (men- tioned on p. 36) are interesting as to the way in Avhich a skillful author may make use of odds and ends of in- formation that he picks up from day to day. Study the play carefully for the purpose of testing the 210 APPENDIX editor's statement (p. 8) as to the lack of the element of conflict. Search out the ''devices for the sustaining of interest." Discuss the editor's statement as to the simplicity of the drawing of character. Find examples of the elements of charm that are mentioned (p. 9). What is unity of time? Unity of place? To what ex- tent is each observed in The Tempests Note the unusual amount of music provided for; the situations in which there is music; the kind of music ren- dered; the effect intended and secured, etc. The Tempest and A Midsummer-Night's Dream aro particularly suitable for comparison. Discuss Victor Hugo 's statement that the latter depicts the action of the invisible world on man; the former, the action of man on the invisible world. For tojoics regarding the latter play see the Lake Classic edition of it. Pay special attention always to the notes as to the main functions of whole scenes or acts (pp. 161, 163, etc.). Search out specific evidences of the editor's assertions; or criticize them if there seems to be any reason for criticism. Where is prose used in this play (p. 38) f Examine the passages and test the reasons for the use of prose. Com- pare with other plays in this regard. Where is rime used (p, 38) ? Compare particularly with A Midsummer-Night ^s Dream in this respect. Witli Samlet. Find examples of your own of the metrical variations listed on pages 39-42. Of the peculiarities of language discussed on pages 42-47. A very great number of allegorical interpretations of The Tempest have been suggested, to w^hich the editor of the Lake edition — perhaps wisely — pays scarcely any at- tention. He mentions (p. 33) the possible symbolization of Shakspere himself by Prospero. It is also interesting to note the obvious facts that Ariel is a spirit of air, APPENDIX 211 Caliban of earth; and that the former may very well symbolize the fancy, the latter the animal propensities or the brute understanding. Why is Ariel represented as invisible to everybody in the play but Prospero"? Compare him with Puck in A Midsummer-Night 's Dream. Note the possible relation of the name Caliban to can- nibal (p. 161). Is Prosperous tyranny over him wholly justified? What indications are there as to his mental powers? Why does he speak in verse? Comparison (if simplified) may be made with Browning's elaboration of Shakspere's portrait, in ''Caliban upon Setebos. " Is any of Miranda 's talk inconsistent with the maidenly character ascribed to her? Is she undutiful to her father? Should she be represented as ignorant, or only innocent of the world? Is the love of Ferdinand and Miranda wholly an enchantment caused by Prospero? Is it true that these lovers are undeveloped characters whose rela- tion to each other is more important to the play than they themselves are? How is Alonzo distinguished from Sebastian and An- tonio? Have the two latter distinct individuality in vil- lainy? Are Stephano and Trinculo differentiated? Are they more highly developed personages than Caliban? Is the Boatswain made a distinct and clearly individual char- acter? What difficulties are there in the stage presentation of The Tempest? Can it be given with real effectiveness? What parts are most effective? It may be noted here that Dryden made a singular stage version. 212 APPENDIX THEME SUBJECTS See subjects on other plays by Shakspere in the Lake edition. 1. Sources for The Tempest (pp. 33-38) — sum up suggestions and the plausibility of them. 2. The situation presupposed by the play. 3. The story of Ariel before the play begins (may be supplemented imaginatively — but in harmony). 4. The story of Caliban (as next above). 5. The general plot structure of Tlie Tempest. Note the various stories and how they are related. 6. Narrative themes on distinct smaller units within the plot, such as: Prosperous revenge. The love of Ferdinand and Miranda. The plot against Alonzo. Caliban's conspiracy. 7. Character sketches of Prospero, Gonzalo, Miranda, Ferdinand, the noble villains, the vulgar villains. 8. Ariel and Puck. 9. Caliban, (This may be a simple characterization of him as he appears in the play; a discussion of syi|i- boiic interpretations; or a comparison with Browning's Caliban.) 10. The use of music in TJie Tempest. 11. The Tempest and A Midsummer-Night's Dream. 12. The Tempest on the stage. 13. An interpretation of The Tempest on the assump- tion that it was Shakspere 's last play. Let the passages that fit in with this assumption be picked out and ex- plained. ^ "'* # ^^ ^ Deacidified using the Bookkeeper procei • Neutralizing agent: Magnesium Oxide •^ Treatment Date: Feb. 2009 ; PreservationTechnologie ^' A WORLD LEADER IN COLLECTIONS PRESERVATK ^-.^' ^^'\ <^. < '^'ao* "W" ^„ .^*.--..'^^'_'v. **t^ ^*P8 WERTBOOKBINDihgj JAN ,19^9.; V CSrant^iIle. P; ■:.V'i:'®'f '^'^Hhm^f^'^ iiil V'.;\:!.;.'^;i,; "'■:,'uii