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 1909 
 
 Second Edition 
 
CONTENTS. 
 
 Page 
 
 Preface VII 
 
 Biography IX 
 
 Introduction XXIII 
 
 Act I i 
 
 Act II 32 
 
 Act III . 51 
 
 Act IV 66 
 
 Act V 77 
 
 References 91 
 
 Critical Comments 92 
 
 Index of Words and Phrases Explained 93 
 
PREFACE. 
 
 In presenting this volume to the public it was the 
 author's intention to supply all lovers of the (so- 
 called) Shake-speare plays with an edition of the 
 "Tempest," corrected and annotated from the view- 
 point of Francis Bacon as its author. Mr. Reed's 
 knowledge of the classics and his years of deep and 
 exhaustless research into those wells whence the 
 "greatest poet of any day" drew his inspiration are 
 here proven. Had he lived, this eminent Baconian 
 proposed to edit all the plays in a similar manner. 
 His death unhappily devolves this duty upon other 
 shoulders, which, let it be hoped, will bend to the 
 labors speedily and with joy. 
 
 So far as Mr. Reed or any fair-minded judge is 
 concerned, all controversy over the authorship of 
 the "Tempest" is already closed. The time-worn 
 belief that Wm. Shakspere wrote the plays has 
 led commentators and editors into mistakes such as 
 always result from a wrong premise. Unable to ac- 
 count for certain words, they have either changed 
 them to accord with their own sense of the mean- 
 ing, or pointed out in foot-notes that the author was 
 astray. Whoever compares the later editions of 
 Shake-speare to the first folio can see at once how 
 the commentators wilfully or through ignorance 
 here put us at the mercy 'of twisted phrases and 
 false derivations. This is still further illustrated in 
 Mr. Reed's edition of "Julius Caesar" (yet unpub- 
 lished.) That any careful poet or compiler — and the 
 folio shows a rigid care for details — should allow 
 not one but a score of errors to go down to pos- 
 terity, is absurd. That subsequent editors let these 
 stand without a question is incredible ! However, 
 
 VII 
 
Preface. 
 
 the truth will out. Starting with the correct belief 
 that "though this be madness, yet there is method 
 in %" Mr. Reed has unearthed the gold and dis- 
 placed the accumulated dross. The value of the 
 "Tempest" thus restored will be obvious to the 
 reader. Nor could there be a more fitting climax to 
 the life-work of a great scholar. 
 
 VIII 
 
BIOGRAPHY. 
 
 Francis Bacon, the son of Lord Chancellor Bacon, 
 was born on the 226. day of Jan. 1561 at York Place 
 in London, his mother being one of the famous 
 daughters of Sir Anthony Cooke, the birth-place 
 being twice mentioned in the play of "Henry the 
 Eighth." His father was born in Chiselhurst, 
 County of Kent, the localities of which are fre- 
 quently referred to in "King Lear" and "Henry 
 VI." 
 
 At the age of twelve he entered Cambridge, but 
 his dislike of the system of philosophy taught there 
 induced him to leave before the course was finished, 
 claiming that they taught him nothing but "words." 
 
 He then spent three years on the continent, chiefly 
 in France, visiting particular places mentioned in 
 the early plays. 
 
 In the spring of 1579 he returned to England on 
 account of the death of his father, and resided for 
 a year or more at St. Alban's, where so many of the 
 scenes of the historical plays are laid, as they con- 
 tain between twenty and twenty-five references to 
 the town and its neighborhood. 
 
 In 1581, then 20 years old, he begins to "keep 
 terms" at Gray's Inn, and the following year he is 
 called to the bar. For the three following years, we 
 know but little of what he is doing, but in 1585 he 
 writes a sketch of his philosophy, which he calls the 
 "Greatest Birth of Time," which it is supposed was 
 afterwards broadened out into the "Advancement of 
 Learning" 
 
 In 1585 the "Contention between the two houses 
 of York and Lancaster" appeared, and in 1586 he is 
 made a bencher. During this year, while he is lead- 
 ing a somewhat secluded life, according to Malone, 
 
 IX 
 
Biography. 
 
 the "Taming of the Shrew," "Love's Labor Lost," 
 and the "Two Gentlemen of Verona," appear, prob- 
 ably in imperfect form. 
 
 In 1586 the ear'ier form of "Hamlet" is mentioned, 
 and in 1587 he assists in getting up a play for the 
 Gray's Inn Revels, known as the "Misfortunes of 
 Arthur." He also assists in some masks to be 
 played before the Queen, and in 1588 he became a 
 member of parliament. 
 
 In 1 591 the Queen visits him at his brother An- 
 thony's at Twickenham, and he writes a sonnet in 
 her honor. According to Mrs. Pott., to this year is 
 attributed "Henry VI.," the scene being laid in the 
 Provinces of France visited by Bacon, also the 
 "Two Gentlemen of Verona," which reflects his 
 brother's visit to Italy. Hence the Shake-speare 
 comedies exhibit the combined influence of An- 
 thony's letters from abroad, and Francis' studies at 
 Gray's Inn. 
 
 In 1592 Francis is in trouble and is thrown in 
 prison by a London Jew named oimpson on account 
 of a debt, his brother Anthony coming to his relief 
 and pledging his estates as surety, followed appro- 
 priately enough by the "Merchant of Venice." 
 
 In 1593 Bacon composes for some festive occa- 
 sion a device or mask called the "Conference of 
 Pleasure," and the "Venus and Adonis" also ap- 
 pears with a dedication from Wm. Shakespeare to 
 the Earl of Southampton, Bacon's fellow in Gray's 
 Inn. It is mentioned in the "Polimanteia" an anony- 
 mous work published in 1595 as having been writ- 
 ten by a Cambridge undergraduate who afterwards 
 entered Gray's Inn. When the fortunes of Bacon 
 and Southampton separate, because of Southamp- 
 ton's connection with the Essex treason, it is re- 
 published without the dedication. 
 
 In 1594 Lady Anne Bacon appears to be distressed 
 about her son's devotion to plays and play-houses, 
 
Biography. 
 
 begging him in her letters not to "mum nor 
 mask nor sinfully revel." In this year he also 
 begins his "Promus of Formularies and Elegancies," 
 so ably edited by Mrs. Pott of London, which 
 fairly bristles with thoughts, expressions and quo- 
 tations found in the Shake-speare plays. 
 
 In the same year the "Comedy of Errors" appears 
 for the first time at Gray's Inn, also the Poem of 
 "Lucrece," and a masque which Essex presents to 
 her Majesty, called the "Device of an Indian 
 Prince." In 1597 the first edition of the famous 
 essays, ten in number, is published, being much en- 
 larged in subsequent editions. 
 
 About 1601, seems to be noticed what is known 
 as the dark period in Bacon's life, evidently caused 
 by the Essex trouble, which is also alleged to have 
 hastened the death of his brother Anthony, and the 
 insanity of his mother, and which appears to be re- 
 flected in the "Sonnets" and "Hamlet," published 
 about this time. 
 
 In 1605 the "Advancement of Learning" appears, 
 and also, on account of his great familiarity with 
 the Bible, which is shown in the plays and various 
 other works, he is selected to direct the revision of 
 the King James version. 
 
 In 1607 Bacon became Solicitor General, Attorney 
 General in 1613, Privy Councillor in 1616, followed 
 by Lord High Chancellor in 1618, and Viscount St. 
 Albans in 1620. During this period few literary pro- 
 ductions appeared, but after his downfall in 1621, 
 until his death, with the assistance of Ben Jonson, 
 who resided with him at Gorhambnry, all of the 
 plays and many other works were revised and pub- 
 lished, fourteen plays never before printed, being 
 added to the First Folio of 1623. 
 
 To the question so often asked as to why Bacon 
 did not openly admit his authorship of the plays, 
 the answer is that he described his philosophy as 
 
 XI 
 
Biography. 
 
 The Interpretation of Nature. What he meant by- 
 nature in this connection he tells us in the "Novum 
 "Organum, thus : "It may be asked whether I speak 
 of natural philosophy alone, or whether I mean that 
 the other sciences, logic, ethics and politics, should 
 also be carried on by this method. Now I certainly 
 mean what I have said to be understood of them all ; 
 and as the common logic, which governs by the syllo- 
 gism, extends not only to natural, but also to all sci- 
 ences, so does mine, which, proceeding by induction, 
 embraces everything. For I form a history and 
 tables of discovery for anger, fear, shame and the 
 like ; for matters political ; and again for the men- 
 tal operations of memory, composition, division, 
 judgment and the rest, not less than for heat and 
 cold, or light, or vegetation." (CXXVII.) He 
 says further, eleswhere and with more particularity, 
 that he will treat of the "characters and disposi- 
 tions of men as they are affected by sex, by age, by 
 religion, by health, and illness, by beauty and de- 
 formity; and also of those which are caused by 
 fortune, as sovereignty, nobility, obscure birth, 
 riches, want, magistracy, prosperity and adversity." 
 
 Bacon's philosophy, therefore, as he conceived it, 
 embraced our whole being, the mind and its traits 
 as well as the physical powers by which we are 
 governed. . It had no other limitation than that of 
 our life and its interests here on the earth. 
 
 Among the personal qualifications of such an in- 
 terpreter, as laid down by Bacon, is one to which 
 thus far little attention has been given, viz. : "Let 
 him manage his personal affairs under a mask, but 
 zvith due regard to the circumstances in which he is 
 placed."* This is probably as clear a statement on 
 the point as Bacon deemed it prudent to make, but 
 
 ♦The original Latin is as follows : Privata ncgotia 
 
 personatus administret rerum tamen prorisus subrene- 
 
 rans. t- *\ T i 
 
 XII 
 
Biography. 
 
 the following inference from it is unmistakable; 
 any person who would undertake Bacon's work as 
 a philosopher and carry it on as he did must wear a 
 mask. Therefore it follows that Bacon himself 
 wore one. That is, he wrote under a pseudonym. 
 
 The author of the Plays also wore a mask, for the 
 name he assumed — Shake-speare — could not possi- 
 bly have been his true one. No such patronymic 
 was ever known in the history of the world. It 
 seems to have been derived from Palias, the god- 
 dess of wisdom, and who was represented in the 
 statuary art of the Greeks with an immense spear 
 in her right hand. She was known indeed as the 
 Spear-shaker or Shake-speare of the Grecian civili- 
 zation. 
 
 This name, with a hyphen between the syllables, 
 appears fifteen times in the Shake-spearean Plays. 
 
 In Liddell and Scott's Greek-English lexicon the 
 name of Pallas is etymologically given as The 
 Brandisher of the Spear. 
 
 CONTEMPORANEOUS ALLUSIONS TO 
 THE SHAKE-SPEARE PLAYS. 
 
 "After such sports, a Comedy of Errors (like to 
 Plautus his Menechmus) was played by the play- 
 ers; so that night was begun, and continued to. the 
 end, in nothing but confusion and errors, where- 
 upon it was ever afterwards called The Night of 
 Errors." — Gesta Grayorum, p. 22, ed. 1688. 
 
 "I have been told by some ancient conversant 
 with the stage, that Titus Andronicus was not orig- 
 inally the actor Shakspere's but brought up by a 
 private author to be acted." — Sir Edw. Ravens- 
 croft. 1678. 
 
 "The author of 'Hamlet' was one of the 'trade 
 of Noverint in which he was born.' " — Thomas 
 Nash in the preface to Green's Menaphone. 
 
 XIII 
 
Biography. 
 
 Lord Campbell explains : "The trade of Noverint 
 is the profession of Law, etc." 
 
 P. S. "The most prodigious wit that I ever 
 knew of my nation, and of this side of the sea, 
 is of your Lordship's name, though he be known 
 by another." — Letter from Sir Tobie Matthews. 
 
 'T knew one that when he wrote a letter would 
 put that which was most material in the postscript, 
 as if it had been a bye matter." — Essay of Cun- 
 ning. 
 
 "Tragedies and comedies are made of one alpha- 
 bet." — Prom. 516. 
 
 "Those works of the alphabet are of less use to 
 you where your are now, than at Paris." — Letter 
 to Sir Tobie Matthew (1609). 
 
 "It's time to put the alphabet in a frame." — Let- 
 ter to Matthew, 1622. 
 
 "I shall not promise to return you weight for 
 weight, but measure for measure." — Matthew to 
 Bacon, 1602. 
 
 "As it is used in some comedies of errors." — 
 Adv. of Learning* 
 
 "Come now, all is well" — Apophthegms. 
 
 "All is well that ends well." — Promus No. 949. 
 
 "I'm putting it to misunderstanding, fear, pas- 
 sion, or ivhat you will." — Essays. 
 
 "Prophecies, dreams, and predictions ought to 
 serve but for Winter's talke (Contes d'hiver)." — 
 Essays. 
 
 "By Mr. Francis William Shakespeare — Richard 
 the Second. Bacon — Richard the Third." — North- 
 umberland Manuscripts. 
 
 FRANCIS BACON'S ALLUSIONS TO THE 
 DRAMA. 
 "The division of poesy which is aptest in the pro- 
 priety thereof is into poesy narrative, representa- 
 tive, and allusive. Representation is as a visible 
 
 XIV 
 
Biography. 
 
 history, and is an image of actions, as if they were 
 present.'' 
 
 "But he played it merely as if he had been upon 
 the stage." 
 
 "But men must know that in this theatre of man's 
 life it is reserved only for God and angels to be 
 lookers on." — Adv. of Learning. 
 
 "The people being in theatres at plays." — Nat, 
 Hist. 
 "And accordingly to frame him and instruct him in 
 
 the part he was to play 
 "And none could hold the book so well to prompt 
 and instruct this stage play as she could." 
 
 "He thought good (after the manner of scenes 
 in stage plays and masks) to show it far off." 
 
 "Fortune commonly doth not bring in a comedy 
 or farce after a tragedy." 
 
 "Perkin, acting the part of a prince handsomely." 
 
 "The stage where a base counterfeit should play 
 the part of a king." 
 
 "Therefore now like the end of a play, a. great 
 number came upon the stage at once!' — Hist, of 
 Henry VII. 
 
 "The stage is more beholden to love than the 
 life of man. For as to the stage love is ever a 
 matter of comedies and now and then of trag- 
 edies." 
 
 "I have given a rule where a man cannot fitly 
 play his own part if he have not a friend, he may 
 quit the stage." — Essays. 
 
 "If the lookers on be affected with pleasure in 
 the representation of a feigned tragedy." 
 
 "Your life is nothing but a continual acting upon 
 a stage." — The Devices. 
 
 "I have no desire to stage myself." — Private Pa- 
 pers. 
 
 "This being the platform of their enterprise, the 
 second act of this tragedy" 
 
 XV 
 
Biography. 
 
 "'That the afternoon before the rebellion, Mer- 
 rick with a great company of others that after- 
 wards were all in the action, had procured to be 
 played before them, the play of deposing King- 
 Richard the 2nd." — The Essex Trial. 
 
 "But (my lords) where I speak of a stage. I 
 doubt I hold you upon the stage too long." 
 
 "Then was the time to execute the last act of 
 this tragedy:" — Speeches. 
 
 "This entrance upon the stage/' 
 
 "I liked well that Allen playeth this last act of his 
 life well." — Letters to Buckingham. 
 
 "I mean that those writings, on anger, fear, 
 shame and the like, are to be actual types and 
 models, by which the entire process of the mind 
 and the whole fabric and order of invention on 
 certain subjects, and those various and remarkable 
 may be, from beginning to end. set, as it were, be- 
 fore the eyes." — Francis Bacon. 
 
 This is a small part of Bacon's allusions to the 
 stage, many more of which can be found in "Fran- 
 cis Bacon's Cryptic Rhymes," by Edwin Bormann. 
 
 COMMENTS. 
 
 "The most exquisitely constructed intellect that 
 has ever been bestowed on any of the children of 
 men." — Macaulay. 
 
 "The great glory of literature in this island, dur- 
 ing the reign of James was my Lord Bacon." — 
 Hume. 
 
 "Lord Bacon was the greatest genius that Eng- 
 land, or perhaps any other country, ever pro- 
 duced." — Pope. 
 
 "One of the most colossal of the sons of men." 
 — G. L. Craik. 
 
 "Crown of all modern authors." — George San- 
 dys. 
 
 "He possessed at once all those extraordinary 
 
 XV r 
 
Biography. 
 
 talents which were divided amongst the greatest 
 authors of antiquity. He had the sound, distinct 
 comprehensive knowledge of Aristotle, with all the 
 beautiful lights, graces, and embellishments of 
 Cicero. One does not know which to admire most 
 in his writings, the strength of reason, force of 
 style, or brightness of imagination." — Addison. 
 
 "Next to Shakespeare, the greatest of the Eliza- 
 bethan age is that of Bacon. Undoubtedly, one of 
 the broadest, richest, and most imperial of human 
 intellects."— E. P. Whipple. 
 
 "If we compare what may be found in the sixth, 
 seventh, and eighth books of the 'De Augmentis' 
 in the 'Essays,' the 'History of Henry VII./ and 
 the various short treatises contained in his works 
 on moral and political wisdom, and on human na- 
 ture, with the rhetoric, ethics, and politics of Aris- 
 totle, or with the historians most celebrated for 
 their deep insight into civil society and human 
 character, — with Thucydides, Tacitus, Phillippe de 
 Comines, Machiavel, Davila, Hume, — we shall, I 
 think, find that one man may almost be compared 
 with all of these together." — Hallam. 
 
 "The wisest, greatest of mankind." — Ibid. 
 
 "Columbus, Luther, and Bacon are, perhaps, in 
 modern times the men of whom it may be said 
 with the greaest probability that, if they had not 
 existed, the whole course of human affairs would 
 have been varied." — Edinburgh Review. 
 
 "When one considers the sound and enlarged 
 views of this great man, the multitude of objects 
 to which his mind was turned, and the boldness 
 of his style which unites the most sublime images 
 with the most rigorous precision, one is disposed 
 to regard him as the greatest, the most universal, 
 and the most eloquent of philosophers." — D'Alem- 
 bert. 
 
 "His imagination was fruitful and vivid; a tem- 
 
 XVII 
 
Biography. 
 
 perament of the most delicate sensibility, so ex- 
 citable as to be affected by the slightest alterations 
 of the atmosphere." — Montagu. 
 
 "He belongs to the realm of the imagination, of 
 eloquence, of jurisprudence, or ethics, of meta- 
 physics ; his writings have the gravity of prose, 
 with the fervour and vividness of poetry." — Prof. 
 Welsh. 
 
 "Who is there that, hearing the name of Bacon, 
 does not instantly recognize everything of genius 
 the most profound, of literature the most exten- 
 sive, of discovery the most penetrating, of observa- 
 tion of human life the most distinguishing and re- 
 fined ?" — Edmund Burke. 
 
 "Shakespeare and the seers do not contain more 
 expressive or vigorous condensations, more resem- 
 bling inspiration ; in Bacon, they are to be found 
 everywhere." — Taine. 
 
 "No other author can be compared with him, 
 unless it be Shakespeare." — Prof. Fowler. 
 
 k 'To be preferred to insolent Greece or haughty 
 Rome." — Ben Jonson. 
 
 "A man so rare in knowledge, of so many sev- 
 eral kinds, indued with the facility and felicity of 
 expressing it all, in so elegant, significant, so 
 abundant, and yet so choice and ravishing a way 
 of words, of metaphors and allusions, as perhaps 
 the world has not seen, since it was a world." — 
 Sir Tobie Matthew. 
 
 "We have only to open 'The Advancement of 
 Learning' to see how the Attic bees clustered above 
 the cradle of the new philosophy. Poetry pervaded 
 the thoughts, it. inspired the similes, it hymned in 
 the majestic sentences of the wisest of mankind." 
 — E. Bulwer Lytton. 
 
 "It is his imagination which gives such splendor 
 and attractiveness to his writings, clothing his 
 thoughts in purple and gold, and making them 
 
 xvrn 
 
Biography. 
 
 move in majestic cadences." — Whipple's Literature 
 of the Age of Elizabeth, p. 301. 
 
 "His superb rhetoric is the poetry of physical 
 science. The humblest laborer in that field feels, 
 in reading Bacon, that he himself is one of a band 
 of heroes, wielding weapons mightier than those 
 of Achilles or Agamemnon, engaged in a siege 
 nobler than that of Troy." — Ibid., p. 323. 
 
 The death of Francis Bacon and his interment in 
 St. Michael's Church, St. Albans, and of which 
 there does not seem to be any very reliable account, 
 occurred in April, 1626, and it would seem appropri- 
 ate to append several of a much larger number of 
 eulogies published at the time of his decease. 
 
 "The Literary Works of Bacon are called to the 
 Pyre. Instauratio Magna ; subtle sayings ; a two- 
 fold increase of the sciences, written both in thy 
 country's speech and then in Latin with multifold 
 enlargement ; profound history of life and death, 
 annotated as it were, or rather bathed, with stream 
 of nectar or with Attic honey ! Nor must the 
 seventh Henry fail of mention, or if aught there 
 be of more cultured loves, aught that I unwitting 
 have passed over of the works which the vigor of 
 great Bacon hath produced —a Muse more choice 
 than the nine Muses. Ascend ye (Muses) all, the 
 funeral flames and give to your parent liquid 
 light. The ages are not worthy to enjoy you, when 
 alas, (oh, monstrous shame!) vour Lord is taken 
 away." S^ Collins, R. C. P. 
 
 (Rector of King's College, Cambridge.) 
 
 Threnody on the Death of the Most Illustrious and 
 
 Most Eminent Hero, Sir Francis Bacon, 
 
 Baron Verulam. 
 
 "Pour now ye Muses your perennial founts into a 
 
 song of woe, and let Apollo shed in tears whatever 
 
 even the stream of Castaly contains. For no humble 
 
 XIX 
 
Biography. 
 
 dirge would befit so great a death, nor moderate 
 drops crown this stupendous tomb. The Sinews of 
 Wit, the Marrow of Persuasion, the Tagus of 
 Eloquence, the Precious Gem of Recondite Letters, 
 has fallen by the Fates (ah me, the three sisters' 
 cruel threads!) — The noble Bacon, Ah how can I 
 extol thee, greatest Bacon, in my lay ! or how those 
 glorious monuments of all ages, chiselled by thy 
 genius, by Minerva. How full thy Instauratio 
 Magna of matter learned, elegant, profound ! With 
 what light hath it dispelled the gloomy moths of 
 ancient sages, creating new Wisdom out of Chaos ! 
 So God Himself with potent hand will restore the 
 body consigned to the tomb. Thus Bacon, thou 
 shalt not die ; for from death, from the shades, from 
 the tomb, thy Great Instaaration shall deliver thee." 
 
 R. C. T. C. 
 (i. e. of Trinity College.) 
 
 On the Death of the Most Cultured, and too, Most 
 Noble Man, Francis, Lord Verulam, 
 Viscount St. Alban. 
 "The Day star of the Muses hath fallen ere his 
 time ! Fallen ah me, is the very care and sorrow of 
 the Clarian god, thy darling, Nature, and the 
 world's — Bacon : aye — passing strange — the grief of 
 very Death. What privilege did not the cruel Des- 
 tiny claim, Death would fain spare, and yet she 
 would it not. Melpomene, chiding, would not suffer 
 it, and spake these words to the stern goddesses : 
 'Never was Atropos truly heartless before now; 
 keep thou all the world, only give my Phoebus back.' 
 Ah me, alas ! nor Heaven nor Death nor the Muse, 
 oh Bacon, nor my prayers could bar the fates." 
 
 Anon. 
 
 On the Death of the Same, etc. 
 "If only the worthy, Bacon, shall lament thy fate, 
 
 XX 
 
Biography. 
 
 ah none will do it, there'll be none, believe me, 
 there'll be none. 
 
 Weep ye now, truly, Clio, and Clio's sisters. Ah, 
 fallen is the tenth Muse, the glory of the choir. Ah 
 never really was Apollo himself unhappy before ! 
 When shall he ever gain another so to love him? 
 Ah me ! the full number he shall have no more : 
 now must Apollo be content with nine Muses." 
 
 Anon. 
 
 F. K. R. 
 
 XXI 
 
INTRODUCTION. 
 
 The keynote to this drama is in the following 
 words : — 
 
 Miranda. "How beauteous mankind is ! O brave 
 new world 
 That has such people in't." — V., i, 215. 
 
 Ferdinand. "Let me live here ever ; 
 
 So rare a wonder'd father and a wise 
 Make this place PARADISE." —IV., 1, 136. 
 
 "The "Tempest" is a dramatization of "Paradise 
 Regii ed." lf r^ig t justly be called Instauratio 
 Magna, that is, the Great Restoration to that state 
 of happiness which mankind, as once believed, orig- 
 inally possessed and lost. Its method is precisely the 
 one laid down at the same time and for the same 
 purpose in Francis Bacon's system of philosophy ; 
 in other words, the regeneration of the world 
 through such a knowledge of arts and sciences as 
 that philosophy, when full developed, was expected 
 by its author to reveal. And the effect of the play 
 is entirely in harmony with this view of it. In our 
 enraptured vision we seem to catch, as it were, 
 through the opening skies, a momentary glimpse of 
 what the future has in store for us. 
 
 As Macaulay says : 
 
 "In Bacon's magnificent day-dreams there was nothing 
 wild, nothing but what sober reason sanctioned. He 
 knew that all the secrets feigned by poets to have been 
 written in the books of enchanters are worthless when 
 compared with the mighty secrets which are really 
 written in the book of nature, and which, with time and 
 patience, will be read there. He knew that all the won- 
 ders wrought by all the talismans in fables were trifles 
 when compared with the wonders which might reason- 
 ably be expected from the 'philosophy of fruit' and 
 that, if his words sank deep into the minds of men, 
 
 XXIII 
 
Introduction. 
 
 i 
 
 they would produce effects such as superstition had 
 never ascribed to the incantations of Merlin and Michael 
 Scot. It was here that he loved to let his imagination 
 loose. He loved to picture to himself the world as it 
 would be when his philosophy should, in his own noble 
 phrase, 'have enlarged the bounds of human empire.' " 
 
 Essay on Lord Bacon. 
 
 Also from Sir Richard Garnett : 
 
 "Here (in the drama of the Tempest), more than any- 
 where else, we seem to see the world as, if it had de- 
 pended upon him, Shakespeare would have made it." 
 
 Prospero is the new man. Oblivious of all worldly 
 interests under the old regime, he is wholly absorbed 
 in secret studies. Even when cast adrift on the 
 open sea he is accompanied by his books ; books, 
 he takes pains to inform us, from his own library, 
 such as he loved, and such as would enable him to 
 go on with his investigations. Caliban knows full 
 well the source of Prospero's magical powers, for in 
 his injunctions to the conspirators he is continually 
 crying — 
 
 "Seize his books," 
 
 "Burn his books," 
 
 "Possess his books, 
 
 for without them 
 he's but a sot." 
 
 And when the curtain is about to fall on the scene, 
 the actors to melt into air, into thin air, and the in- 
 substantial pageant to fade, the wonderful magician 
 exclaims, 
 
 "I'll break my staff, , 
 Bury it certain fathoms in the earth, 
 And deeper than did ever plummet sound, 
 I'll drown my book." 
 
 Man's empire over nature, as illustrated in the 
 play, is complete. The ocean obeys him. The spir- 
 its of the air, the nymphs of the sea, the brute crea- 
 tion, all yield to his will. But this subjection comes 
 not without resistance. Fetters are fetters still, 
 
 XXIV 
 
Introduction. 
 
 though made of gold. Ariel and Caliban alike re- 
 quire the threat of force. Even Ferdinand, who may 
 be supposed to have some of the old turbulent spirit 
 left temporarily within him, finds himself unable to 
 draw his sword. Order, which is Heaven's first law, 
 is at last supreme. 
 
 It was, of course, a necessary part of the author's 
 device that every form of wickedness in the world, 
 as the world now is, should be met and overcome. 
 Accordingly we have certain crimes, serving as types, 
 portrayed to this end. Ariel is cruelly imprisoned 
 by Sycorax in a cloven pine and left there, uttering 
 groans — 
 
 "as fast as mill-wheels strike " 
 
 without hope of release ; an example of that spirit 
 of enmity that lies at the root of all animal creation, 
 and that has provided every creature either with 
 weapons of attack upon others, or with special means 
 of escape from them. Caliban attempts the seduc- 
 tion of Miranda. Antonio and Sebastian conspire 
 to murder Alonzo and Gonzalo while they sleep, 
 under pretence of watching over them, although 
 Alonzo is Sebastian's brother, Gonzalo a wise coun- 
 sellor, and both, as far as we know, loving friends 
 of the conspirators. At the instance of Caliban, 
 Stephano and his drunken companion creep stealth- 
 ily toward Prospero's cell with intent to kill him, 
 Falsehood, treachery, selfishness abound, and yet 
 nothing of the kind succeeds. The ends of justice 
 are always preserved. Forgiveness, based on peni- 
 tence, crowns all. 
 
 The most extraordinary event recorded in the 
 play, however, is the betrothal of Ferdinand and 
 Miranda. All the world loves a lover, but we have 
 here something more even than the apotheosis of 
 love. It is a story like that of our first parents, told 
 in great wealth of detail, and with a charm that 
 keeps us spell-bound from beginning to end. Milton 
 
 XXV 
 
Introduction. 
 
 studied it when he wrote his "Hymn to the Nativity 
 of Christ," for then also "a brave (beautiful) new 
 world" was about to be ushered in. Nature herself 
 bursts forth into song. The sea holds its breath. 
 Virtue and Innocence join hands, and under the 
 blessings of the Queen of Heaven plight their faith ; 
 while the goddess of the rainbow, arching the sky, 
 proclaims her promise for the future of humanity. 
 
 The play was probably written in 1613 ; it was not 
 printed until ten years later, in the great Shake- 
 spearean folio of 1623. Intended to be the author's 
 last, it afforded him the opportunity to illustrate, on 
 a scene of action remote from the inhabited world, 
 and thus specially adapted to the purpose, that com- 
 mand over Nature which the philosophy of the pe- 
 riod was expected eventually to confer. 
 
 EDWIN REED. 
 
 XXVI 
 
THE TEMPEST. 
 
Dramatis Persons. 
 
 Alonzo, King of Naples. 
 
 Sebastian, his brother. 
 
 Prospero, the rightful Duke of Milan. 
 
 Antonio, his brother, the usurping Duke of Milan. 
 
 Ferdinand, son to the King of Naples. 
 
 Gonzalo, an honest old Counsellor of Naples. 
 
 Adrian, { 
 
 Francisco, S Lords - 
 
 Caliban, a savage and deformed slave. 
 
 Trinculo, a Jester. 
 
 Stephano, a Drunken Butler. 
 
 Master of a ship, Boatswain and Mariners. 
 
 Miranda, daughter to Prospero. 
 
 Ariel, an airy Spirit. 
 
 Iris, ") 
 
 Ceres, I 
 
 Juno, J> 
 
 Nymphs, | 
 
 Reapers, J 
 
THE TEMPEST. 
 
 On a ship at sea: a tempestuous noise of thunder 
 and lightning heard. 
 
 Enter A SHIP-MASTER and A BOATSWAIN. 
 
 Mast. Boatswain ! 
 Boats. Here, master: what cheer? 
 Mast. Good, speak to the mariners : fall to 't, 
 yarely. or we run ourselves aground : bestir, bestir. 
 
 (Exit. 
 Enter MARINERS. 
 
 Boats. Heigh, my hearts ! cheerly, cheerly, my 
 hearts ! yare, yare ! Take in the topsail. Tend to 
 the master's whistle. Blow, till thou burst thy wind, 
 if room enough ! 
 
 Enter ALONZO, SEBASTIAN, ANTONIO, FER- 
 DINAND, GONZALO, and others. 
 
 Alon. Good boatswain, have care. Where's the 
 master? Play the men. 
 
 Boats. I pray now, keep below. 
 
 Ant. Where is the master, boatswain? 
 
 Boats. Do you not hear him? You mar our la- 
 bour : keep your cabins : you do assist the storm. 
 
 Gon. Nay, good, be patient. 
 
2 The Tempest. 
 
 Boats. When the sea is. Hence ! What cares 
 these roarers for the name of king? To cabin: si- 
 lence ! trouble us not. 
 
 Gon. Good, yet remember whom thou hast aboard. 
 
 Boats. None that I love more than myself. You 
 are a counsellor; ii you can command these ele- 
 ments to silence, and work the peace of the present, 
 we will not hand a rope more ; use your authority : 
 if you cannot, give thanks you have lived so long, 
 and make yourself ready in your cabin for the mis- 
 chance of the hour, if it so hap. Cheerly, good 
 hearts ! Out of our way, I say. {Exit. 
 
 Gon. I have great comfort from this fellow : me- 
 thinks he hath no drowning mark upon him; his 
 complexion is perfect gallows. Stand fast, good 
 Fate, to his hanging* ; make the rope of his destiny 
 our cable, for our own doth little advantage. If he 
 be not born to be hanged, our case is miserable. 
 
 {Exeunt. 
 
 *This word is here used in its old philosophical sense 
 of temperament as determined, according to the ancients, 
 by the combination (complexio) in every man of the four 
 elementary humors : cholcr, melancholy, phlegm and 
 blood. 
 
 An allusion to the old proverb, "He that's born to be 
 hanged needs fear no drowning." 
 
 Cf. Bacon : "He may go by water, for he is sure to 
 be well landed." — Promus, 1594. 
 
 Re-enter BOATSWAIN. 
 
 Boats. Down with the topmast !* yare ! lower, 
 lower ! Bring her to try with main-course.* {A cry 
 within.) A plague upon this howling! they are 
 louder than the weather or our office. 
 
 Re-enter SEBASTIAN, ANTONIO, and GON- 
 ZALO. 
 
 Yet again ! what do you here ? Shall we give o'er 
 and drown? Have you a mind to sink? 
 
 *The ship is on a lee shore and in great danger; but 
 the above instructions hare been universally recognized 
 
Act I. Scene I. 
 
 by experienced mariners as those best adapted to save 
 her. The courses are the large lower sails. 
 
 Cf. Bacon's "In very heavy storms they first lower 
 the yards, and then take in the topsails and, if neces- 
 sary, all the others, even cutting down the masts them- 
 selves. A ship can make headway against the wind (lay 
 her off) with six points of the compass only in her favor. 
 The upper tiers of sails are chiefly used when the wind 
 is light." — Historia Ventorum. 
 
 The Historia Ventorum is an elaborate treatise (88 
 pp.) on ivinds, and the effect of winds on the sail of a 
 ship, including occasions when a ship must lie close up, 
 "with topmast struck and main course set/' in order to 
 escape "running aground." 
 
 "A very striking instance of the great accuracy of 
 Shakespeare's knowledge, in a professional science the 
 most difficult to attain without the help of experience." — 
 Lord Mulgravc. 
 
 Take up your Shakespeare and read the opening scene 
 of "The Tempest." A ship is off an unknown lee-shore, 
 laboring heavily; a storm is raging; lightning is flash- 
 ing; thunder is bellowing; tvaves are madly roaring; 
 'men's' hearts are failing them for fear;' confusion and 
 terror are holding a carnival on board. We appeal to all 
 intelligent readers, and especially to seamen, to answer 
 whether they think probable that Shakespeare could have 
 intuitively penned that scene if he had spent his life en- 
 tirely on shore? The thing is incredible. . . . Every 
 epithet in the scene is exactly proper and in admirable 
 keeping ; every sea-phrase is correct ; every order of the 
 boatsivain's is seamanlike and precisely adapted to the 
 end in view." 
 
 "Of all negative facts in regard to his (William 
 Shakspere of Stratford's) life, none perhaps is surer 
 than that he never icas at sea.''' — Richard Grant White. 
 
 A strictly nautical phrase, in use in Shakespeare's 
 time, meaning to bring the ship's head as close to the 
 wind as possible. Her position was then said to be "at 
 try." The special sails, provided for this purpose, are 
 stilled called try-sails (try-sis). 
 
 Seb. A pox o' your throat, you bawling, blas- 
 phemous, incharitable dog!* 
 
 * From Lot. in, not, caritas, kind; severe, harsh. 
 The modern English prefix un is a regrettable devia- 
 tion from the Latin root. 
 
 Boats. Work you then. 
 
 Ant. Hang, cur! hang, you whoreson, insolent 
 noisemaker ! We are less afraid to be drowned than 
 thou art. 
 
4 The Tempest. 
 
 Gon. I'll warrant him for drowning; though the 
 ship were no stronger than a nutshell and as leaky 
 as an unstanched wench. 
 
 Boats. Lay her a-hold, a-hold !* set her two 
 courses off to sea again ; lay her off.t 
 
 *That is, keep her close to the wind, hold her to it. 
 ijioth courses, foresail as well as mainsail, are now 
 set. 
 
 Enter MARINERS wet. 
 
 Mariners. All lost ! to prayers, to prayers ! all lost ! 
 
 Boats. What, must our mouths be cold? 
 
 Gon. The king and prince at prayers ! let's assist 
 them, 
 For our case is as theirs. 
 
 Seb. I'm out of patience. 
 
 Ant. We are merely cheated of our lives by drunk- 
 ards : 
 This wide-chapp'd rascal — would thou mightest lie 
 
 drowning 
 The washing of ten tides ! 
 
 Gon. He'll be hang'd yet, 
 
 Though every drop of water swear against it 
 And gape at widest to glut him. 
 {A confused noise within: 'Mercy on us!' — 
 'We split, we split !' — 'Farewell my wife and chil- 
 dren !' — 
 'Farewell, brother!' — 'We split, we split, we split!') 
 
 Ant. Let's all sink with the king. 
 
 Seb. Let's take leave of him. 
 
 {Exeunt Ant. and Seb. 
 
 Gon. Now would I give a thousand furlongs of 
 sea for an acre of barren ground, long heath, brown 
 furze, any thing. The wills above be done ! but I 
 would fain die a dry death. {Exeunt. 
 
Act 1. Scene II. 
 
 The island. Before Frospero's cell 
 
 Enter PROSPERO* and MIRANDA. t 
 
 Mir. If by your art,** my dearest father, you have 
 Put the wild waters in this roar, allay them. 
 The sky, it seems, would pour down stinking pitch, 
 But that the sea, mounting to the welkin's cheek, 
 Dashes the fire out. O, I have suffered 
 With those that I saw suffer : a brave vessel, 
 Who had, no doubt, some noble creature in her, 
 Dash'd all to pieces. O, the cry did knock 
 Against my very heart. Poor souls, they perish'd. 
 Had I been any god of power, I would 
 Have sunk the sea within the earth or ere 
 It should the good ship so have swallow'd and 
 The fraughting souls within her. 
 
 *From Lat. prosperare, make happy, to bless (man- 
 kind). 
 
 fFrom Lat. mirari, to admire; one to be admired, or. 
 as the dramatist himself defines the name, the "top of 
 admiration." 
 
 Cf. Bacon : "The truth is that in some of these fables, 
 as well in the texture of the story as in the propriety of 
 the very names by which the persons that figure in it 
 are distinguished , I find a significancy that must be clear 
 to everybody. Metis, Jupiter's ivife, plainly means coun- 
 sel ; Typhon, tumult; Xemesis, revenge, and so on." — 
 YVisdom of the Ancients, 1609. 
 
 **That is, by magic art. which had its chief seat in 
 Babylon, where it was the recognised religion of the coun- 
 try, with its priests and ceremonial, its purifications, 
 sacrifices and chants, and whence it spread throughout 
 the civilized world. 
 
 Plato speaks of it with respect, and Philo with warm 
 praise. 
 
 Cf. Bacon : "I must here stipulate that the word magic, 
 which has long been used in a bad sense, be restored to 
 its ancient and honorable meaning. For among the Per- 
 sians magic was taken for a sublime wisdom, and a 
 knowledge of the universal consents of things; and so the 
 
6 The Tempest. 
 
 three kings icho came from the east to worship Christ 
 were called by the name of Magi. I understand it, how- 
 ever, as the science which applies the knowledge of hid- 
 den forms to the operation of nature." 
 
 That is, the powers over nature attributed to Pros- 
 pero by his daughter and by the dramatist himself in the 
 play are those that once belonged to the Eastern magi- 
 cians and were said- by Bacon to have been "ancient and 
 honorable." Notable instances of their exercise, consid- 
 ered in Shakespeare's time as historical, are narrated in 
 Genesis, in connection with the departure of the Israel- 
 ites from Egypt. 
 
 Pros. Be collected : 
 
 Xo more amazement : tell your piteous heart 
 There's no harm done. 
 
 Mir. O, woe the day! 
 
 Pros. No harm. 
 
 I have done nothing but in care of thee, 
 Of thee, my dear one, thee, my daughter, who 
 Art ignorant of what thou art, nought knowing 
 Of whence I am, nor that I am more better 
 Than Prospero, master of a full poor cell,* 
 And thy no greater father. 
 
 *Cf. Bacon: "Your beadsman therefore addresseth him- 
 self to your Majesty for a cell to retire unto." — Letter to 
 the King, 25 March, 1623. 
 
 The cell that Bacon derived was the Provostship of 
 Eton. "Full poor'' means, poor to the utmost. 
 
 Mir. More to know 
 
 Did never meddle with my thoughts. 
 
 Pros. 'Tis time 
 
 I should inform thee farther. Lend thy hand, 
 And pluck my magic garment from me. So : 
 
 (Lays down his mantle. 
 Lie there, my art.* Wipe thou thine eyes ; have 
 
 comfort. 
 The direful spectacle of the wreck, which touch'd 
 The very virtue of compassion in thee, 
 I have with such provision in mine art 
 So safely ordered that there is no soul — 
 No, not so much perditionf as an hair 
 Betid to any creature in the vessel 
 
Act I. Scene II. 7 
 
 Which thou heard'st cry, which thou saw'st sink. 
 
 Sit down; 
 For thou must now know farther. 
 
 *Cf. Thomas Fuller: "Lord Treasurer Burleigh when he 
 put off his robe of office at night, used to say, 'lie there, 
 Lord Treasurer':' — The Holy State, 1648. 
 
 Burleigh teas Bacon 3 s uncle. He became Lord High 
 Treasurer in 1578. when Francis teas eleven years old. 
 fFrom Lat. perdere, to lose. 
 
 Mir. You have often 
 
 Begun to tell me what I am, but stopp'd 
 And left me to a bootless inquisition, 
 Concluding 'Stay : not yet.' 
 
 Pros. The hour's now come ; 
 
 The very minute bids thee ope thine ear; 
 Obey and be attentive. Canst thou remember 
 A time before we came unto this cell? 
 I do not think thou canst, for then thou wast not 
 Out three years old. 
 
 Mir. Certainly, sir, I can. 
 
 Pros. By what? by any other house or person? 
 Of any thing the image tell me* that 
 Hath kept with thy remembrance. 
 
 *Prospero asks his daughter to give him the image of 
 anything she remembers of that early time, knowing that 
 images cling the most tenaciously to the memory. 
 
 Gf. Bacon : "An object of sense always strikes the 
 memory more forcibly and is more easily impressed upon 
 it than an object of the intellect; insomuch that even 
 brutes have their memory excited by sensible impressions ; 
 never by intellectual ones. And therefore you will more 
 easily remember the image of a hunter pursuing a hare, 
 of an apothecary arranging his boxes, of a pedant mak- 
 ing a speech, of a boy repeating verses from memory, of 
 a player acting on a stage, than the mere notions of in- 
 vention, disposition, elocution, memory and action." — 
 De Augmentis, 1623. 
 
 Mir. T'is far off 
 
 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 
 
8 The Tempest. 
 
 In the dark backward and abysm of time? 
 
 If thou remember'st aught ere thou earnest here, 
 
 How thou earnest here thou mayst. 
 
 Mir. But that I do not. 
 
 Pros. Twelve year since, Miranda, twelve year 
 since, 
 Thy father was the Duke of Milan and 
 A prince of power. 
 
 Mir. Sir, are you not my father? 
 
 Pros. Thy mother was a piece of virtue, and 
 She said thou wast my daughter ; and thy father 
 Was Duke of Milan; and thou his only heir 
 And princess no worse issued. 
 
 Mir. O the heavens !* 
 
 What foul play had we, that we came from thence? 
 Or blessed was 't we did? 
 
 *Cf. Bacon: "Othe." — Promus, Xo. 1404. 
 It is fair to assume that entries in Bacon's memoran- 
 dum took, which are commonplace now, were not so, 
 when they were made, more than 300 years ago. If used 
 both by Shakespeare and by Bacon in public works, they 
 naturally passed into familiar speech. 
 
 Pros. Both, both, my girl : 
 
 By foul play, as thou say'st, were we heaved thence, 
 But blessedly holp* hither. 
 
 *The old preterit of the serf, to help. 
 
 Mir. O my heart bleeds 
 
 To think o' the teen* that I have turn'd you to, 
 Which is from my remembrance ! Please you, far- 
 ther. 
 
 *Sorrow. 
 
 Pr. My brother and thy uncle, call'd Antonio — 
 I pray thee, mark me — that a brother should 
 Be so perfidious ! — he whom next thyself 
 Of all the world I ioved and to him put 
 The manage of my state ! as at that time 
 Through all the signories it was the first* 
 And Prospero the prime duke, being so reputed 
 In dignity, and for the liberal arts 
 Without a parallel ; those being all my study, 
 The government I cast upon my brother 
 
Act I. Scene II. 9 
 
 And to my state grew stranger :t being transported 
 And rapt in secret studies.** Thy false uncle — 
 Dost thou attend me? 
 
 * Milan claimed at that time to be the first duchy in 
 Europe. 
 
 fCf. Bacon : "Men, eminent in virtue, often abandon 
 their fortunes willingly, that they may hare leisure for 
 higher pursuits." — Advancement of Learning. 
 
 *+Cf. Bacon : "In these studies I am wholly a pioneer, 
 following in no man's footsteps and communicating my 
 thoughts or discoveries to no one." — Novum Organum, 
 1620. 
 
 Cf. James Russell Lowell: "In Prospero shall v:c not 
 recognize the artist himself?" 
 
 Mir. Sir, most needfully. 
 
 Pros. Being once perfected how to grant suits, 
 How to deny them, who to advance and who 
 To trash for over-topping,* new created 
 The creatures that were mine, I say, or changed 'em, 
 Or else new form'd 'em ; having both the key 
 Of officer and office, set all hearts i' the state 
 To what tune pleased his ear;t that now he was 
 The ivy which had hid my princely trunk, 
 And suck'd my verdure out on \** Th u : ttend'st 
 not. 
 
 *Cf. Bacon : "To grant all suits were to undo yourself 
 or your people; to deny all suits were to see never a con- 
 tented face." — Letter to the King. 
 
 "Believe me, Sir, next to the obtaining of the suit, a 
 speedy and gentle denial is the most acceptable to suit- 
 ors." — Letters to Villiers. 
 
 Cf. Bacon : "There is use also of ambitious men in 
 pulling dotvn the greatness of {that is, to trash) any sub- 
 ject that overtops." — Essay of Ambition. 
 
 The metaphor is derived from the science of garden- 
 ing. 
 
 fThis change in the disposition of the Duke's subjects 
 is called a new creation. 
 
 Cf. Bacon : "On a given body to generate and super- 
 induce a new nature or neic natures is the work and aim 
 of human poicer." — Novum Organum. 
 
 The dramatist teas very fond of comparing the parts 
 played by different classes of citizens in a state to chords 
 in music, e. g. : 
 
 "For government, though high, and low, and lower, 
 
 Put into parts^doth keep in one consent, 
 
 Congreeing in a full and natural close, 
 
 Like music." — King Henry V., I., 2. 
 
10 The Tempest. 
 
 Cf. Bacon : "Nero could touch and tune the harp 
 well; out in government, sometimes he used to wind the 
 pins too high, sometimes to let them down too low." — 
 Essay of Empire. 
 
 **Cf. Bacon: "It was ordained that this winding ivy 
 of a Plant agenet should kill the tree itself." — History of 
 King Henry VII., submitted to the King Oct. 8. 1681. 
 Via". Spedding's Letters and Life of Francis Bacon (Lon- 
 don, 1868); Vol. VII., p. 302. 
 
 Mir. O, good sir, I do. 
 
 Pros. I pray thee, mark me. 
 
 I, thus neglecting worldly ends, all dedicated 
 To closeness and the bettering of my mind 
 With that which, but by being so retired, 
 O'er-prized all popular rate, in my false brother 
 Awaked an evil nature ; and my trust, 
 Like a good parent, did beget of him 
 A falsehood* in its contrary as great 
 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, 
 Made such a sinner of his memory, 
 To credit his own lie, he did believe 
 He was indeed the duke ;t out o' the substitution, 
 And executing the outward face of royalty. 
 With all prerogative : hence his ambition growing — 
 Dost thou hear? 
 
 *Cf. Bacon : "You cannot find any man of rare felicity 
 out either he died childless — or else he was unfortunate 
 in his children. — Praise of Queen Elizabeth. 1608. 
 
 Also : "They that are fortunate in other things are 
 commonly unfortunate in children, lest men should come 
 too near the condition of Gods." — Be Avgmentis. 
 
 fCf. Bacon : "It was generally believed that he was in- 
 deed Duke Richard. Nay, himself, with long and con- 
 tinual counterfeiting and with oft telling a lie, was turned 
 by habit almost into the thing he seemed to be; and 
 from a liar into a believer." — History of Henry VII. 
 
 This sentiment is found in Tacitus, but not the con- 
 dition precedent that the lie must be told oft before it 
 can become a belief. 
 
 "Telling oft." — Shakespeare. 
 "Oft telling." — Bacon. 
 
Act I. Scene II. 11 
 
 "He teas indeed the Duke." — Shakespeare. 
 "He was indeed Duke Richard." — Bacon. 
 
 Mir. Your tale, sir, would cure deafness.* 
 
 *Cf. Bacon : "To cure deafness is difficulty — Prom us. 
 Also : "Nothing is so hard to cure as the ear." — De 
 Augmentis. 
 
 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 
 He thinks me now incapable! ; confederates — 
 So dry he was for sway — wi' the King of Naples 
 To give him annual tribute, do him homage, 
 Subject his coronet to his crown and bend 
 The dukedom yet unbow'd — alas, poor Milan ! — 
 To most ignoble stooping. 
 
 *Cf. Bacon: "There is great use in ambitious men in 
 being screens to princes in matters of danger and envy." 
 — Essay of Ambition. 
 
 In the case described in the text the usurper made 
 the Duke himself a screen until his oxen power became 
 established. 
 
 If A strictly Latin and legal sense of the word incapable, 
 from in, privative, and capere, to hold, or adminster. 
 Without necessary qualifications. 
 
 Mir. O the heavens ! 
 
 Pros. Mark his condition and the event ; then tell 
 me 
 If this might be a brother. 
 
 Mir. I should sin 
 
 To think but nobly of my grandmother: 
 Good wombs have borne bad sons. 
 
 Pros. Now the condition. 
 
 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 tribute, 
 Should presently extirpate me and mine 
 Out of the dukedom and confer fair Milan 
 With all the honours on my brother: whereon, 
 
12 The Tempest. 
 
 A treacherous army levied, one midnight 
 Fated to the purpose did Antonio open 
 The gates of Milan, and, i' the dead of darkness, 
 The ministers for the purpose hurried thence 
 Me and thy crying self. 
 
 Mir. Alack, for pity ! 
 
 I, not remembering how I cried out then, 
 Will cry it o'er again : it is a hint 
 That wrings mine eyes to 't. 
 
 Pros. Hear a little further 
 
 And then I will bring thee to the present business 
 Which now's upon 's ; without the which this story 
 Were most impertinent.* 
 
 *From in, not, and pertinere, to obtain; that is, not 
 pertinent. 
 
 Mir. Wherefore did they not 
 
 That hour destroy us? 
 
 Pros. Well demanded, wench :* 
 
 My tale provokes that question. Dear, they durst 
 
 not, 
 So dear the love my people bore me, nor set 
 A mark so bloody on the business, but 
 With colours fairer painted their foul ends. 
 In few, they hurried us aboard a bark, 
 Bore us some leagues to sea ; where they prepared 
 A rotten carcass of a boat, not rigg'd, 
 Nor tackle, sail, nor mast ; the very rats 
 Instinctively had quit it;t there they hoist us, 
 To cry to the sea that roar'd to us, to sigh 
 To the winds whose pity, sighing back again, 
 Did us but loving wrong. 
 
 *A young woman, a word used in Shakespeare's time 
 in a good sense. 
 
 ~\Cf. Bacon: "It is the wisdom of rats that will be 
 sure to leave a house before it fall." — Essay of Wisdom. 
 
 Mir. Alack, what trouble 
 
 Was I then to you ! 
 
 Pros. O, a cherubin* 
 
 Thou wast that did preserve me. Thou didst smile, 
 Infused with a fortitude from heaven, 
 When I have deck'dt the sea with drops full salt, 
 
Act I. Scene II. 13 
 
 Under my burthen groan'd ; which raised in me 
 An undergoing stomach, to bear up 
 Against what should ensue. 
 
 *A corrupt form of the word cherub. 
 Cf. Bacon: "It would hare appeared to trim in the 
 likeness of a fair, beautiful cherubim." — Xew Atlantis. 
 fProbably a form of the old word degg, to sprinkle. 
 
 Mir. How came we ashore? 
 
 Pros. By providence divine. 
 Some food we had and some fresh water that 
 A noble Neapolitan, Gonzalo, 
 Out of his charity,* being than appointed 
 Master of this design, did give us, with 
 Rich garments, linens, stuffs and necessaries, 
 Which since have steadied much ; so, of his gentle- 
 ness. 
 Knowing I loved my books, he furnislrd me 
 From mine own libraryt with volumes that 
 I prize above my dukedom. 
 
 *From hat. caritas, brother lore; lore all other hu- 
 man beings as children of a common parentage. 
 "And the greatest of these is charity." 
 
 Cf. Bacon: "It is a good rule in translation, never to 
 confound that in one word in the translation which is 
 precisely distinguished in tivo words in the original. For 
 an example of this kind. I did ever allow the discretion 
 and tenderness of the Rhenish translation in this point; 
 that, finding in the original the word ayairr) and never epas, 
 do ever translate charity and never love, because of the indiffer- 
 ence and equivocation of the latter word." 
 
 fXo evidence exists to show that William Shakspere 
 of Stratford owned a library. Several of the Shakespeare 
 plays had already been printed at the date of his retire- 
 ment to Stratfordj where he passed the remaining twelve 
 years of his life, but neither he himself nor his family 
 <seem~s to have possessed a copy of any one of them. He 
 made an elaborate will, specifying various kinds of prop- 
 erty, but mentioning no book. 
 
 "Pn Prospero Shakespeare typified himself.'" — Thomas 
 Campbell. 
 
 "In Prospero the poet is all his characters and him- 
 self too." — Denton J. Snider. 
 
 "In Prospero shall we not recognize the Artist him- 
 self?" — James Russell Lowell. 
 
 Mir. Would I might 
 
 But ever see that man ! 
 
14 The Tempest. 
 
 Pros. Now I arise : (Resumes his mantle. 
 
 Sit still, and hear the last of our sea-sorrow. 
 Here in this island we arrived ; and here 
 Have I, thy schoolmaster, made thee more profit* 
 Than other princesses cant that have more time 
 For vainer hours and tutors not so careful. 
 
 *Cf. Bacon : "Princes also are brought up in the reign- 
 ing house with assured expectation of succeeding to the 
 throne: are commonly spoiled by the indulgence and 
 license of their education." — In felicem memoriam Eliza- 
 bethae. Probably 1608. Vid. Spedding's Letters and Life 
 of Francis Bacon {London, 1868) ; vol. IV., p. 107. 
 
 jUsed in a sense note obsolete, meaning to have power; 
 not as an auxiliary verb, modifying another understood. 
 Cf. Bacon: "In evil the best condition is, not to will; 
 the second, not to can." — Essay of Great Place. 
 
 Mir. Heavens thank you for't ! And now, I pray 
 you, sir, 
 For still 'tis beating in my mind, your reason 
 For raising this sea-storm? 
 
 Pros. Know thus far forth. 
 
 By accident most strange, bountiful Fortune, 
 Xow my dear lady, hath mine enemies 
 Brought to this shore; and by my prescience 
 I find my zenith doth depend upon 
 A most auspicious star, whose influence* 
 If now I court not but omit, my fortunes 
 Will ever after droop.** Here cease more questions : 
 Thou art inclined tc sleep ; 't is a good dulness, 
 And give it way; I know thou canst not choose. 
 
 (Miranda sleeps A' 
 Come away, servant, come. I am ready now. 
 Approach, my Ariel, come. 
 
 *From Lat. influere, to flow into. The stars were sup- 
 posed to affect the earth and its inhabitants by an ac- 
 tual emission of some kind through space. 
 
 Cf. Bacon : "I hold it for certain that the celestial 
 bodies have in them other influences besides heat and 
 light. — Be Augmentis, 
 **Cf. "Julius Caesar"-. 
 "We must take the current when it serves, 
 Or lose our ventures." — IV., 3 
 
 Also, Bacon: "They hare their periods of time, within 
 which, if they be not taken, they vanish." — Charge 
 against Owen. 
 

 Ph (J 
 
Act I. Sckne II. 15 
 
 t^/jc is put to sleep by her father's art, exercised upon 
 her without the intermediation of the senses. 
 
 Cf. Baeon , : "Fascination is the power and act of the 
 imagination intensive upon the body of another, exalted 
 by Paracelsus and by the disciples of natural magic as 
 to be one with the power of miracle-working faith. Oth- 
 ers, that draw nearer to probability, looking with a 
 clearer eye at the secret working and impressions of 
 things, the irradiations of the senses, the passages of 
 contagion from body to body, the conveyance of mag- 
 netic virtues, have concluded it to be a power communi- 
 cated from spirit to spirit, after the manner of mastering 
 spirit, of men unlucky and ill-omened, of the glances of 
 love, envy, and the like." — De Augmentis. 
 
 Students of this play will constantly observe that 
 Prospero is endowed with powers seemingly supernatural, 
 but that these powers are regarded by Bacon as within 
 the province of art as legitimately to be developed. 
 
 Enter ARIEL. 
 
 Art. All hail, great master! grave sir, hail! I come 
 To answer thy best pleasure ; be 't to fly, 
 To swim, to dive into the fire, to ride 
 On the curl'd clouds, to thy strong bidding task 
 Ariel and all his quality. 
 
 Pros. Hast thou, spirit, 
 
 Perform'd to point* the tempest that I bade thee? 
 
 *From the French a point, in every particular. 
 
 Ari. To every article. 
 I boarded the king's ship ; now on the beak, 
 Now in the waist ; the deck, in every cabin, 
 I flamed amazement:* sometime I 'Id divide. 
 And burn in many places ; on the topmast, 
 The yards and the bowsprit, would I flame dis- 
 tinctly, 
 Then meet and join. Jove's lightnings, the pre- 
 cursors 
 O' the dreadful thunder-claps, more momentary 
 And sight out-running were not; the fire and cracks 
 Of sulphurous roaring the most mighty Neptune 
 Seem to besiege and make his bold waves tremble. 
 Yea, his dread trident shake. 
 
 *Cf. Bacon: "The ball of fire, called Castor by the an- 
 cients, that appears at sea, if it be single, prognosticates 
 a severe storm (seeing it is Castor, the dead brother), 
 
16 The Tempest. 
 
 which tvill be much more severe if the ball does not ad- 
 here to the mast, but rolls and dances about. But if 
 there be two of them (that is, if Pollux, the living 
 brother, be present) and that, too, when the storm has 
 increased, it is reckoned a good sign. But if there are 
 three of them (that is, if Helen, the general scourge, ar- 
 rive), the storm will become more fearful. The fact 
 seems to be, that one by itself appears to indicate that 
 the tempestuous matter is crude; that it is prepared and 
 ripened; three or more, that so great a quantity is col- 
 lected as can hardly be dispersed." — History of the Winds. 
 Ariel flames about the ship after the manner of St. 
 Elmo's fire, described by Bacon; that is, as a luminous 
 meteor or meteors, to which in ancient times sailors ap- 
 plied the names of Castor, Pollux and Helena. According 
 to Pliny, who gives an account of it, one of these mete- 
 ors, appearing singly on the masts or rigging of a vessel, 
 presages a storm; if two appear, they presage fair 
 weather. So far, Bacon agrees with Pliny; but he adds, 
 perhaps as his own contribution to the myth, that if 
 three or more make their appearance and dance about, 
 the storm will rage with greater violence still, and 
 threaten the destruction of the ship. 
 
 It will be noticed that the dramatist follows Bacon 
 rather than Pliny. Ariel's mission was to destroy the 
 ship in a tempest, and he accomplished the task, report- 
 ing to Prospero that he "burned in many places," simul- 
 taneously mentioning three, — 
 
 "on the topmast, 
 The yards and bowsprit." 
 It will be noticed, also, that in the play, seemingly 
 in compliance with another one of Bacon's special prog- 
 nostications, the balls of fire "roll and dance about :" 
 "Note on the beak, 
 Now in the waist, the deck, in every cabin." 
 
 Pros. My brave spirit ! 
 
 Who was so firm, so constant, that this coil 
 Would not infect his reason? 
 
 Ari Not 'a soul 
 
 But felt a fever of the mad and play'd 
 Some tricks of desperation. All but mariners 
 Plunged in the foaming brine and quit the vessel, 
 Then all afire with me : the king's son, Ferdinand, 
 With hair up-staring, — then like reeds, not hair, — 
 Was the first man that leap'd; cried, 'Hell is empty, 
 And all the devils are here/ 
 
 Pros. Why, that's my spirit ! 
 
 But was not this nigh shore? 
 
 An. Close by, my master. 
 
Act I. Scene II. 17 
 
 Pros. But are they, Ariel, safe? 
 
 Ari. Not a hair perish'd ; 
 
 On their sustaining garments not a blemish, 
 But fresher than before: and, as thou badest me, 
 In troops I have dispersed them 'bout the isle. 
 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 disposed 
 And all the rest o ? the fleet. 
 
 . Ari. Safely in harbour 
 
 Is the king's ship ; in the deep nook, where once 
 Thou call'dst me up at midnight to fetch the 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 suffered labour, 
 I have left asleep : and for the rest o' the fleet 
 Which I dispersed, they all have met again 
 And are upon the Mediterranean flote,t 
 Bound sadly home for Naples, 
 Supposing that they saw the king's ship wreck'd 
 And his great person perish. 
 
 *Ahvays vext. 
 The Spanish name of the Bermudas. 
 "The Spaniards dislike thin letters and change them 
 immediately into those of a middle tone. 9 ' — Be Augmentis. 
 This accounts for the softening sound of the letter d 
 in the name of the islands to that of th. Evidently the 
 dramatist had some acquaintance with the principles of 
 the Spanish language, as Bacon had. 
 
 The terms of this Reference plainly show that the 
 author did not intend to locate the scene of "The Tem- 
 pest" here. He did not intend to locate it anywhere. Tt 
 is ivholly a work of imagination. 
 ^Wave, from French flot. 
 
 Of. Bacon : — 
 "Your rock claims kindred of the polar star, 
 Because it draws the needle to the North: 
 Yet even that star gives place to Cynthia's rays. 
 Whose drawing virtues govern and direct 
 The flots and re-flots of the ocean." 
 
 — Gray's Inn Masque. 
 
18 The Tempest. 
 
 Pros. Ariel, thy charge 
 
 Exactly is perform'd : but there's more work. 
 What is the time o' the day? 
 
 Ari. Past the mid season. 
 
 Pros. At least two glasses.* The time 'twixt six 
 and now 
 Must by us both be spent most preciously. 
 
 *In the nautical usage of Shakespeare's time, as well 
 as of our own-, the "glass" measured a half hour, but 
 Shakespeare, to the distress of his commentators, used 
 it for one hour. He conformed to the requirements of 
 popular speech. The drama is not science. 
 
 Cf. Bacon : "I wax now somewhat ancient ; one and 
 thirty years is a great deal of sand in the hour-glass." — 
 Letter to Burleigh, 1591. 
 
 Ari. Is there more toil? Since thou dost give me 
 pains, 
 Let me remember thee what thou hast promised, 
 Which is not yet perform'd me. 
 
 Pros. How now? moody? 
 
 What is 't thou canst demand? 
 
 Ari. My liberty. 
 
 Pros. Before the time be out? no more! 
 
 Ari. I prithee, 
 
 Remember I have done thee worthy service ; 
 Told thee no lies, made thee no mistakings, served 
 Without or grudge or grumblings : thou didst prom- 
 ise 
 To bate me a full year. 
 
 Pros. Dost thou forget 
 
 From what a torment I did free thee? 
 
 Ari. No. 
 
 Pros. Thou dost, and think'st it much to tread 
 the ooze 
 Of the salt deep, 
 
 To run upon the sharp wind of the north, 
 To do me business in the veins o' the earth 
 When it is baked with frost.* 
 
 * Among the physicists of Shakespeare's day, down to 
 1603, belief in the existence of a mass of molten matter 
 at the centre of the earth seems to have been in England 
 universal. The phenomena of earthquakes, volcanoes and 
 
Act I. Scene II. 19 
 
 geysers were evidences too powerful apparently to he re- 
 sisted. But in 1603 two persons took the opposite view. 
 One of these was Shakespeare. In that year the first 
 edition of "Hamlet" came from the press, and with it 
 the author's adhesion to the old theory regarding the in- 
 terior of the earth. In the second edition, published one 
 year later, the doctrine iva^s eliminated from the play. 
 The two statements were as follows : — 
 
 1603. "Doubt that in earth is fire, 
 Doubt that the stars do move, 
 Doubt truth to be a liar, 
 
 But do not doubt I love. — II., 2, 116. 
 
 1604. "Doubt thou the stars are fire, 
 Doubt that the sun doth more, 
 Doubt truth to be a liar, 
 
 But never doubt I love." 
 
 It will thus be seen that the doctrine in question lost 
 its place in the author's list of scientific certainties some- 
 time in 1603-4. Nine years later, when "The Tempest'" 
 ivas written, the change in the author's mind on this sub- 
 ject had become complete, for ice there read, as above, 
 that the veins of the earth are "baked with frost." 
 
 The other person referred to teas Francis Bacon. And, 
 what is remarkable, the dissent in his case from the pop- 
 ular view dates from the same precise time as in that of 
 Shakespeare; that is to say, from the latter part of 1603 
 or the early part of 1604 : we find it in a philosophical 
 treatise written, probably, before September. 1604. In 
 another respect, also, Bacon's experience resembles 
 Shakespeare's for his conviction grew stronger as the 
 years went by. Indeed, he finally declared that in his 
 judgment the interior of the earth is the originl and only 
 source of cold in the entire universe. He said : — 
 
 "The heaven, from its perfect and absolute heat and 
 the extreme expansion of matter, is most hot, lucid, rare- 
 fied, and moveable; whereas the earth, on the contrary, 
 from its absolute and nnrefr acted cold, and the extreme 
 contraction of matter, is most cold, dark, and dense, com- 
 pletely immovable. The rigors of cold, which in winter 
 time and in the coldest countries are exhaled into the 
 air from the surface of the earth, are merely tepid airs 
 and baths, compared with the nature of the primal cold 
 shut up in the bowels thereof." — De Principiis atque 
 Originibus. 
 
 The phrase "baked icith frost" illustrates the tvell- 
 known saying that extremes meet. 
 
 Cf. "Hamlet" : "Frost itself as activeli) doth burn." — 
 ///., 4. 
 
 Also, Bacon : "Frost burns." — Prom us. 
 
 Art. I do not, sir. 
 
 Pros. Thou liest, malignant thing! Hast thou 
 
 forgot 
 
20 The Tempest. 
 
 The foul witch Sycorax, who with age and envy 
 Was grown into a hoop? hast thou forgot her? 
 
 Ari. No, sir. 
 
 Pros. Thou hast. Where was she born? 
 
 speak ; tell me. 
 
 Ari. Sir, in Argier. 
 
 Pros. O, was she so? I must 
 
 Once in a month recount what thou hast been, 
 Which thou forget'st. This damn'd witch Sycorax, 
 For mischiefs manifold and sorceries terrible 
 To enter human hearing, from Argier,* 
 Thou know'st, was banish' d : for one thing she did 
 They would not take her life. Is not this true? 
 *An old form of the name Algiers. 
 
 Ari. Ay, sir. 
 
 Pros. This blue-eved hag was hither brought with 
 child 
 And here was left by the sailors. Thou, my slave, 
 As thou report'st thyself, wast then her servant ; 
 And, for thou wast a spirit too delicate 
 To act her earthy and abhorr'd commands, 
 Refusing her grand hests, she did confine thee, 
 By help of her more potent ministers 
 And in her most immitigable rage. 
 Into a cloven pine ; within which rift 
 Imprison'd thou didst painfully remain 
 A dozen years ; within which space she died 
 And left thee there ; where thou didst vent thy 
 
 groans 
 As fast as mill-wheels strike. Then was this island — 
 Save for the son that she did litter here, 
 A freckled whelp hag-born — not honour'd with 
 A human shape. 
 
 Ari. Yes, Caliban her son. 
 
 Pros. Dull thing, I say so ; he, that Caliban 
 Whom now I keep in service. Thou best know'st 
 What torment I did find thee in ; thy groans 
 Did make wolves howl and penetrate the breasts 
 Of ever angry bears : it was a torment 
 To lay upon the damn'd, which Sycorax 
 
Act I. Scene II. 21 
 
 Could not again undo : it was mine art, 
 
 When I arrived and heard thee, that made gape 
 
 The pine and let thee out. 
 
 Ari. I thank thee, master. 
 
 Pr. If thou more murmur'st, I will rend an oak 
 And peg thee in his knotty entrails till 
 Thou hast howl'd away twelve winters. 
 
 Ari. Pardon, master; 
 
 I will be correspondent to command 
 And do my spiriting gently. 
 
 Pros. Do so, and after two days 
 
 I will discharge thee. 
 
 Ari. That's my noble master! 
 
 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. 
 Awake, dear heart, awake ! thou hast slept well ; 
 Awake ! 
 
 Mir. The strangeness of your story put 
 Heaviness in me. 
 
 Pros. Shake it off. Come on ; 
 
 We'll visit Caliban my slave, who never 
 Yields us kind answer. 
 
 Mir. 'Tis a villain, sir, 
 
 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. 
 
 Cat. (Within) There's wood enough within. 
 
 Pros. Come forth, I say ! there's other business 
 for thee : 
 Come, thou tortoise! when? 
 
 Re-enter ARIEL like a water-nymph. 
 Fine apparition! My quaint Ariel, 
 
22 The Tempest. 
 
 Hark in thine ear. 
 Art. My lord, it shall be done. {Exit. 
 
 Pros. Thou poisonous slave, got by the devil 
 himself 
 Upon thv wicked dam, come forth ! 
 Enter CALIBAN.* 
 Cal. As wicked dew as e'er my mother brush'd 
 With raven's feather from unwholesome fen 
 Drop on you both ! a south-west blow on ye 
 And blister you all o'er!t 
 
 ^Equivalent, by metathesis, to cannibal. This indicates 
 the depths to which, in view of the dramatist, mankind 
 had fallen, in some places at least, and substantially 
 everywhere, before the New Philosophy came to restore 
 to it its lost powers. Caliban represents the inhabitants 
 of the earth as they were previous to the era of Prospero. 
 fCf. "Coriolanus" : — 
 
 "All the contagion of the south wind light on you. 
 
 You shames of Rome! You herd of boils and 
 
 plagues 
 Plaster you o'er; that you may be abhorr'd 
 Further than seen, and one infect another 
 Against the wind a mile.' — I., 4, 30.. . 
 Also "Cymbeline" : — 
 
 "The south-bog rot him!" — II., 3, 133. 
 .47.90 "Troilus and Cressida" : — 
 
 "The rotten diseases of the south." — V., 1, 21. 
 Also Bacon : "In the south-wind the breath of man 
 is more offensive, the appetite of animals is more de- 
 pressed, pestilential diseases are more frequent, catarrhs 
 common, and men are more dull and heavy." — History of 
 the Winds. 
 
 Pros. For this, be sure, to-night thou shalt have 
 
 cramps, 
 Side-stitches that shall pen thy breath up ; urchins 
 Shall, for that vast of night that they may work, 
 All exercise on thee ; thou shalt be pinch'd 
 As thick as honeycomb, each pinch more stinging 
 Than bees that made 'em. 
 
 Cal. I must eat my dinner. 
 
 This island's mine, by Sycorax my mother, 
 Which thou takest from me. When thou earnest 
 
 first, 
 Thou strokedst me and madest much of me, wouldst 
 
 give me 
 
Act I. Scene II. 23 
 
 Water with berries in 't, and teach me how 
 To name the bigger light, and how the less,* 
 That burn by day and night: and then I loved thee 
 And show'd thee all the qualities o' the isle, 
 The fresh springs, brine-pits, barren place and fer- 
 tile: 
 Cursed be I that did so ! All the charms 
 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. 
 
 *Cf. Genesis: "And God made two great lights; the 
 greater light to rule the day, and the lesser light to rule 
 the night." — I, 16. 
 
 It's a new world which this drama introduces. 
 
 Pros. Thou most lying slave, 
 
 Whom stripes may move, not kindness ! I have used 
 
 thee, 
 Filth as thou art, with human care, and lodged thee 
 In mine own cell, till thou didst seek to violate 
 The honour of my child. 
 
 Cal. O ho, O ho ! would 't had been done ! 
 Thou didst prevent me; I had peopled else 
 This isle with Calibans. 
 
 Pros. Abhorred slave, 
 
 Which any print of goodness wilt not take,* 
 Being capable of all ill ! I pitied thee, 
 Took pains to make thee speak, taught thee each 
 
 hour 
 One thing or other : when thou didst not, savage, 
 Know thine own meaning, but wouldst gabble like 
 A thing most brutish, I endow'd thy purposes 
 With words that made them known.t But thy vile 
 
 race, 
 Though thou didst learn, had that in 't which good 
 
 natures 
 Could not abide to be with ; therefore wast thou 
 Deservedly confined into this rock, 
 
24 The Tempest. 
 
 Who hadst deserved more than a prison. 
 
 *Cf. Bacon : "The face towards reason has the print of 
 truth, and the face towards action has the print of 
 goodness." — Advancement of Learning. 
 
 ■\This is a very philosophical conception of the powers 
 of the mind, viz: that thoughts require speech for their 
 development. It is a fact, indeed, of almost daily expe- 
 rience with us that ice cannot be sure of the possession 
 of any knowledge requiring ratiocination until we have 
 either reduced it to writing or explained it verbally to 
 another. 
 
 Cf. Bacon : "In thought alone the mind is folded up 
 or confused; it is unfolded or made open and clear in 
 words (implicit in thought, explicit in words)." — Promus. 
 
 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 ! 
 
 Fetch us in fuel ; and be quick, thou'rt best, 
 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, 
 Fill all thy bones with aches,* make thee roar 
 That beasts shall tremble at thy din. 
 
 *Formerly (as here) a dissylable, pronounced like the 
 plural of h. John Kemble tried one hundred years ago 
 to revive the old pronunciation on the stage in London, 
 but failed. The audiences hissed every time he uttered 
 the toord. The whole town became excited over it. 
 
 Cal. No, pray thee, 
 
 (Aside) I must obey : his art is of such power, 
 It would control my dam's god Setebos,* 
 And make a vassal of him. 
 
 *A god or devil of the Patagonians, mentioned by 
 Eden (1577) in his account of Magellan's voyage toward 
 the south pole. 
 
 Pros. So slave ; hence ! (Exit Caliban. 
 
 Re-enter ARIEL, invisible, playing and singing; 
 
 FERDINAND follozving. 
 
 ARIEL'S song. 
 
 Come unto these yellow sands, 
 
 And then take hands : 
 Curtsied when vou have and kiss'd 
 
Act I. Scene II. 25 
 
 The wild waves whist,* 
 Foot it featly here and there; 
 And, sweet sprites, the burthen bear. 
 Burthen (dispersedly) . Hark, hark! 
 
 Bow-wow. 
 The watchdogs bark : 
 
 Bow-wow. 
 
 *Cf. Milton : — ' 
 
 "The winds with wonder whist, 
 Smoothly the waters kiss'd." 
 
 — Hymn on the Nativity. 
 
 Art. Hark, hark! I hear 
 
 The strain of strutting chanticleer 
 Cry, Cock-a-diddle-dow. 
 Fer. Where should this music be? i' the air or the 
 earth? 
 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, 
 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 't is gone. 
 No, it begins again. 
 
 ARIEL sings. 
 Full fathom five thy father lies ; 
 Of his bones are coral made; 
 Those are pearls that were his eyes : 
 
 Nothing of him that doth fade 
 But doth suffer a sea-change 
 Into something rich and strange. 
 Sea nymphs hourly ring his knell : 
 
 Burthen. Ding-dong. 
 Art. Hark ! now I hear them, — Ding-dong, bell.* 
 
 * Ariel is sent to still the waters in preparation for the 
 meeting and betrothal of Ferdinand. This he accomplishes 
 in a most charming manner by means of a song, in which 
 he summons the nymphs of the sea (being himself at the 
 time in the likeness of one) to a dance on the sands. The 
 nymphs appear, join hands, courtesy to partners, and 
 kiss. They then raise their voices in chorus to Ariel's 
 song, the melody seeming to come from every quarter of 
 
26 The Tempest. 
 
 earth, sky and sea. The dance begins. Instantly the 
 waves subside, and but for the sweet airs which Ferdi- 
 nand hears and at which he wonders, all nature is hushed. 
 It is under these conditions, and to the strains of this 
 mysterious music, with its prophecies of domestic life. 
 that Ferdinand is led to Miranda. 
 
 Milton prepares the earth for the coming of Christ in 
 the same way as Shakespeare prepares his magical 
 island for the union of Ferdinand and Miranda. In 
 either case it is the birth of a new ivorld of righteous- 
 ness that is heralded. 
 
 During the middle ages it was a wide-spread opinion 
 throughout continental Europe that storms and tem- 
 pests are the work of evil spirits, and that they can be 
 dispersed by the ringing of consecrated bells. For this 
 purpose church bells ivere solemnly baptized, often with 
 water brought from the river Jordan, and also duly 
 tagged at their tongues with scriptural texts. Fortu- 
 nately the practice never gained a foothold in England, 
 at least in the time of Bacon and Shakespeare, and yet 
 these two authors became in some measure both of 
 them victims to the superstition. We quote from Ba:on : 
 
 "It is thought that the sound of bells will dispel 
 lightnings and thunder. 
 
 — Sylva Sylvarum, II, 127, 622-5. 
 
 Fer. The ditty does remember my drown'd fa- 
 ther.* 
 This is no mortal business, nor no sound 
 That the earth owes. I hear it now above me. 
 
 *Cf. Bacon : "I understand it, that the song be in 
 quire, placed aloft, and accompanied with some broken 
 music; and the ditty fitted to the device." — Essay of 
 Masques and Triumphs. 
 
 The ditty in the text corresponds with Bacons de- 
 scription : — 
 
 1. The music is "in quire," for a chorus of sea- 
 nymphs repeats the sound of the bell under the sea. 
 
 2. It "sounds aloft"; Ferdinand says, "I hear it now 
 above me." 
 
 3. It is accompanied "with some broken music," for 
 Ariel enters, "playing and singing." 
 
 4. The ditty fits the device, for it is a dirge over the 
 body of Ferdinands father. 
 
 At the same time it is something more than a dirge: 
 it marks the highest flight of imagination within our 
 knowledge.. In the new ivorld which Prospero is prepar- 
 ing for mankind death is to be stripped of its terrors, and 
 among them that repugnance to the body after the soul 
 is supposed to have left it, which is now universal. We 
 find this strange repugnance stated in Cymbeline. Lucius 
 perceives the headless corpse of Cloten, and also, lying 
 partly upon it in sleep, using it indeed as a pillow, the 
 
Act I. Scene II. 27 
 
 living Imogen. He expresses surprise at the sight, say- 
 ing : — 
 
 "Nature doth abhor to make his bed 
 With the defunct, or sleep upon the dead." — IV., 2.. 
 Bacon utters the same sentiment, but with a broader 
 generalization : — 
 
 "The carcass of a man is most infectious and odious 
 to man" — Natural History, 1627. 
 
 Prospero, howerer, purposes to develop our bodies at 
 death into forms delightful to the senses, thus in some 
 measure alleviating, or at least not increasing the dis- 
 tress of surviving friends. 
 
 Pros. The fringed curtains of thine eye advance 
 And say what thou seest yond. 
 
 Mir. What is 't? a spirit? 
 
 Lord, how it looks about ! Believe me, sir, 
 It carries a brave form. But 't is a spirit. 
 
 Pros. No, wench ; it eats and sleeps and hath such 
 senses 
 As we have, such. This gallant which thou seest 
 Was in the wreck; and, but he's something stain'd 
 With grief that's beauty's canker, thou mightst 
 
 call him 
 A goodly person : he hath lost his fellows 
 And strays about to find 'em. 
 
 Mir. I might call him 
 
 A thing divine, for nothing natural 
 I ever saw so noble. 
 
 Pros. (Aside) It goes on, I see, 
 
 As my soul prompts it. Spirit, fine spirit ! I'll free 
 
 thee 
 Within two days for this. 
 
 Fer. Most sure, the goddess 
 
 On whom these airs attend ! Vouchsafe my prayer 
 May know if you remain upon this island ; 
 And that you will some good instruction give 
 How I may bear me here : my prime request, 
 Which I do last pronounce, is, O you wonder ! 
 If you be maid or no? 
 
 Mir. No wonder, sir; 
 
 But certainly a maid. 
 
 Fer. My language ! heavens ! 
 
28 The Tempest. 
 
 I am the best of them that speak this speech, 
 Were I but where 't is spoken. 
 
 Pros. How? the best? 
 
 What wert thou, if the King of Naples heard thee? 
 
 Fer. A single thing, as I am now, that wonders 
 To hear thee speak of Naples. He does hear me; 
 And that he does I weep : myself am Naples, 
 Who with mine eyes, never since at ebb, beheld 
 The king my father wreck'd. 
 
 Mir. Alack, for mercy ! 
 
 Fer. Yes, faith, and all his lords ; the Duke of 
 Milan 
 And his brave* son being twain. 
 
 *Xoble, beautiful. 
 
 Cf. Bacon : "Iron is a brave commodity where wood 
 aboundeth." 
 
 Aso, Pepys : "It being a brave morning, I walked to 
 Whitehall/' — Diary. 
 
 Pros. (Aside) The Duke of Milan 
 
 And his more braver daughter could control thee, 
 If now 't were fit to do it. At the first sight 
 They have changed eyes.* Delicate Ariel, 
 I'll set thee free for this. (To Fer.) A word, good 
 
 sir; 
 I fear you have done yourself some wrong: a word. 
 
 *That is, they have loved at first sight, and expressed 
 their love through the eyes. 
 
 Cf. Sonnet XXIII. :— 
 "To hear with eyes belongs to love's fine wit." 
 
 This is a Greek idiom, the sense of sight being often 
 taken as inclusive of all the senses. 
 
 "I will rivet thee to this uninhabited rock, where 
 neither the voice nor the form of any mortal shalt thou 
 see. 3 ' — Aeschylus. 
 
 Cf. Bacon : "The affections no doubt do make the 
 spirits more powerful and active; especially those which 
 draw the spirits into the eyes, which are ttco : love and 
 envy. . . . The aspects that procure love are not gaz- 
 ings, but sudden glances and darting 8 of the eye. . . . 
 We see the opinion of fascination for procuring love is 
 ancient; and fascination ever by the eye." — Natural His- 
 tory. 
 
 Mir. Why speaks my father so ungently? This 
 Is the third man that e'er I saw, the first 
 
Act I. Scene II. 29 
 
 That e'er I siglvd for : pity move my father 
 To be inclined my way ! 
 
 Fer. O, if a virgin, 
 
 And your affection not gone forth, I'll make you 
 The queen of Naples. 
 
 Pros. Soft, sir ! one word more. 
 
 {Aside) They are both in either'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 owest* not ; and hast put thyself 
 Upon this island as a spy, to win it 
 From me, the lord on 't. 
 
 *An old form of the verb own. 
 
 Fer. No, as I am a man. 
 
 Mir. There's nothing ill can dwell in such a tem- 
 ple: 
 If the ill spirit have so fair a house, 
 Good things will strive to dwell with 't. 
 
 Pros. Follow me. 
 
 Speak not you for him ; he's a traitor. Come ; 
 I'll manacle thy neck and feet together : 
 Sea-water shalt thou drink; thy food shall be 
 The fresh-brook muscles, wither'd roots and husks 
 Wherein the acorn cradled. Follow. 
 
 Fer. No ; 
 
 I will resist such entertainment till 
 Mine enemy has more power. 
 
 (D razes, and is charmed from moving. 
 
 Mir. O dear father, 
 
 Make not too rash a trial of him, for 
 He's gentle and not fearful. 
 
 Pros. What? I say, 
 
 My foot my tutor? Put thy sword up, traitor; 
 Who makest a show but darest not strike, thy con- 
 science 
 Is so possess'd with guilt : come from thy ward, 
 
30 The Tempest. 
 
 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 
 
 Shall make me chide thee, if not hate thee. What! 
 An advocate for an impostor ! hush ! 
 Thou think'st there is no more such shapes as he, 
 Having seen but him and Caliban : foolish wench ! 
 To the most of men this is a Caliban 
 And they to him are angels. 
 
 Mir. My affections 
 
 Are then most humble ; I have no ambition 
 To see a goodlier man. 
 
 Pros. Come on ; obey : 
 
 Thy nerves* are in their infancy again 
 And have no vigour in them. 
 
 *Sinews. Used in the strictly Latin sense, nervous, 
 sineu. 
 
 Per. So they are; 
 
 My spirits, as in a dream, are all bound up. 
 My father's loss, the weakness which I feel, 
 The wreck of all my friends, nor this man's threats, 
 To whom I am subdued, are but light to me, 
 Might I but through my prison once a day 
 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 Per.) Come on. 
 Thou hast done well, fine Ariel! (To Per.) Follow 
 
 me. 
 (To Ariel) Hark what thou else shalt do me. 
 
 Mir. Be of comfort ; 
 
 My father's of a better nature, sir, 
 Than he appears by speech : this is unwonted 
 Which now came from him. 
 
Act I. Scene II. 
 
 31 
 
 Pros. Thou shalt be as free 
 
 As mountain winds : but then exactly do 
 All points of my command. 
 
 Art. To the syllable. 
 
 Pros. Come, follow. Speak not for him. {Exeunt. 
 
Another part of the island. 
 
 Enter ALONZO, SEBASTIAN, ANTONIO, GON- 
 ZALO, ADRIAN, FRANCISCO, and others. 
 
 Gon. Beseech you, sir, be merry; you have cause, 
 So have we all, of joy; for our escape 
 Is much beyond our loss. Our hint of woe 
 Is common ; every day some sailor's wife, 
 The masters of some merchant and the merchant 
 Have just our theme of woe;* but for the miracle, 
 I mean our preservation, few in millions 
 Can speak like us : then wisely, good sir, weigh 
 Our sorrow with our comfort. 
 
 *It is fellowship in suffering to which Gonzalo calls 
 attention. 
 
 Cf. Bacon : "Amongst consolations it is not the least 
 to represent to a mans self like examples of calamity in 
 others. For examples give a quicker impression than ar- 
 guments ; and besides, they certify to us that which the 
 Scripture also tendereth for satisfaction, that no new 
 thing is happened unto us. This they do the better, by 
 hoio much the examples are liker in circumstances to our 
 own case; and more especially if they fall upon persons 
 that are greater and worthier than ourselves. . . . If our 
 betters have sustained the like events, we have the less 
 cause to be grieved." — Letter to Bishop Andrews. 
 
 It may be interesting to compare the statements of 
 these two authors upon this subject in some detail, as 
 follows : — 
 
 "When we our betters see bearing our uwes 
 We scarcely think our miseries our foes." 
 
 — Shakespeare. 
 
Act II. Scene 1. 33 
 
 "If our betters have sustained the like events, 
 ^Yc hare the less cause to be grieved." — Bacon. 
 "The mind much sufferance doth o'erskip, 
 
 "When grief hath mates and bearing fellowship/' 
 
 — Shakespeare. 
 "Amongst consolations it is not the least to represent 
 to a man's self like examples of calamity in others." — 
 Bacon. 
 
 "How light and portable my pain seems now, 
 "When that which make me bend makes the King 
 bow." — Shakespeare. 
 
 "More especially if they fall upon persons that are 
 greater and worthier than ourselves." — Bacon. 
 
 A Ion. Prithee, peace. 
 
 Seb. He receives comfort like cold porridge. 
 
 Ant. The visitor will not give him o'er so. 
 
 Seb. Look, he's winding up the watch of his wit; 
 by and by it will strike. 
 
 Gon. Sir, — 
 
 Seb. One: tell. 
 
 Gon. When every grief is entertain'd that's offer'd, 
 Comes to the entertainer — 
 
 Seb. A dollar. 
 
 Gon. Dolour comes to him, indeed : you have 
 spoken truer than you purposed. 
 
 Seb. You have taken it wiselier than I meant you 
 should. 
 
 Gon. Therefore, my lord, — 
 
 Ant. Fie, what a spendthrift is he of his tongue! 
 
 A Ion. I prithee, spare. 
 
 Gon. Well, I have done : but yet, — 
 
 Seb. He will be talking. 
 
 Ant. Which, of he or Adrian, for a good wager, 
 first begins to crow ? 
 
 Seb. The old cock. 
 
 Ant. The cockerel. 
 
 Seb. Done. The wager? 
 
 Ant. A laughter. 
 
 Seb. A match ! 
 
 A dr. Though this island seem to be desert, — 
 
 Seb. Ha, ha, ha ! So, you're paid. 
 
 A dr. Uninhabitable and almost inaccessible, — 
 
 Seb. Yet — 
 
34 The Tempest. 
 
 Adr. Yet — 
 
 Ant. He could not miss 't. 
 
 A dr. It must needs be of subtle, tender and deli- 
 cate temperance. 
 
 Ant. Temperance was a delicate wench. 
 
 Seb. Ay, and a subtle ; as he most learnedly de- 
 livered. 
 
 Adr. The air breathes upon us here most sweetly. 
 
 Seb. As if it had lungs and rotten ones. 
 
 Ant. Or as 'twere perfumed by a fen. 
 
 Gon. Here is everything advantageous to life. 
 
 Ant. True; save means to live. 
 
 Seb. Of that there's none, or little. 
 
 Gon. How lush and lusty the grass looks ! how 
 green ! 
 
 Ant. The ground indeed is tawny. 
 
 Seb. With an eye of green in 't. 
 
 Ant. He misses not much. 
 
 Seb. No ; he doth but mistake the truth totally. 
 
 Gon. But the rarity of it is, — which is indeed al- 
 most beyond credit, — 
 
 Seb. As many vouched rarities are. 
 
 Gon. That our garments, being, as they were, 
 drenched in the sea, hold notwithstanding their 
 freshness and glosses, being rather new-dyed than 
 stained with salt water. 
 
 Ant. If but one of his pockets could speak, would 
 it not say he lies? 
 
 Seb. Ay, or very falsely pocket up his report. 
 
 Gon. Methinks our garments are now as fresh as 
 when we put them on first in Afric, at the marriage 
 of the king's fair daughter Claribel to the King of 
 Tunis. 
 
 Seb. 'Twas a sweet marriage, and we prosper well 
 in. our return. 
 
 Adr. Tunis was never graced before with such a 
 paragon to their queen. 
 
 Gon. Not since widow Dido's time. 
 
 Ant. Widow! a pox o' that! How came that 
 widow in? widow Dido! 
 
Act II. Scene I. 35 
 
 Seb. What if he had said 'widower Aeneas' too? 
 Good Lord, how you take it ! 
 
 Adr. 'Widow Dido' said you? you make me study 
 of that : she was of Carthage, not of Tunis. 
 
 Gon. This Tunis, sir, was Carthage. 
 
 Adr. Carthage? 
 
 Gon. I assure you, Carthage. 
 
 Seb. His word is more than the miraculous harp;* 
 he hath raised the wall and houses too. 
 
 *An allusion probably to the harp with which Amphion 
 is said to have raised the icall of Thebes, the stone-blocks 
 moving of their own accord as he played upon it. But 
 Gonzalo had done more than this, for, as Mr. Philpotts 
 explains the passage, he converted two cities into one. 
 In the case of Pentheus, the story is reversed. 
 
 Cf. Bacon : "Pentheus, having climbed a tree for the 
 purpose of seeing the mysteries of Bacchus, was struck 
 with madness ; and the form of his madness was this : he 
 thought everything he sate was double; he saw two 
 Thebes/' — Wisdom of the Ancients. 
 
 Ant. What impossible matter will he make easy 
 next? 
 
 Seb. 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. 
 
 Gon. Ay. 
 
 Ant. Why, in good time. 
 
 Gon. Sir, we were talking that our garments seem 
 now as fresh as when we were at Tunis at the mar- 
 riage of your daughter, who is now queen. 
 
 Ant. And the rarest that e'er came there. 
 
 Seb. Bate, I beseech you, widow Dido. 
 
 Ant. O, widow Dido ! ay, widow Dido. 
 
 Gon. Is not, sir, my doublet as fresh as the first 
 day I wore it? I mean, in a sort. 
 
 Ant. That sort was well fished for. 
 
 Gon. When I wore it at your daughter's mar- 
 riage? 
 
 Alon. You cram these words into mine ears 
 against 
 The stomach of mv sense. Would I had never 
 
36 The Tempest. 
 
 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. O thou mine heir 
 Of Naples and of Milan, what strange fish 
 Hath made his meal on thee? 
 
 Fran. Sir, he may live: 
 
 I saw him beat the surges under him, 
 And ride upon their backs ; he trod the water, 
 Whose enmity he flung aside, and breasted 
 The surge most swoln that met him ; his bold head 
 'Bove the contentious waves he kept, and oar'd 
 Himself with his good arms in lusty stroke 
 To the shore, that o'er his wave-worn basis bow'd, 
 As stooping to relieve him : I not doubt 
 He came alive to land. 
 
 Alon. No, no, he's gone. 
 
 Seb. Sir, you may thank yourself for this great 
 loss, 
 That would not bless our Europe with your daugh- 
 ter, 
 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. 
 
 Seb. You were kneel'd to and inportuned other- 
 wise 
 By all of us, and the fair soul herself 
 W r eigh'd between loathness and obedience, at 
 Which end o' the beam should bow. We have lost 
 
 your son, 
 I fear, for ever : Milan and Naples have 
 More widows in them of this business' making 
 Than we bring men to comfort them : 
 The fault's your own. 
 
 Alon. So is the dear'st* o' the loss. 
 
 * Greatest. 
 
 Cf. "Merchant of Venice" : "Dearest friend." — III., 2, 
 294. 
 
 Also "Hamlet": "Dearest foe."— I.. 2. 182 
 
Act II. Scene I. 37 
 
 Gon. My lord Sebastian, 
 The truth you speak doth lack some gentleness 
 And time to speak it in : you rub the sore, 
 When you should bring the plaster. 
 
 Seb. Very well. 
 
 And. And most chirurgeonly.* 
 
 *From Gr. X € ^Pi hand, a?id epyeiv, to work; one also op- 
 erates with his hands. Noiv contracted into surgeon. 
 
 In ancient times physicians deemed it disgraceful to 
 engage in any kind of surgery. Hippocrates declared 
 that though the knife should frequently be used and in 
 accordance with his own directions, nothing could induce 
 him to use it himself. 
 
 Gon. It is foul weather in us all, good sir, 
 When you are cloudy. 
 Seb. Foul weather? 
 
 Ant. Very foul. 
 
 Gon. Had I plantation* of this isle, my lord, — 
 
 *From Lot. planta, sole of the foot; colonizing. 
 Cf. Bacon : "Let not the government of the plantation 
 {colony) depend upon too many counsellors and under- 
 takers in the country that planteth." — Essay of Planta- 
 tions. 
 
 Ant. He'ld sow 't with nettle-seed. 
 
 Seb. Or docks or mallows. 
 
 Gon. And were the king on 't, what would I do? 
 
 Seb. 'Scape being drunk for want of wine. 
 
 Gon. T the commonwealth I would by contraries 
 Execute all things ; for no kind of trarhc 
 Would I admit;* no name of magistrate; 
 Letters should not be known ; riches, poverty, 
 And use of service, none ; contract, succession. 
 Bourn, bound of land, tilth, vineyard, none ; 
 No use of metal, corn, or wine, or oil ; 
 No occupation ; all men idle, all ; 
 And women too, but innocent and pure ; 
 No sovereignty ; — 
 
 *Cf. Bacon : "We maintain a trade, not for gold, sil- 
 ver, or jewels; nor for silks, nor for spices, nor any 
 other commodity of matter; but only for God's first crea- 
 ture, which was Light; to have Light (I say) of the 
 growth of all parts of the world." — New Atlantis. 
 
38 The Tempest. 
 
 Seb. Yet he would be king on 't. 
 
 Ant. The latter end of his commonweath forgets 
 the beginning. 
 
 Gon. All things in common nature should produce 
 Without sweat or endeavor : treason, felony, 
 Sword, pike, knife, gun, or need of any engine, 
 Would I not have; but nature should bring forth, 
 Of its own kind, all foison : all abundance 
 To feed my innocent people. 
 
 Seb. No marrying 'mong his subjects? 
 
 Ant. None, man; all idle: whores and knaves. 
 
 Gon. I would with such perfection govern, sir, 
 To excel the golden age. 
 
 Seb. God save his majesty! 
 
 Ant. Long live Gonzalo ! 
 
 Gon. And, — do you mark me, sir? 
 
 Alon. Prithee, no more: thou dost talk nothing 
 to me.* 
 
 *A trmslation of the common Greek saying, \tyeiv ovdev, 
 to say what is nothing, or nothing to the point, 
 "That is just nothing." — Promus No. 323. 
 
 Gon. I do well believe your highness ; and did it 
 to minister occasion to these gentlemen, who are of 
 such sensible and nimble lungs that they always use 
 to laugh at nothing. 
 
 Ant. 'Twas you we laughed at. 
 
 Gon. Who in this kind of merry fooling am noth- 
 ing to you : so you may continue and laugh at noth- 
 ing still. 
 
 Ant. What a blow was there given ! 
 
 Seb. An it had not fallen flat-long. 
 
 Gon. You are gentlemen of brave mettle ; you 
 would lift the moon out of her sphere, if she would 
 continue in it five weeks without changing. 
 
 Enter ARIEL, invisible, playing solemn music. 
 
 Seb. We would* so, and then go a bat-fowling.t 
 *The auxiliaries, would, could, should, shall and will 
 
 were often used indiscriminately in Shakespeare's time, 
 if A term applied to a popular method of catching birds 
 
 at night, by means of lanterns and nets. 
 
Act II. Scene I. 39 
 
 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., Seb., and Ant. 
 
 Alon. What, all so soon asleep! I wish mine eyes 
 Would, with themselves, shut up my thoughts : I find 
 They are inclined to do so. 
 
 Seb. Please you, sir, 
 
 Do not omit the heavy offer of it : 
 It seldom visits sorrow ; when it doth, 
 It is a comforter. 
 
 Ant. We two, my lord, 
 
 Will guard your person while you take your rest, 
 And watch your safety. 
 
 Alon. Thank you. Wondrous heavy. 
 
 {Alonzo sleeps. Exit Ariel. 
 
 Seb. What a strange drowsiness possesses them ! 
 
 Ant. It is the quality o' the climate. 
 
 Seb. Why 
 
 Doth it not then our eyelids sink? I find not 
 Myself disposed to sleep. 
 
 Ant. Nor I ; my spirits are nimble. 
 
 They fell together all, as by consent; 
 They dropp'd, as by a thunder-stroke. What might, 
 Worthy Sebastian? O, what might? — No more: — 
 And yet me thinks I see it in thy face, 
 What thou shouldst be : the occasion speaks thee, 
 
 and 
 My strong imagination sees a crown 
 Dropping upon thy head. 
 
 Seb. What, art thou waking? 
 
 Ant. Do you not hear me speak? 
 
 Seb. I do ; and surely 
 
 It is a sleepy language and thou speak'st 
 Out of thy sleep. What is it thou didst say? 
 This is a strange repose to be asleep 
 With eyes wide open ; standing, speaking, moving, 
 And yet so fast asleep.* 
 
40 The Tempest. 
 
 *Cf. Bacon : "Your lordship's discourses had need con- 
 tent my ears very well, to make them entreat mine eyes 
 to keep open. But yet, if you will give me leave to 
 awake you, when I think your discourses do but sleep, 
 I will keep toatch. . . . It falleth out well to shake off 
 your drowsiness." — An Advertisement Touching on Holy 
 War. 1622. 
 
 Ant. Noble Sebastian, 
 
 Thou let'st thy fortune sleep — die, rather; wink'st 
 Whiles thou art waking. 
 
 Seb. Thou dost snore distinctly; 
 
 There's meaning in thy snores. 
 
 Ant. I am more serious than my custom : you 
 Must be so too, if heed me ; which to do 
 Trebles thee o'er. 
 
 Seb. Well, I am standing water.* 
 
 *That is, water without motion between ebb and flow; 
 may move either way. 
 
 Ant. I'll teach you how to flow. 
 
 Seb. Do so : to ebb 
 
 Hereditary sloth instructs me. 
 
 Ant. O, 
 
 If you but knew how you the purpose cherish 
 Whiles thus you mock it ! how, in stripping it, 
 You more invest it ! Ebbing men, indeed, 
 Most often do so near the bottom run 
 By their own fear or sloth. 
 
 Seb. Prithee, say on: 
 
 The setting of thine eye and cheek proclaim 
 A matter from thee, and a birth indeed 
 Which throes thee much to yield. 
 
 Ant. Thus, sir : 
 
 Although this lord* of weak remembrance, this, 
 Who shall be of as little memory 
 When he is earth'd, hath here almost persuaded, — 
 For he's a spirit of persuasion, t only 
 Professes to persuade, — the king his son's alive, 
 'Tis as impossible that he's undrown'd 
 As he that sleeps here swims. 
 
 *Francisco. who has expressed the opinion that Ferdi- 
 nand was alive. 
 
Act II. Scene I. 41 
 
 "iBacon wrote an elaborate treatise on the Art of Per- 
 suasion, under the caption of "Colors of Good and Evil." 
 
 Seb. I have no hope 
 
 That he's undrown'd. 
 
 Ant. O, out of that 'no hope' 
 
 What great hope have you ! no hope that way is 
 Another way so high a hope that even 
 Ambition cannot pierce a wink beyond, 
 But doubt discovery there.* Will you grant with me 
 That Ferdinand is drown'd? 
 
 *That is, ambition sees nothing beyond royalty at Na- 
 ples, and doubts whether anything greater will ever be 
 discovered. 
 
 Seb. He's gone. 
 
 Ant. Then, tell me, 
 
 Who's the next heir of Naples? 
 
 Seb. Claribel. 
 
 Ant. She that is queen of Tunis ; she that dwells 
 Ten leagues beyond man's life ;* she that from Na- 
 ples 
 Can have no notet 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, 
 And by that destiny to perform an act 
 Whereof what's past is prologue, what to come 
 In yours and my discharge. 
 
 *Beyond the limits of human existence on the globe. 
 ^Knowledge. 
 Cf. Bacon : "If intelligence of the matter could not 
 othertoise have been had but by him, advantage be not 
 taken of the note." — Essai/ of Suitors. 
 
 Seb. What stuff is this! how say you? 
 
 'Tis true, my brother's daughter 's queen of Tunis ; 
 So is the 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 
 
42 The Tempest. 
 
 That now hath seized them ; why, they were no 
 
 worse 
 Than now they are. There be that can rule Naples 
 As well as he that sleeps ; lords that can prate 
 As amply and unnecessarily 
 As this Gonzalo; I myself could make 
 A chough of* as deep chat. O, that you bore 
 The mind that I do ! what a sleep were this 
 For your advancement! Do you understand me? 
 * Jackdaw, a noisy gabbler. 
 
 Seb. Methinks I do. 
 
 Ant. And how does your content 
 
 Tender your own good fortune? 
 
 Seb. I remember 
 
 You did supplant your brother Prospero. 
 
 Ant. True: 
 
 And look how well my garments sit upon me ; 
 Much feater than before : my brother's servants 
 Were then my fellows ; now they are my men. 
 
 Seb. But, for your conscience? 
 
 Ant. Ay, sir; where lies that? if 't were a kibe,* 
 'T would put me to my slipper : but I feel not 
 This deity in my bosom : twenty consciences, 
 That stand 'twixt me and Milan, candied be they 
 And melt ere they molest ! Here lies your brother, 
 No better than the earth he lies upon, 
 If he were that which now he's like, that's dead ; 
 Whom I, with this obedient steel, three inches of it, 
 Can lay to bed for ever; whiles you, doing thus, 
 To the perpetual wink for aye might put 
 This ancient morsel, this Sir -Prudence, who 
 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. 
 
 *An ulcer on one's heel. 
 
 Seb. Thy case, dear friend, 
 
 Shall be my precedent ; as thou got'st Milan, 
 I'll come by Naples. Draw thy sword: one stroke 
 
Act II. Scene I. 43 
 
 Shall free thee from the tribute which thou payest; 
 And I the king shall love thee. 
 
 Ant. Draw together ; 
 
 And when I rear my hand, do you the like, 
 To fall it on Gonzalo. 
 
 Seb. O, but one word. {They talk apart. 
 
 Re-enter ARIEL, invisible. 
 Ari. My master through his art foresees the dan- 
 ger 
 That you, his friend, are in; and sends me forth — 
 For else his project dies — to keep them living. 
 
 (Sings in Gonzalo's ear. 
 While you here do snoring lie, 
 Open-eyed conspiracy 
 His time doth take. 
 If of life you keep a care, 
 Shake off slumber, and beware : 
 Awake, awake ! 
 Ant. Then let us both be sudden. 
 Gon. Now, good angels 
 
 Preserve the king. (They wake. 
 
 Alon. Why, how now? ho, awake! Why are you 
 drawn ? 
 Wherefore this ghastly looking? 
 
 Gon. What's the matter? 
 
 Seb. Whiles we stood here securing your repose, 
 Even now, we heard a hollow burst of bellowing 
 Like bulls, or rather lions : did't not wake you ? 
 It struck mine ear most terribly. 
 Alon. I heard nothing. 
 
 Ant. O, 't was a din to fright a monster's ear, 
 To make an earthquake ! sure, it was the roar 
 Of a whole herd of lions. 
 Alon. Heard you this, Gonzalo? 
 
 Gon. Upon mine honour, sir, I hear a humming, 
 And that a strange one too, which did awake me : 
 I shaked you, sir, and cried : as mine eyes open'd, 
 I saw their weapons drawn : there was a noise, 
 That's verily. 'Tis best we stand upon our guard, 
 Or that we quit this place : let's draw our weapons. 
 
44 The Tempest. 
 
 Alon. Lead off this ground; and let's make fur- 
 ther search 
 For my poor son. 
 
 Gon. Heavens keep him from these beasts ! 
 
 For he is, sure, i' the island. 
 Alon. Lead away. 
 
 Ari. Prospero my lord shall know what I have 
 done : 
 So, king, go safely on to seek thy son. {Exeunt. 
 
 Another part of the island. 
 Enter CALIBAN zvith a burden of wood. A noise 
 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 ! His spirits hear me 
 And yet 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 ths darkt 
 Out of my way, unless he bid 'em; but 
 For ever trifle are they set upon me ; 
 Sometime like apes that mow** and chatter at me 
 And after bite me, then like hedgehogs which 
 Lie tumbling in my barefoot way and mount 
 Their pricks at my footfall ; sometimes am I 
 All wound with adders who with cloven tongues 
 Do hiss me into madness. 
 
 Enter TRINCULO. 
 
 Lo, now, lo ! 
 Here comes a spirit of his, and to torment me 
 For bringing wood in slowly. I'll fall flat; 
 Perchance he will not mind me. 
 
 * Inch-parts. t Ignis fatuus. ** Makes faces. 
 
Act II. Scene II. 45 
 
 Trin. Here's neither bush nor shrub, to bear off 
 any weather at all, and another storm brewing; I 
 hear it sing i' the wind : yond same black cloud, 
 yond huge one, looks like a foul bombard that would 
 shed his liquor. If it should thunder as it did be- 
 fore, I know not where to hide my head : yond same 
 cloud cannot choose but fall by pailfuls. What 
 have we here? a man or a fish? dead or alive? A 
 fish : he smells like a fish ; a very ancient and fish- 
 like smell ; a kind of not of the newest Poor-John. 
 A strange fish ! Were I in England now, as once I 
 was, and had but this fish painted, not a holiday 
 fool there but would give a piece of silver : there 
 would this monster make a man ; any strange beast 
 there makes a man : when they will not give a doit 
 to relieve a lame beggar, they will lay out ten to see 
 a dead Indian. Legged like a man ! and his fins like 
 arms! Warm o' my troth! I do now let loose my 
 opinion ; hold it no longer : this is no fish,* but an 
 islander, that hath lately suffered by a thunderbolt. 
 {Thunder.) Alas, the storm is come again! my best 
 way is to creep under his gaberdine ; there is no 
 other shelter hereabout : misery acquaints a man 
 with strange bed-fellows. I will here shroud till the 
 dregs of the storm be past. 
 
 *Cf. Bacon : "Fish are said to be cold-blooded/' — His- 
 toria Vitae et Mortis. 
 
 Enter STEPHANO, singing: a bottle in his hand. 
 Ste. I shall no more to sea, to sea, 
 Here shall I die ashore — 
 This is a very scurvy tune to sing at a man's fu- 
 neral: well, here's my comfort.* {Drinks. 
 {Sings. 
 The master, the swabber, the boatswain and I, 
 
 The gunner and his mate 
 Loved Mall, Meg and Marian and Margery, 
 But none of us cared for Kate ; 
 For she had a tongue with a tang, 
 Would cry to a sailor, Go hang! 
 
46 
 
 The Tempest. 
 
 She loved not the savour of tar nor of pitch 
 
 Yet a tailor might scratch her where'er she did itch- 
 
 Then to sea, boys, and let her go hang I 
 Th,s ,s a scurvy tune too: but here's my comfort. 
 
 J' St€phan ° calls *• °™f°rt naa airZtm 
 
 Cal. Do not torment me • Oh ' 
 
 Ste. What's the matter? Have we devils here? 
 
 Ind y h °a ? PU T £ CkS T n '' Y h Sava ^ eS and ^n of 
 tnd, ha? I have not scaped drowning to be afeard 
 now of your four legs; for it hath been said is 
 proper a man as ever went on four legs ca" not make 
 h.m give ground; and it shall be said so S Xe 
 Stephano breathes at 's nostrils. 
 
 Cal. The spirit torments me; Oh' 
 
 Ste. This is some monster of the isle with four 
 
 egs who hath got, as I take it, an ague Whe e 
 
 the devil should he learn our language? I will gfve 
 
 h.m some rehef, if it be but for that If I can re 
 
 cover him and keep him tame and get to Naples with 
 
 on m ne h at'ti a eX S r ent ^ "* ^ L **™ ^S 
 
 wo C odhome n Sste r rnient "* "^ ™ h ^ »* 
 
 Ste. He's in his fit now and does not talk after 
 
 the wisest. He shall taste of my bottle if he have 
 
 Eft 'if": :r e 3f0re ' £ WiH SO " ear * "--- 
 
 •i, . } Can recover him and keep him tame I 
 
 will not take too much for him; he shalT pay for 
 
 h.m that hath him, and that soundly P * ° T 
 
 nn.n t v °? t . me yet but little h«rt; thou wilt 
 anon, I know ,t by thy trembling:* now Pros^e, 
 works upon thee. r-rosper 
 
 ofltjlZ f o°n7s e lt: hOUffht t0 ****** thC *~~» 
 
 Cf. "Comedy of Errors" • f 
 
 "Mark, how he trembles in Ms ecstacy t 
 
 I charge thee, Satan, hous'd within this man 
 
 lo yield possession." jy 4 r 4 
 
 of lVl k Say m t77J P e7rA was th °" pht u *<'"" <"">■' 
 
Act II. Scene II. 47 
 
 Stc. Come on your ways ; open your mouth ; here 
 is that which will give language to you, cat :* open 
 your mouth ; this will shake your shaking, I can 
 tell you, and that soundly : you cannot tell who's 
 your friend : open your chaps again. 
 
 *A n allusion to the old proverb, "Good liquor irill 
 make a cat speak." 
 
 Trin. I should know that voice : it should be — 
 but he is drowned ; and these are devils : O defend 
 me ! 
 
 Stc. 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 utter foul 
 speeches and to detract. If all the wine in my bot- 
 tle will recover him, I will help his ague. Come. 
 Amen ! I will pour some in thy other mouth. 
 
 Trin. Stephano ! 
 
 Stc. Doth thy other mouth call me? Mercy, 
 mercy ! This is a devil, and no monster : I will 
 leave him ; I have no long spoon.* 
 
 *An allusion to another proverb, "He who sups with 
 the devil has need of a long spoon." 
 
 Trin. Stephano ! If thou beest Stephano, touch 
 me and speak to me ; for I am Trinculo — be not 
 afeard — thy good friend Trinculo. 
 
 Stc. If thou beest Trinculo, come forth : I'll pull 
 thee by the lesser legs: if any be Trinculo's legs, 
 these are they. Thou art very Trinculo indeed ! 
 How earnest thou to be the siege of this moon-calf?* 
 can he vent Trinculos? 
 
 *A monster, in the shaping of which at birth the moon 
 was supposed to have an agency. 
 
 Trin. I took him to be killed with a thunder- 
 stroke. But art thou not drowned, Stephano? I 
 hope now thou art not drowned. Is the storm over- 
 blown? I hid me under the dead moon-calfs gaber- 
 dine for fear of the storm. And art thou living, 
 Stephano ? O Stephano, two Neapolitans 'scaped ! 
 
48 The Tempest. 
 
 Ste. Prithee, do not turn me about ; my stomach 
 is not constant. 
 
 Cal. (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. 
 
 Ste. How didst thou 'scape? How earnest thou 
 hither? swear by this bottle how thou earnest hither. 
 I escaped upon a butt of sack* which the sailors 
 heaved o'erboard, by this bottle! which I made of 
 the bark of a tree with mine own hands since I was 
 cast ashore. 
 
 *From Lat. siccus (0. Eng. Sec), dry; a Spanish wine 
 of the dry kind. 
 
 Cal. I'll swear upon that bottle to be thy true sub- 
 ject; for the liquor is not earthly. 
 
 Ste. Here ; swear then how thou escapedst. 
 
 Trin. Swum ashore, man, like a duck : I can swim 
 like a duck, I'll be sworn. 
 
 Ste. Here, kiss the book. Though thou canst 
 swim like a duck, thou art made like a goose. 
 
 Trin. O Stephano, hast any more of this? 
 
 Ste. The whole butt, man : my cellar is in a rock 
 by the sea-side where my wine is hid. How now, 
 moon-calf! how does thine ague? 
 
 Cal. Hast thou not dropp'd from heaven? 
 
 Ste. Out o' the moon, I do assure thee ; I was 
 the man i' the moon when time was. 
 
 Cal. I have seen thee in her and I do adore thee : 
 My mistress show'd me thee and thy dog and thy 
 bush. 
 
 Ste. Come, swear to that ; kiss the book : I will 
 furnish it anon with new contents : swear. 
 
 Trin. By this good light, this is a very shallow 
 monster ! I afeard of him ! A very weak monster ! 
 The man i' the moon ! A most poor credulous mon- 
 ster ! Well drawn, monster, in good sooth !* 
 
 *Truth. The word soothsayer formerly meant truth- 
 teller. 
 
Act II. Scene II. 49 
 
 Cal. I'll show thee every fertile inch o' th' island ; 
 And I will kiss thy foot : I prithee, be my god.* 
 
 *Cf. "Julius Caesar" : — 
 
 "And this man 
 Is now become a god." — I., 2. 
 Also "Cymbeline" : — 
 
 "We scarce are men and you are gods." — V., 2. 
 Also Bacon : "Let a man only consider what a differ- 
 ence there is between the life of men in the most civilized 
 provinces of Europe and in the tvildest and most barbar- 
 ous districts of New India; he will feel it to be great 
 enough to justify the saying that 'man is a god to man.'" 
 
 — Novum Organum. 
 
 Trin. By this light, a most perfidious and drunken 
 monster ! when 's god's asleep, he'll rob his bottle. 
 
 Cal. I'll kiss thy foot; I'll swear myself thy sub- 
 ject. 
 
 Ste. Come on then ; down, and swear. 
 
 Trin. I shall laugh myself to death at this puppy- 
 headed monster. A most scurvy monster! I could 
 find in my heart to beat him, — 
 
 Ste. Come, kiss. 
 
 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 ! 
 I'll bear him no more sticks, but follow thee, 
 Thou wondrous man. 
 
 Trin. A most ridiculous monster, to make a won- 
 der of a poor drunkard !* 
 
 *A wonder is anything the cause or nature of whicli is 
 unknown and assumed to be unknowable ; as, for instance, 
 divinity. 
 
 Cf. Bacon : "Contemplation hath for ever knowledge, 
 but as to the nature of God no knowledge, but wonder; 
 which is nothing else but contemplation broken off, of 
 losing itself." — On the Interpretation of Nature. 
 
 Cal. I prithee, let me bring thee where crabs 
 grow; 
 And I with my long nails will dig thee pig-nuts ; 
 Show thee a jay's nest and instruct thee how 
 
50 The Tempest, 
 
 To snare the nimble marmoset; Til bring thee 
 To clustering filberts and sometimes I'll get thee 
 Young scamels from the rock. Wilt thou go with 
 me? 
 Ste. I prithee now, lead the way without any more 
 talking. Trinculo, the king and all our company 
 else being drowned, we will inherit here ; here ; bear 
 my bottle : fellow Trinculo, we'll fill him by and by 
 again. 
 
 Cal. (Sings drunk enly) 
 
 Farewell, master ; farewell, farewell ! 
 Trin. A howling monster; a drunken monster! 
 Cal. No more dams I'll make for fish ; 
 Xor fetch in firing 
 At requiring; 
 Xor scrape trencher, nor wash dish : 
 'Ban, 'Ban, Cacaliban 
 Has a new master : get a new T man. 
 Freedom, hey-day ! hey-day, freedom ! freedom, hey- 
 day, freedom ! 
 Ste. O brave monster! Lead the way. (Exeunt. 
 
Before Prosperous cell. 
 
 Enter FERDINAND, bearing a log. 
 
 Fer. There be some sports are painful,* and their 
 labour 
 Delight in them sets off : some kinds of baseness 
 Are nobly undergone and most poor matters 
 Point to rich ends. This my mean task 
 Would be as heavy to me as odious, but 
 The mistress which I serve quickens what's dead 
 And make my labours pleasures : O, she is 
 Ten times more gentle than her father's crabbed, 
 And he's composed of harshness. I must remove 
 Some thousands of these logs and pile them up, 
 Upon a sore injunction: my sweet mistress 
 Weeps when she seees me work, and says, such 
 
 baseness 
 Had never like executor. I forget : 
 But these sweet thoughts do even refresh my la- 
 bours. 
 Most busy lest, when I do it.f 
 
 * Requiring one to take pains. 
 "\That is, most busy ivhen I do it least. A like senti- 
 ment is in "Romeo and Juliet : — 
 
 "Most are busied when they're most alone." 
 
 —I., 1, 134. 
 
 Enter MIRANDA; and PROSPERO at a distance, 
 unseen. 
 
52 The Tempest. 
 
 Mir. Alas, now, pray you, 
 
 Work not so hard : I would the lightning had 
 Burnt up those logs that you are enjoined to pile! 
 Pray, set it down and rest you : when this burns, 
 'Twill weep for having wearied you. My father 
 Is hard at study; pray now, rest yourself; 
 He's safe for these three hours. 
 
 Fer. O 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 ; 
 I'll carry it to the pile. 
 
 Fer. No, precious creature ; 
 
 I had rather crack my sinews, break my back, 
 Than you should such dishonour undergo, 
 While I sit lazy by. 
 
 Mir. It would become me 
 
 As well as it does you : and I should do it 
 With much more ease ; for my good will is to it, 
 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 — 
 What is your name? 
 
 Mir. Miranda. — O my father, 
 
 I have broken your hest to say so ! 
 
 Fer. Admired Miranda ! 
 
 Indeed the top of admiration !* worth 
 What's dearest to the world ! Full many a lady 
 I have eyed with best regard and many a time 
 The harmony of their tongues hath into bondage 
 Brought my too diligent ear : for several virtues 
 Have I liked several women ; never any 
 With so full soul, but some defect in her 
 Did quarrel with the noblest grace she owed 
 
Act III. Scene I. 53 
 
 And put it to the foil :t but you, O you, 
 So perfect and so peerless, are created 
 Of every creature's best !** 
 
 *Cf. Bacon : — 
 The following similar expressions are found elsewhere 
 in these plays : — 
 
 The top of judgment. 
 
 The top of honor. 
 
 The spire and top of praises. 
 
 The top of question. 
 
 Top of sovereignty. 
 
 Top of my compass. 
 
 Top of my tent. 
 
 Top of all design. 
 
 Tops of all their pride. 
 
 The top of happy hours. 
 
 In top of rage. 
 Cf. Bacon : "Pindar in praising Hiero, says most ele- 
 gantly (as is his wont) that he 'culled the tops of all 
 virtues. 3 And certainly I think it would contribute much 
 to magnanimty and the honor of humanity, if a collec- 
 tion were made of what the schoolmen call the ultimi- 
 ties, and Pindar the tops and summits of human nar 
 ture, especially from true history; showing what is the 
 ultimate and highest point which human nature has of 
 itself attained in the several gifts of body and mind." 
 — De Augmentis. 
 
 fFrom 0. Fr. afoler, to frustrate, or make of no effect. 
 **Cf. Bacon : "A man cannot tell whether Apelles 
 (Zevxu) or Albert Durer were the more trifler ; whereof 
 the one would make a personage by geometrical propor- 
 tions, the other by taking the best parts out of divers 
 faces, to make one excellent." — Essay of Beauty. 
 
 Also, Catullus: "She is the most beautiful of all, hav- 
 ing stolen all graces from all others." — Latin Epigram, 
 87. 
 
 Mir. I do not know- 
 
 One of my sex ; no woman's face remember, 
 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, 
 The jewel in my dower, I would not wish 
 Any companion in the world but you. 
 Nor can imagination form a shape, 
 Besides yourself, to like of. But I prattle 
 
54 The Tempest. 
 
 Something too wildly and my father's precepts 
 I therein do forget. 
 
 Fer. I am in my condition 
 
 A prince, Miranda; I do think, a king; 
 I would, not so ! — and would no more endure 
 This wooden slavery than to suffer 
 The flesh-fly blow my mouth. Hear my soul speak : 
 The very instant that I saw you, did 
 My heart fly to your service ; there resides, 
 To make me slave to it; and for your sake 
 Am I this patient log-man. 
 
 Mir. Do you love me? 
 
 Fer. O heaven, O earth, bear witness to this sound 
 And crown what I profess with kind event 
 If I speak true ! if hollowly, invert 
 What best is boded me to mischief! I 
 Beyond all limit of what else i' the world 
 Do love, prize, honour you. 
 
 Mir. I am a fool 
 
 To weep at what I am glad of. 
 
 Pros. Fair encounter 
 
 Of two most rare affections ! Heavens rain grace* 
 On that which breeds between 'em ! 
 
 *"The grace of God is worth a faire." — Promus No. 
 96. 
 
 Fer. Wherefore weep you? 
 
 Mir. At mine unworthiness that dare not offer 
 What I desire to give, and much less take 
 What I shall die to want. But this is trifling; 
 And all the more it seeks to hide itself, 
 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'll die your maid; to be your fellow 
 You may deny me; but I'll be your servant, 
 Whether you will or no.* 
 
 *The writings of Catullus had not been translated into 
 English in Shakespeare's time. 
 
 Cf. "Catullus" : "If our marriage had not been agree- 
 able to you, you could have taken me to your home, 
 where, as your maid, I would cheerfully have served you." 
 
Act III. Scene II. 55 
 
 Fer. My mistress, dearest; 
 
 And I thus humble ever. 
 Mir. My husband, then?* 
 
 * Miranda j not Ferdinand, asks the momentous ques- 
 tion. 
 
 "Troilus and Cressida" : — 
 
 "Cressida (to Troilus). Though I lov'd you well, I 
 woo'd you not; 
 
 And yet, good faith, I wish'd myself a man, 
 Or that we women had men's privilege 
 Of speaking first." —ill., 2, 125. 
 
 Also Bacon : "Let me put a feigned case (and yet an- 
 tiquity makes it doubtful whether it were fiction or his- 
 tory) where the whole government, public and private, 
 yea the militia itself, was in the hands of women. . . . 
 I speak not of the reign of women (for that is supplied 
 by counsel and subordinate magistrates, masculine), but 
 where the regiment of state, justice, families, is all man- 
 aged by women." — An Advertisement Touching on Holy 
 War. 
 
 Fer. Ay, with a heart as willing 
 As bondage e'er of freedom : here's my hand. 
 
 Mir. And mine, with my heart in 't : and now 
 farewell 
 Till half an hour hence. 
 
 Fer. A thousand thousand !* 
 
 * ii 8peaking in a perpetual hyperbole is comely in 
 nothing but lore.'' — Essay of Lore. 
 
 (Exeunt Fer. and Mir. severally. 
 Pros. So glad of this as they I cannot be, 
 Who are surprised withal ; but my rejoicing 
 At nothing can be more. I'll to my book, 
 For yet ere supper-time must I perform 
 Much business appertaining. (Exit. 
 
 Another part of the island. 
 Enter CALIBAN, STEPHANO, and TRINCULO. 
 Ste. Tell not me; when the butt is out, we will 
 drink water; not a drop before: therefore bear up, 
 and board 'em. Servant-monster, drink to me. 
 
56 The Tempest. 
 
 Trin. Servant-monster ! the folly of this island ! 
 They say there's but five upon this isle : we are three 
 of them ; if the other two be brained like us, the 
 state totters. 
 
 Ste. Drink, servant-monster, when I bid thee : thy 
 eyes are almost set in thy head. 
 
 Trin. Where should they be set else? he were a 
 brave monster indeed, if they were set in his tail. 
 
 Ste. My man-monster hath drown'd his tongue 
 in sack : for my part, the sea cannot drown me ; I 
 swam, ere I could recover the shore, five and thirty 
 leagues off and on. By this light, thou shalt be my 
 lieutenant, monster, or my standard. 
 
 Trin. Your lieutenant, if you list; he's not stand- 
 ard. 
 
 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 
 beest a good moon-calf. 
 
 Cal. How does thy honour? Let me lick thy 
 shoe. 
 
 Trin. Thou liest, most ignorant monster : I am 
 in case to ustle a constable. Why, thou deboshed 
 fish, thou, was there ever man a coward that hath 
 drunk so much sack as I to-day? Wilt thou tell a 
 monstrous lie, being but half a fish and half a mon^ 
 ster? 
 
 Cal. Lo, how he mocks me ! wilt thou let him, 
 my lord? 
 
 Trin. 'Lord' quoth he ! That a monster should 
 be such a natural ! 
 
 Cal. Lo, lo, again ! bite him to death, I prithee. 
 
 Ste. Trinculo, keep a good tongue in your head : 
 if you prove a mutineer, — the next tree ! The poor 
 monster's my subject and he shall not suffer indig- 
 nity. 
 
 Cal. I thank my noble lord. Wilt thou be pleased 
 to hearken once again to the suit I made to thee? 
 
u 
 
 2 u 
 5 < 
 
 ^ ffW M fc. 
 
Act III. Scene II. 57 
 
 Ste. Marry, will I : kneel and repeat it ; I will 
 stand, and so shall Trinculo. 
 
 Enter ARIEL, invisible. 
 
 Ceil. As I told thee before, I am subject to a ty- 
 rant, a sorcerer, that by his cunning hath cheated 
 me of the island. 
 
 Art. Thou liest. 
 
 Cal. Thou liest, thou jesting monkey, thou: 
 I would my valiant master would destroy thee ! 
 I do not lie. 
 
 Ste. Trinculo, if you trouble him any more in 's 
 tale, by this hand, I will supplant some of your 
 teeth. 
 
 Trin. Why, I said nothing. 
 
 Ste. Mum, then, and no more. Proceed. 
 
 Cal I say, by sorcery he got this isle; 
 From me he got it. If thy greatness will 
 Revenge it on him, — for I know thou darest, 
 But this thing dare not, — 
 
 Ste. That's most certain. 
 
 Cal. Thou shalt be lord of it and I'll serve thee. 
 
 Ste. How now shall this be compassed? Canst 
 thou bring me to the party? 
 
 Cal. Yea, yea, my lord : I'll yield him thee asleep, 
 Where thou mayst knock a nail into his head. 
 
 Art. Thou liest; thou canst not. 
 
 Cal. What a pied ninny's* this ! Thou scurvy 
 patch ! 
 I do beseech thy greatness, give him blows 
 And take his bottle from him : when that's gone 
 He shall drink nought but brine; for I'll not show 
 
 him 
 Where the quick freshes are. 
 
 *An allusion to the motley in which professional fools 
 were always arrayed, with pointed caps on their heads 
 and mock sceptres in their hands. 
 
 Ste. Trinculo, run into no further danger : inter- 
 rupt the monster one word further, and, by this 
 hand, I'll turn my mercy out o' doors and make a 
 stock-fish of thee. , 
 
58 The Tempest. 
 
 Trin. Why, what did I? I did nothing. I'll go 
 farther off. 
 
 Ste. Didst thou not say he lied? 
 
 Ari. Thou liest. 
 
 Ste. Do I so? take thou that. {Beats Trin.) As 
 you like this, give me the lie another time. 
 
 Trin. I did not give the lie. Out o' your wits 
 and hearing too ? A pox o' your bottle ! this can 
 sack and drinking do. A murrain on your monster, 
 and the devil take your fingers ! 
 
 Cal. Ha, ha, ha ! 
 
 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, 
 F th' afternoon to sleep : there thou mayst brain 
 
 him, 
 Having first seized his books, or with a log 
 Batter his skull, or paunch him with a stake. 
 Or cut his wezand* with thy knife. Remember 
 First to possess his books ; for without them 
 He's but a sot,t 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. 
 And that most deeply to consider is 
 The beauty of his daughter : he himself 
 Calls her a nonpareil : I never saw a woman, 
 But only Sycorax my dam and she ; 
 But she as far surpasseth Sycorax 
 As great'st does teast.t 
 
 *Wind pipe. 
 fFrom the French sot. blockhead. 
 
 *Y'From the greatest even to the least.'' — Prom us 
 No. 129. 
 
 Ste. Is it so brave a lass? 
 
Act III. Scene II. 59 
 
 Cal. Ay, lord; she will become thy bed, I warrant. 
 And bring thee forth brave brood. 
 
 Ste. Monster, I will kill this man : his daughter 
 and I will be king and queen, — save our graces ! — 
 and Trinculo and thy self shall be viceroys. Dost 
 thou like the plot, Trinculo? 
 
 Trin. Excellent. 
 
 Ste. Give me thy hand : I am sorry I beat thee ; 
 but, while thou livest, keep a good tongue in thy 
 head. 
 
 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 makest me merry ; I am full of pleas- 
 ure : 
 Let us be jocund : will you troll the catch* 
 You taught me but while-ere? 
 
 *To sing the parts of a song in succession, the singers 
 catching up one another's sentences. 
 
 Ste. 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 ; 
 Thought is free. 
 */ have been alwaics at his request." — Promus No. 
 1387. 
 
 Cal. That's not the tune. 
 
 (Ariel plays the tune on a tabor and pipe. 
 Ste. What is this same? 
 
 Trin. This is the tune of our catch, played by the 
 picture of Nobody.* 
 
 *The reference here is to a well-known print, in which 
 a man's head teas represented as resting on tico legs 
 without a body. Ariel, it must be remembered, was in- 
 risible. 
 
 Ste. If thou beest a man, show thyself in thy like- 
 ness : if thou beest a devil, take 't as thou list. 
 
 Trin. O, forgive me my sins ! 
 
 Ste. He that dies pays all debts : I defy thee. 
 Mercy upon us ! 
 
60 The Tempest. 
 
 Cal. Art thou afeard? 
 
 Ste. No, monster, not I. 
 
 Cal. Be not afeard; the isle is full of noises, 
 Sounds and sweet airs, that give delight and hurt 
 
 not. 
 Sometimes a thousand twangling instruments 
 Will hum about mine ears, and sometimes voices 
 That, if I then had waked after long sleep, 
 Will make me sleep again : and then, in dreaming, 
 The clouds methought would open and show riches 
 Ready to drop upon me, that, when I waked, 
 I cried to dream again. 
 
 Ste. This will prove a brave kingdom to me, 
 where I shall have my music for nothing. 
 
 Cal. When Prospero is destroyed. 
 
 Ste. That shall be by and by : I remember the 
 story. 
 
 Trin. The sound is going away ; let's follow it, 
 and after do our work. 
 
 Ste. Lead, monster ; we'll follow. I would I could 
 see this taborer ; he lays it on. 
 
 Trin. Wilt come? I'll follow, Stephano. 
 
 {Exeunt. 
 
 Another part of the island. 
 
 Enter ALONZO, SEBASTIAN, ANTONIO, GON- 
 ZALO, ADRIAN, FRANCISCO, and others. 
 
 Gon. By 'r lakin,* I can go no further, sir; 
 My old bones ache : here's a maze trod indeed 
 Through forth-rights and meanders !f By your pa- 
 tience, 
 I needs must rest me. 
 
 *An abbreviation of lady kin, our lady. 
 
Act III. Scene III. 61 
 
 \<ionzalo means that the path they were treading was 
 an intricate one, noic straight and now winding. 
 
 Alon. Old lord, I cannot blame thee, 
 
 Who am myself attach'd with weariness, 
 To the dulling of my spirits : sit down, and rest. 
 Even here I will put off my hope and keep it 
 No longer for my flatterer : he is drown'd 
 Whom thus we stray to find, and the sea mocks 
 Our frustrate search on land. Well, let him go. 
 
 Ant. (Aside to Seb.) I am right glad that he's so 
 out of hope. 
 Do not, for one repulse, forego the purpose 
 That you resolved to effect. 
 
 Seb. (Aside to Ant.) The next advantage 
 
 Will we take throughly. 
 
 Ant. (Aside to Seb.) Let it be to-night; 
 
 For, now they are oppress'd with travel, they 
 Will not, nor cannot, use such vigilance 
 As when they are fresh. 
 
 Seb. (Aside to Ant.) I say, to-night: no more. 
 
 (Solemn and strange music. 
 
 Alon. What harmonv is this? My good friends, 
 hark! 
 
 Gon. Marvellous sweet music! 
 
 Enter PROSPERO above, invisible. Enter several 
 strange Shapes, bringing in a banquet; they dance 
 about it with gentle actions of salutation; and, in- 
 viting the King, etc., to eat, they depart. 
 Alon. Give us kind keepers, heavens! What were 
 
 these? 
 Seb. A living drollery. Now I will believe 
 
 That there are unicorns, that in Arabia 
 
 There is one tree, the phcenix' throne, one phcenix 
 
 At this hour reigning there. 
 Ant. I'll believe both; 
 
 And what does else want credit, come to me, 
 
 And I'll be sworn 'tis true : travellers ne'er did lie, 
 
 Though fools at home condemn 'em. 
 
 Gon. If in Naples 
 
62 The Tempest. 
 
 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 — 
 
 Who, though they are of monstrous shape, yet, note, 
 
 Their manners are more gentle-kind than of 
 
 Our human generation you shall find 
 
 Many, nay, almost any. 
 
 Pros. {Aside) Honest lord, 
 
 Thou hast said well; for some of you there present 
 Are worse than devils. 
 
 A Ion. I cannot too much muse 
 
 Such shapes, such gesture and such sound, express- 
 ing, 
 Although they want the use of tongue, a kind 
 Of excellent dumb discourse. 
 
 Pros. (Aside) Praise in departing. 
 
 Fran. They vanish'd strangely. 
 
 Seb. No matter, since 
 
 They have left their viands behind; for we have 
 
 stomachs. 
 Will 't please you taste of what is here? 
 
 Alon. Not I. 
 
 Gon. Faith, sir, you need not fear. When we 
 were boys, 
 Who would believe that there were mountaineers 
 Dew-lapp'd like bulls, whose throats had hanging 
 
 at 'em 
 Wallets of flesh?* or that there were such men 
 Whose heads stood in their breasts ?f which now 
 
 we find 
 Each putterout of five for one** will bring us 
 Good warrant of. 
 
 *Cf. Bacon: "The people that dwell at the foot of 
 snow mountains, or otherwise upon the ascent, especially 
 the women, by drinking snow water, hare great bags 
 hanging under their throats. 39 — Natural History. 
 
 fCf. Pliny : "The Blemmyi, by report, have no heads, 
 but mouth and eyes both in their breast." — Natural His- 
 tory. 
 
 **An allusion to a peculiar method of life insurance 
 once in vogue in England. A person, going abroad, would 
 put out a sum of money ivhich ivas to be refunded to 
 
Act III. Scene III. 63 
 
 him with a large premium at his return. If lie should 
 not return, the money advanced was to be forfeited to 
 the insurer. The premium varied according to the sup- 
 posed risk, often amounting to fire times the principal. 
 
 A Ion. I will Stand to and feed, 
 
 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 lightning. Enter ARIEL, like a harpy; 
 
 claps his wings upon the table; and, with a quaint 
 
 device, the banquet vanishes. 
 
 Ari You are three men of sin, whom Destiny, 
 That hath to instrument this lower world 
 And what is in 't, the never-surfeited sea 
 Hath caused to belch up you ; and on this island 
 Where man doth not inhabit; you 'mongst men 
 Being most unfit to live. I have made you mad ; 
 And even with such-like valour men hang and 
 
 drown 
 Their proper selves. 
 
 (Alon., Seb., etc., draw their swords. 
 You fools ! I and my fellows 
 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 
 Kill the still-closing waters, as diminish 
 One dowle that's in my plume : my fellow-ministers 
 Are like invulnerable. If you could hurt, 
 Your swords are now too massy for your strengths 
 And will not be uplifted. But remember — 
 For that's my business to you — that you three 
 From Milan did supplant good Prospero ; 
 Exposed unto the sea, which "hath requit it, 
 Him and his innocent child : for which foul deed 
 The powers, delaying, not forgetting, have 
 Incensed the seas and shores, yea, all the creatures, 
 Against your peace. Thee of thy son, Alonso, 
 They have bereft ; and do pronounce by me : 
 Lingering perdition, worse than any death 
 
64 The Tempest. 
 
 Can be at once, shall step by step attend 
 
 You and your ways ; whose wraths to guard you 
 
 from — 
 Which here, in this most, desolate isle, else falls 
 Upon your heads — is nothing but heart-sorrow 
 And a clear life ensuing. 
 He vanishes in thunder; then, to soft music, enter 
 
 the Shapes again, and dance, with mocks and 
 
 mows, and carrying out the table. 
 
 Pros. Bravely the figure of this harpy hast thou 
 Perform'd, my Ariel; a grace it had, devouring: 
 Of my instruction hast thou nothing bated 
 In what thou hadst to say : so, with good life 
 And observation strange, my meaner ministers 
 Their several kinds have done. My high charms 
 
 work 
 And these mine enemies are all knit up 
 In their distractions ; they now are in my power ; 
 And in these fits I leave them, while I visit 
 Young Ferdinand, whom they suppose is drown'd, 
 And his and mine loved darling. (Exit above. 
 
 Gon. r the name of something holy, sir, why 
 stand you 
 In this strange stare? 
 
 A Ion. O, it is monstrous, monstrous! 
 
 Methought the billows spoke and told me of it; 
 The winds did sing it to me, and the thunder, 
 That deep and dreadful organ-pipe, pronounced 
 The name of Prosper : it did bass my trespass. 
 Therefore my son i' the ooze is bedded, and 
 I'll seek him deeper than e'er plummet sounded 
 And with him there lie mudded. (Exit. 
 
 Seb. But one field at a time, 
 
 I'll fight their legions o'er. 
 
 Ant. I'll be thy second. 
 
 (Exeunt Seb. and Ant. 
 
 Gon. All three of them are desperate : their great 
 guilt, 
 Like poison given to work a great time after, 
 
Act III. Scene III. 
 
 65 
 
 Now 'gins to bite the spirits. I do beseech you 
 That are of suppler joints, follow them swiftly 
 And hinder them from what this ecstasy 
 May now provoke them to. 
 Adr. Follow, I pray you. (Exeunt. 
 
Before PROSPERO'S cell. 
 
 Enter PROSPERO, FERDINAND, and 
 MIRANDA. 
 
 Pros. If I have too austerely punish'd you, 
 Your compensation makes amends, for I 
 Have given you here a third of mine own life, 
 Or that for which I live; who once again 
 I tender to thy hand : all thy vexations 
 Were but my trials of thy love, and thou 
 Hast strangely stood the test : here, afore Heaven, 
 I ratify this my rich gift. O Ferdinand, 
 Do not smile at me that I boast her off, 
 For thou shalt find she will outstrip all praise 
 And make it halt behind her. 
 
 Fer. I do believe it 
 
 Against an oracle. 
 
 Pros. Then, as my gift and thine own acquisition 
 Worthily purchased, take my daughter : but 
 If thou dost break her virgin-knot before 
 All sanctimonious ceremonies may 
 With full and holy rite be minister'd, 
 No sweet aspersion* shall the heavens let fall 
 To make this contract grow ; but barren hate, 
 Sour-eyed disdain and discord shall bestrew 
 The union of your bed with weeds so loathly 
 That you shall hate it both : therefore take heecLf 
 As Hymen's lamps shall light you. 
 
Act IV. Scene I. 67 
 
 *From hat. aspergere, to besprinkle, as with reports, 
 good or bad. 
 
 jCf. Genesis : "And the Lord God commanded the man, 
 saying. Of every tree in the garden thou mayest freely 
 eat; but of the tree of knowledge of good and evil, thou 
 shalt not eat of it." — II., 16-17. 
 
 Per. As I hope 
 
 For quiet days, fair issue and long life, 
 With such love as 'tis now, the murkiest den, 
 The most opportune place, the strong'st suggestion 
 Our worser genius can, shall never melt 
 Mine honour into lust, to take away 
 The edge of that day's celebration 
 When I shall think, or Phcebus' steeds are founder'd, 
 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 ser- 
 vice 
 Did worthily perform ; and I must use you 
 In such another trick. Go bring the rabble, 
 O'er whom I give thee power, here to this place : 
 Incite them to quick motion ; for I must 
 Bestow upon the eyes of this young couple 
 Some vanity* of mine art : it is my promise, 
 And they expect it from me. 
 * Illusion. 
 
 Ari. Presently? 
 
 Pros. Ay, with a twink. 
 
 Ari. Before you can say 'come' and go,' 
 
 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 approach 
 Till thou dost hear me call. 
 Ari. Well, I conceive, {Exit. 
 
68 The Tempest. 
 
 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 ! 
 
 *"Amour de feme feu d'essoupe." — Promus No. 1521. 
 
 Per. I warrant you, sir; 
 
 The white cold virgin snow upon my heart 
 Abates the ardour of my liver.* 
 
 *Cf. "Love's Labor Lost" : — 
 
 "This is the liver-vein, which makes flesh a deity." 
 
 —IV., 3. 
 Also "The Merry Wives of Windsor" : — 
 "Ford (referring to Falstaff). Love my wife! 
 With liver burning hot." — II., 1. 
 
 Bacon : "Plato's opinion, who located sensuality in 
 the liver, is not to be despised." — Advancement of Learn- 
 ing. 
 
 Pros. Well. 
 
 Now come, my Ariel ! bring a corollary,* 
 Rather than want a spirit : appear, and pertly ! 
 No tongue ! all eyes ! be silent. {Soft music. 
 
 *From Lat. corolla, a small wreath, used to indicate 
 mi overplus, or more than sufficient. 
 
 Enter IRIS. 
 
 Iris. Ceres, most bounteous lady, thy rich leas 
 Of wheat, rye, barley, vetches, oats and pease; 
 Thy turfy mountains, where live nibbling sheep. 
 And flat meads thatch'd with stover, them to keep; 
 Thy banks with pinioned and twilled brims,* 
 Which spongy April at thy hest betrims, 
 To make cold nymphs chaste crowns ; and thy 
 
 broom-groves 
 Whose shadow the dismissed bachelor loves, 
 Being lass-lorn ; thy pole-clipt vineyard ; 
 And thy sea-marge, sterile and rocky-hard. 
 Where thou thyself dost air; — the queen o' the sky, 
 Whose watery arch and messenger am I, 
 Bids thee leave these, and with her sovereign grace, 
 Here on this grass-plot, in this very place, 
 To come and sport : her peacocks fly amain : 
 
Act IV. Scene I. 69 
 
 Approach, rich Ceres, her to entertain. 
 
 * Aquatic plants found in the margins of streams. 
 
 Enter CERES. 
 
 Cer. Hail, many-colour'd messenger, that ne'er 
 Dost disobey the wife of Jupiter ; 
 Who with thy saffron wings upon my flowers 
 Diffusest honey-drops,* refreshing showers, 
 And with each end of thy blue bow dost crown 
 My bosky acres and my unshrubb'd down. 
 Rich scarf to my proud earth ; why hath thy queen 
 Summon'd me hither, to this short-grass'd green? 
 
 *The dramatist calls Iris, as Homer does, the personi- 
 fication of the rainbow. He also gives expression to a 
 belief of the ancients, that where the ends of the rain- 
 bow touch the earth, they sweeten it. 
 
 Cf. Bacon : "It hath been observed by the ancients 
 that where a rainbow seemeth to hang over or to touch, 
 there breathed forth a sweet smell . . . and the like do 
 soft shoioers, for they also make the ground sweet. But 
 none are so delicate as the dew of the rainbow, where it 
 falleth." — Natural History. 
 
 "Showers and tlie earth's -rich scarf diffuse honey- 
 drops." — Shakespeare. 
 
 "Showers and the rainbotv make the ground sweet." — 
 Bacon. 
 
 Iris. A contract of true love to celebrate; 
 And some donation freely to estate 
 On the blest lovers. 
 
 Cer. Tell me, heavenly bow, 
 
 If Venus or her son, as thou dost know, 
 Do now attend the queen? Since they did plot 
 The means that dusky Dis my daughter got,* 
 Her and her blind boy's scandal'd company 
 I have forsworn. 
 
 *Cf. Bacon : "Prosperina, daughter of Ceres, a fair vir- 
 gin, teas gathering floicers of Narcissus in the Sicillian 
 meadows, when Pinto rushed suddenly upon her and car- 
 ried her off in his chariot to the subterranean regions. 
 Great reverence teas paid to her there, so much that she 
 was even called the Queen of Bis." — Wisdom of the An- 
 cients. 
 
 Iris. Of her society 
 
 Be not afraid : I met her deity ■ 
 
70 The Tempest. 
 
 Cutting the clouds towards Paphos and her son 
 Dove-drawn with her. Here thought they to have 
 
 done 
 Some wanton charm upon this man and maid, 
 Whose vows are, that no bed-right shall be paid 
 Till Hymen's torch be lighted : but in vain ; 
 Mars's hot minion is returned again; 
 Her waspish-headed son has broke his arrows, 
 Swears he will shoot no more but play with spar- 
 rows 
 And be a boy right out. 
 
 Cer. High'st queen of state, 
 
 Great Juno, comes ; I know her by her gait. 
 Enter JUNO. 
 Juno. How does my bounteous sister? Go with me 
 To bless this twain, that they may prosperous be 
 And honour'd in their issue. {They sing: 
 
 Juno. Honour, riches, marriage-blessing, 
 Long continuance, and increasing, 
 Hourly joys be still upon you! 
 Juno sings her blessings on you. 
 Cer. Earth's increase, foison plenty, 
 Barns and garners never empty, 
 Vines with clustering bunches growing, 
 Plants with goodly burthen bowing; 
 Spring come to you at the farthest 
 In the very end of harvest ! 
 Scarcity and want shall shun you ; 
 Ceres' blessing so is on you. 
 Fer. This is a most majestic vision, and 
 Harmonious charmingly. May I be bold 
 To think these spirits? 
 
 Pros. Spirits, which by mine art 
 
 I have from their confines call'd to enact 
 My present fancies. 
 
 Fer. Let me live here ever ; 
 
 So rare a wonder'd father and a wife 
 Makes this place Paradise. 
 
 (Juno and Ceres whisper, and send 
 Iris on employment. 
 
X K 
 
 z 
 
 ^ CO 
 
 a, > 
 
 < 
 
Act IV. Scene I. 71 
 
 Pros. Sweet, now, silence ! 
 
 Juno and Ceres whisper seriously; 
 There's something else to do : hush, and be mute, 
 Or else our spell is marr'd 
 
 Iris. You nymphs, call'd Naiads, of the windring 
 brooks, 
 With your sedged crowns and ever-harmless looks, 
 Leave your crisp channels *and on this green land 
 Answer your summons ; Juno does command : 
 Come, temperate nymphs, and help to celebrate 
 A contract of true love ; be not too late. 
 
 Enter certain NYMPHS. 
 You sunburnt sicklemen, of August weary, 
 Come hither from the furrow and be merry : 
 Make holiday; your rye-straw hats put on 
 And these fresh nymphs encounter every one 
 In country footin. 
 
 * Winding or indented channels. 
 
 Enter certain REAPERS, properly habited: they 
 join zvith the NYMPHS in a graceful dance; 
 towards the end whereof PROSPERO starts sud- 
 denly, and speaks; after which, to a strange hol- 
 low, and confused noise, they heavily vanish. 
 
 Pros. (Aside) I had forgot that foul conspiracy 
 Of the beast Caliban and his confederates 
 Against my life : the minute of their plot 
 Is almost come. (To the Spirits.) Well done! 
 avoid ;* no more ! 
 
 *Be gone. 
 Cf. Bacon : "I remember well that when I went to the 
 echo at Pont-Chaventon there was an old Priscian who 
 took it to be the work of spirits, and of good spirits. For 
 (said he) call Satan and the echo will not deliver back 
 the devil's name, but will say, va Ven, which is as much 
 in French as apage or avoid/' — Natural History. 
 
 Per. This is strange :* your father's in some pas- 
 sion 
 That works him strongly. 
 
 •"I find that strange." — Promus No. 302. 
 Prom., Note 303, 1594. 
 
72 The Tempest. 
 
 Mir. Never till this day 
 
 Saw I him touch'd with anger so distemper'd. 
 
 Pros. You do look, my son, in a moved sort, 
 As if you were dismay'd: be cheerful, sir, 
 Our revels now are ended. These our actors, 
 As I foretold you, were all spirits and 
 Are melted into air, into thin air; 
 And, like the baseless fabric of this vision, 
 The cloud-capp'd towers, the gorgeous palaces, 
 The solemn temples, the great globe itself, 
 Yea, all which it inherit,* shall dissolve 
 And, like this insubstantial pageant faded, 
 Leave not a rackt behind. We are such stuff 
 As dreams are made on, and our little life 
 Is rounded with a sleep. Sir, I am vex'd; 
 Bear with my weakness ; my old brain is troubled : 
 Be not disturbed with my infirmity : 
 If you be pleased, retire into my cell 
 And there repose : a turn or two I'll walk, 
 To still my beating mind. 
 
 *From Lat. inherere, to cling or belong to. 
 •fCf. Bacon : "The clouds above which we call the 
 rack." — Natural History. 
 
 The word is unfortunately changed to "wreck" in the 
 Inscription on Shakspere's monument in Westminster 
 Abbey, erected in 1740. 
 
 Fer. Mir. We wish you peace. (Exeunt. 
 
 Pros. Come with a thought. I thank thee, Ariel : 
 come. 
 
 Enter ARIEL. 
 
 Ari. Thy thoughts I cleave to. What's thy pleas- 
 ure? 
 Pros. Spirit, 
 
 We must prepare to meet with Caliban. 
 
 Ari. Ay, my commander : when I presented Ceres, 
 I thought to have told thee of it, but I fear'd 
 Lest I might anger thee. 
 Pros. Say again, where didst thou leave these 
 varlets? 
 
Act IV. Scene I. 73 
 
 Art. I told you, sir, they were red-hot with drink- 
 ing; 
 So full of valour that they smote the air 
 For breathing in their faces ; beat the ground 
 For kissing of their feet ; yet always bending 
 Towards their project. Then I beat my tabor ; 
 At which, like unback'd colts, they prick'd their ears, 
 Advanced their eyelids, lifted up their noses 
 As they smelt music : so I charm'd their ears 
 That calf-like they my lowing follow'd through 
 Tooth'd briers, sharp furzes, pricking goss and 
 
 thorns, 
 Which entered their frail shins : at last I left them 
 r the filthy-mantled pool beyond your cell, 
 There dancing up to the chins, that the foul lake 
 O'erstunk their feet. 
 
 Pros. This was well done, my bird. 
 
 Thy shape invisible retain thou still : 
 The trumpery in my house, go bring it hither, 
 For stale to catch these thieves. 
 
 Art. I go, I go. (Exit. 
 
 Pros. A devil, a born devil, on whose nature 
 Nurture can never stick; on whom my pains, 
 Humanely taken, all, all lost, quite lost; 
 And as with age his body uglier grows, 
 So his mind cankers.* I will plague them all, 
 Even to roaring. 
 
 Re-enter ARIEL, loaden with glistering apparel, etc. 
 
 Come, hang them on this line.t 
 PROSPERO and ARIEL remain, invisible. Enter 
 
 CALIBAN, STEPHANO, and TRIXCULO, all 
 
 wet. 
 
 *Cf. Lucretius : 
 
 Also, Bacon : "Old age, if it could be seen, deforms 
 the mind more than the body." — Be Augmentis. 
 
 Also, ibid: "I remember, when I teas a young man at 
 Poictiers in France, that I teas very intimate tvith a 
 young Frenchman of great wit, but somewhat talkative, 
 ivho afterwards turned out a very eminent man. He used 
 to inveigh against the manners of old men, and say that 
 
74 The Tempest. 
 
 if their minds could be seen as well as their bodies, they 
 would appear no less deformed ; and further indulging 
 his fancy, he argued that the defects of their minds had 
 some parallel and correspondence with those of the body.'* 
 — History of Life and Death. 
 
 * That is, on this line (or lime) tree. 
 
 Cal. Pray you, tread softly, that the blind mole 
 may not 
 Hear a foot fall : we now are near his cell. 
 
 Ste. Monster, your fairy, which you say is a harm- 
 less fairy, has done little better than played the Jack 
 with us.* 
 
 ^Deceived us. 
 Cf. "Romeo and Juliet" : — 
 "An } a speak anything against me, I'll take him down, 
 an 'a tvere lustier than he is, and twenty such Jacks." — 
 II., 4. 
 
 Trin. Monster, I do smell all horse-piss ; at which 
 my nose is in great indignation. 
 
 Ste. So is mine. Do you hear, monster? If I 
 should take a displeasure against you, look you, — 
 
 Trin. Thou wert but a lost monster. 
 
 Cal. Good my lord, give me thy favour still. 
 Be patient, for the prize I'll bring thee to 
 Shall hoodwink the mischance : therefore speak 
 
 softly. 
 All's hush'd as midnight yet. 
 
 Trin. Ay, but to lose our bottles in the pool, — 
 
 Ste. There is not only disgrace and dishonour in 
 that, monster, but an infinite loss. 
 
 Trin. That's more to me than my wetting: yet 
 this is your harmless fairy, monster. 
 
 Ste. I will fetch off my bottle, though I be o'er 
 ears for my labour. 
 
 Cal. Prithee, my king, be quiet. See'st thou here, 
 This is the mouth o' the cell : no noise, and enter. 
 Do that good mischief which may make this island 
 Thine own for ever, and I, thy Caliban, 
 For aye thy foot-licker. 
 
 Ste. Give me thy hand. I do begin to have 
 bloody thoughts. 
 
Act IV. Scene I. 75 
 
 Trin. O king Stephano !* O peer ! O worthy Ste- 
 phano ! look what a wardrobe here is for thee ! 
 
 *Cf. "Othello":— 
 
 King Stephano icas a worthy peer, 
 His breeches cost him but a crown; 
 He held them sixpence all too dear. 
 With that he calle'd the tailor — lown. 
 He was a wight of high renown, 
 
 And thou art but of low degree : 
 'Tis pride that pulls the country down, 
 Then take thine auld cloak about thee." 
 
 — TT., 3. 88. 
 This popular ballad was written in ridicule of King 
 Stephano's parsimony. 
 
 Cal. Let it alone, thou fool ! it is but trash. 
 
 Trin. O, ho, monster ! we know what belongs to 
 a frippery. O king Stephano ! 
 
 Ste. Put off that gown, Trinculo ; by this hand, 
 I'll have that gown. 
 
 Trin. Thy grace shall have it. 
 
 Cal. The dropsy drown this fool ! 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. 
 
 Ste. Be you quiet, monster. Mistress line, is not 
 this my jerkin? Now is the jerkin under the line: 
 now, jerkin, you are like to lose your hair and prove 
 a bald jerkin. 
 
 Trin. Do, do : we steal by line and level, an't 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 ex- 
 cellent pass of pate; there's another garment for 't. 
 
 Trin. Monster, come, put some lime upon your 
 fingers, and away with the rest. 
 
 Cal. I will have none on 't : we shall lose out time, 
 And all be turn'd to barnacles,* or to apes 
 With foreheads villanous low. 
 
 *A species of goose, once thought to be developed out 
 of shell fisJi that bore into s?iips> bottoms, in salt 
 
76 The Tempest. 
 
 water. Hence the name.. Max Muller asserts that in 
 Ireland priests were formerly accustomed to eat them 
 during Lent, under the impression that they were not 
 birds, but fish. 
 
 Ste. Monster, lay-to your fingers : help to bear this 
 away where my hogshead of wine is, or I'll turn you 
 out of my kingdom : go to, carry this. 
 
 Trin. And this. 
 
 Ste. Ay, and this. 
 A noise of hunters heard. Enter divers Spirits, in 
 
 shape of dogs and hounds, and hunt them about, 
 
 PROSPERO and ARIEL setting them on. 
 
 Pros. Hey. Mountain, hey ! 
 
 Ari. Silver! there it goes, Silver! 
 
 Pros. Fury, Fury ! there, Tyrant, there ! hark ! 
 hark! (Cat., Ste., and Trin. are driven out. 
 Go charge my goblins that they grind their joints 
 With dry convulsions, shorten up their sinews 
 With aged cramps, and more pinch-spotted make 
 
 them 
 Than pard or cat o' mountain. 
 
 Ari. Hark, they roar! 
 
 Pros. Let them be hunted soundly. At this hour 
 Lie at my mercy all mine enemies : 
 Shortly shall all my labours end, and thou 
 Shalt have the air at freedom : for a little 
 Follow, and do me service. (Exeunt. 
 
"Jfi\ 
 
 Before PROSPERO'S cell. 
 Enter PROSPERO in his magic robes, and ARIEL. 
 
 Pros. Now does my project gather to a head: 
 My charms crack not ; my spirits obey ; and time 
 Goes upright with his carriage. How's the day? 
 
 Art. On the sixth hour; at which time, my lord, 
 You said our work should cease. 
 
 Pros. I did say so, 
 
 When first I raised the tempest. Say, my spirit, 
 How fares the king and 's followers? 
 
 Ari. Confined together 
 
 In the same fashion as you gave in charge, 
 Just as you left them ; all prisoners, sir, 
 In the line-grove which weather- fends your cell ; 
 They cannot budge till your release. The king, 
 His brother and yours, abide all three distracted 
 And the remainder mourning over them, 
 Brimful of sorrow and dismay; but chiefly 
 Him that you term'd, sir, 'The good old lord, Gon- 
 
 zalo ;' 
 His tears run down his beard, like winter's drops 
 From eaves of reeds. Your charm so strongly works 
 
 'em 
 That if you now beheld them, your affections 
 Would become tender. 
 
 Pros. Dost thou think so, spirit? 
 
 Ari. Mine would, sir, were I human. 
 
78 The Tempest. 
 
 Pros. And mine shall. 
 
 Hast thou, which art but air, a touch, a feeling 
 Of their afflictions, and shall not myself, 
 One of their kind, that relish all as sharply, 
 Passion as they, be kindlier moved than thou art? 
 Though with their high wrongs I am struck to the 
 
 quick, 
 Yet with my nobler reason 'gainst my fury 
 Do I take part : the rarer action is 
 In virtue than in vengeance:* they being penitent, 
 The sole drift of my purpose doth extend 
 Not a frown further. Go release them, Ariel : 
 My charms I'll break, their senses I'll restore, 
 And they shall be themselves. 
 
 *Cf. Bacon: "In taking revenge, a man is but even 
 with Ms enemy; but in passing it over, he is superior." 
 
 — Essay of Revenge. 
 
 Ari. I'll fetch them, sir. (Exit. 
 
 Pros. Ye elves of hills, brooks,* standing lakes 
 and groves, 
 And ye that on the sands with printless foot 
 Do chase the ebbing Neptune and do fly him 
 When he comes back; you demi-puppets that 
 By moonshine do the green sour ringlets make,t 
 Whereof the ewe not bites, and you whose pastime 
 Is to make midnight mushrooms*t that rejoice 
 To hear the solemn curfew** by whose aid, 
 Weak masters though ye be, I have bedimm'd 
 The noontide sun, call'd forth the mutinous winds, 
 And 'twixt the green sea and the azured vault 
 Set roaring war : to the dread rattling thunder 
 Have I given fire and rifted Jove's stout oak 
 With his own bolt; the strong-based promontory 
 Have I made shake and by the spurs pluck'd up 
 The pine and cedar : graves at my command 
 Have waked their sleepers, oped, and let 'em forth 
 By my so potent art. But this rough magic 
 I here abjure, and, when I have required 
 Some heavenly music, which even now I do, 
 To work mine end upon their senses that 
 
Act V. Scene I. 79 
 
 This airy charm is for, I'll break my staff, 
 
 Bury it certain fathoms in the earth, 
 
 And deeper than did ever plummet sound 
 
 I'll drown my book. (Solemn music. 
 
 *Some words and phrases of this speech are taken 
 from Golding' s translation of the Metamorphoses of 
 Orid, published in 1567.. It is perfectly certain, how- 
 ever, that in other passages derived from Ovid the 
 dramatist went directly to the original. In Macbeth, 
 for instance, he mentions one of Actaeon's dogs, not by 
 the English name into ivhich it is converted by Golding, 
 but by the one that Ovid himself used in Latin. Prof. 
 Baynes gives another illustration to the same effect, 
 thus — 
 
 "The important point to be noted is, that Shakes- 
 peare clearly derived it {name of Titania) from his 
 study of Ovid in the original. It must have struck him 
 in reading the text of the "Metamorphoses ," as it is not 
 to be found in the only translation ivhich existed in his 
 day. Golding, instead of transferring the term of Titania, 
 always translates it in the case of Diana, by the phrase 
 ''Titan's Daughter," and in the case of Circe by the line, 
 "Of Circe, who by long descent of Titian's stock." 
 Shakespeare could not therefore have been indebted to 
 Golding for the happy selection. On the other hand, in 
 the next translation of The "Metamorphoses" by Sandys, 
 first publisJied ten years after Shakespeare's death, Ti- 
 tania is freely used. . . . It is clear, therefore, I think, 
 that Shakespeare not only studied the "Metamorphoses" 
 in the original, but that he read the different stories (in 
 Latin) with a quick and open eye for any names, inci- 
 dent or allusion that might be available for use in his 
 own dramatic labors." — Shakespeare Studies, p. 212. 
 
 ^Ringlets of grass, supposed to be made by fairies t 
 dancing in circles. 
 
 \*That is, mushrooms, once regarded as the special 
 product of fairies in their night work. 
 
 Cf. Bacon : "Mushrooms have two strange proper- 
 ties : the one, that they yield so delicious a meat; the 
 other, that they come up so hastily, as in a night, 
 without being sown." — Natural History. 
 
 **From the French words couvir, to cover, and feu, 
 fire. 
 
 The bell rung at night-fall, here mentioned as a sig- 
 nal for the fairies to begin their rerels. The custom of 
 ringing a curfew was instituted- in the time of William 
 the Conqueror. It is still in practice in many places. 
 
 Re-enter ARIEL before: then ALONSO, with a 
 frantic gesture, attended by GONZALO ; SE- 
 BASTIAN and ANTONIO in like manner, at- 
 
80 The Tempest. 
 
 tended by ADRIAN and FRANCISCO: they all 
 enter the circle which PROSPERO had made, 
 and there stand charmed; which PROSPERO 
 o b serving, sp ea ks : 
 A solemn air and the best comforter 
 To an unsettled fancy cure thy brains,* 
 Now useless, boiled within thy skull !t There stand, 
 For you are spell-stopp'd. 
 Holy Gonzalo, honourable man, 
 Mine eyes, even sociable to the show of thine, 
 Fall fellowly drops. The charm dissolves apace, 
 And as the morning steals upon the night, 
 Melting the darkness, so their rising senses 
 Begin to chase the ignorant fumes that mantle 
 Their clearer reason. O good Gonzalo, 
 My true preserver, and a loyal sir 
 To him thou follow'st ! I will pay thy graces 
 Home both in word and deed. Most cruelly 
 Didst thou, Alonso, use me and my daughter : 
 Thy brother was a further in the act. 
 Thou art pinch'd for 't now, Sebastian. Flesh and 
 
 blood, 
 You, brother mine, that entertain'd ambition, 
 Expeird remorse and nature ; who, with Sebastian, 
 Whose inward pinches therefore are most strong, 
 Would here have kill'd your king; I do forgive thee, 
 Unnatural though thou art. Their understanding 
 Begins to swell, and the approaching tide 
 Will shortly fill the reasonable shore 
 That now lies foul and muddy. Not one of them 
 That yet looks on me, or would know me : Ariel, 
 Fetch me the hat and rapier in my cell : 
 I will disease me, and myself present 
 As I was sometime Milan: quickly, spirit; 
 Thou shalt ere long be free. 
 
 ARIEL sings and helps to attire him. 
 
 Where the bee sucks, there such I : 
 
 In a cowslip's bell I lie ; 
 
 There I couch when owls do crv. 
 
Act V. Scene I. 81 
 
 On the bat's back I do fly 
 
 After summer merrily. 
 Merrily, merrily shall I live now 
 Under the blossom that hangs on the bough. 
 
 *Cf. "King Richard II." : 
 
 "This music mads me; let it sound no more; 
 For it have help madmen to their wits, 
 In me it seems it will make wise men sad." 
 
 V. 5, 61. 
 Also Prof. Elze : "Shakespeare must have had an op- 
 portunity of observing (a person or) persons afflicted in 
 mind. Prof. Neuman very justly remarks concerning 
 Ophelia's case: "When could Shakespeare have known 
 that persons thus afflicted decorate themselves with 
 flowers, offer them to other people, and sing away to 
 themselves ; I myself cannot conceive where. Dr. Buck- 
 nill even maintains that watching persons mentally af- 
 flicted must have been a favorite study of Shakespeare. 
 Life of William Shakespeare. 
 "Shakespeare knew, however he acquired the knowl- 
 edge, the phenomena of insanity as few have known 
 them." — Goethe. 
 
 Bacon wrote to Queen Elizabeth in the spring of 1600 
 that his mother teas "much worn" ; soon afterward, 
 perhaps at the death of her son Anthony in 1601, she 
 became violently insane, and continued so under the sole, 
 unremitting care of her only surviving son Francis un- 
 til her death in 1610. It was during this period that 
 "King Fear" and the revised version of "Hamlet" were 
 written. The author's portrayal of insanity in these 
 plays is still regarded by specialists as a psychological 
 marvel. 
 
 yCf. "A Midsummer Night's Dream" : 
 "Lovers and madmen have such seething brains." 
 
 V. 1. 
 Also "Twelfth Night": 
 "If I lose a scruple of this sport, let me be boiled 
 to death with melancholy." II. 5. 
 
 'Also, Bacon: "The vital spirit resides in the ventri- 
 cles of the brain, and, being compounded of flame and 
 air. has in it a degree of inflammation. . . . It is the 
 emission of the spirit thence that contracts the body ; 
 the detention there that melts it." 
 
 Historia Densi et Rari. 
 
 Pros. Why, that's my dainty Ariel ! I shall miss 
 thee; 
 But yet thou shalt have freedom : so, so, so. 
 To the king's ship, invisible as thou art : 
 There shalt thou find the mariners asleep 
 Under the hatches ; the master and the boatswain 
 
82 The Tempest. 
 
 Being awake, enforce them to this place, 
 And presently, I prithee. 
 
 Ari. I drink the air before me, and return 
 Or ere your pulse twice beat. (Exit. 
 
 Gon. All torment, trouble, wonder and amaze- 
 ment 
 Inhabits here : some heavenly power guide us 
 Out of this fearful country ! 
 
 Pros. Behold, sir king, 
 
 The wronged Duke of Milan, Prospero : 
 For more assurance that a living prince 
 Does now speak to thee, I embrace thy body ; 
 And to thee and thy company I bid 
 A hearty welcome. 
 
 Alon. Whether thou be'st he or no 
 
 Or some enchanted trifle to abuse me, 
 As late as I have been, I not know : thy pulse 
 Beats as of flesh and blood; and, since I saw thee, 
 The affliction of my mind amends, with which, 
 I fear, a madness held me : this must crave, 
 An if this be at all, a most strange story. 
 Thy dukedom I resign and do entreat 
 Thou pardon me my wrongs. But how should Pros- 
 pero 
 Be living and be here? 
 
 Pros. First, noble friend, 
 
 Let me embrace thine age, whose honour cannot 
 Be measured or confined. 
 
 Gon. Whether this be 
 
 Or be not, I'll not swear. 
 
 Pros. You do yet taste 
 
 Some subtleties o' the isle, that will not let you 
 Believe things certain. Welcome, my friends all ! 
 (Aside to Seb. and Ant.) But you, my brace of 
 
 lords, were I so minded, 
 I here could pluck his highness' frown upon you 
 And justify you traitors: at this time 
 I will tell no tales. 
 
 Seb. (Aside) The devil speaks in him. 
 
Act V. Scene I. 83 
 
 Pros. No. 
 
 For you, most wicked sir, whom to call brother 
 Would even infect my mouth, I do forgive 
 Thy rankest fault ; all of them ; and require 
 My dukedom of thee, which perforce, I know, 
 Thou must restore. 
 
 Alon. If thou be'st Prospero, 
 
 Give us particulars of thy preservation; 
 How thou hast met us here, who three hours since 
 Were wreck' d upon this shore ; where I have lost — 
 How sharp the point of this remembrance is ! — 
 My dear son Ferdinand. 
 
 Pros. I am woe for 't, sir.* 
 
 * Sorry. 
 
 Alon. Irreparable is the loss, and patience 
 Says it is past her cure. 
 
 Pros. I rather think 
 
 You have not sought her help, of whose soft grace 
 For the like loss I have her sovereign aid 
 And rest myself content. 
 
 Alon. You the like loss! 
 
 Pros. As great to me as late; and, supportable 
 To make the dear less, have I means much weaker 
 Than you may call to comfort you, for I 
 Have lost my daughter. 
 
 Alon. A daughter? 
 
 O heavens, that they were living both in Naples, 
 The king and queen there ! that they were, I wish 
 Myself were mudded in that oozy bed 
 Where my son lies. When did you lose your daugh- 
 ter. 
 
 Pros. In this last tempest. I perceive, these lords 
 At this encounter do so much admire* 
 That they devour their reason and scarce think 
 Their eyes do offices of truth, their words 
 Are natural breath : but, howsoe'er you have 
 Been justled from your senses, know for certain 
 That I am Prospero and that very duke 
 Which was thrust forth of Milan, who most 
 strangely 
 
84 The Tempest. 
 
 Upon this shore, where you were wreck* d, was 
 
 landed, 
 To be the lord on 't. No more yet of this ; 
 For 'tis a chronicle of day by day, 
 Not a relation for a breakfast nor 
 Befitting this first meeting. Welcome, sir; 
 This cell's my court : here have I a few attendants 
 And subjects none abroad: pray you, look in. 
 My dukedom since you have given me again, 
 I will requite you with as good a thing; 
 At least bring forth a wonder, to content ye 
 As much as me my dukedom. 
 
 *From hat. admirare, to wonder. 
 
 Here PROSPERO discovers FERDINAND and 
 MIRANDA playing at chess. 
 
 Mir. Sweet lord, you play me false. 
 
 Fer. No, my dear'st love, 
 
 I would not for the world. 
 
 Mir. Yes, for a score of kingdoms you should 
 wrangle, 
 And I would call it fair play. 
 
 A Ion. If this prove 
 
 A vision of the Island, one dear son 
 Shall I twice lose. 
 
 Seb. A most high miracle ! 
 
 Fer. Though the seas threaten, they are merciful; 
 I have cursed them without cause. (Kneels. 
 
 Alon. Now all the blessings 
 
 Of a glad father compass thee about ! 
 Arise, and say how thou earnest here. 
 
 Mir. O, wonder !* 
 
 How many goodly creatures are there here ! 
 How beauteous mankind is ! O brave new world, 
 That has such people in 't! 
 
 *"Upan wondering, men began to philosophise." — 
 Promus No. 227. 
 
 Pros. 'Tis new to thee. 
 
 Alon. What is this maid with whom thou wast 
 at play? 
 
Ferdinand and Miran 
 
 da playing- chess. 
 ACT V— Scene I. 
 
Act V. Scene I. 85 
 
 Your eld'st acquaintance cannot be three hours : 
 Is she the goddest that hath sever'd us, 
 And brought us thus together? 
 
 Fer. Sir, she is mortal ; 
 
 But by immortal Providence she's mine : 
 I chose her when I could not ask my father 
 For his advice, nor thought I had one. She 
 Is daughter to this famous Duke of Milan, 
 Of whom so often I have heard renown, 
 But never saw before ; of whom I have 
 Received a second life ; and second father 
 This lady makes him to me. 
 
 A Ion. I am hers : 
 
 But, O, how oddly will it sound that I 
 Must ask my child forgiveness ! 
 
 Pros. There, sir, stop : 
 
 Let us not burthen our remembrance with 
 A heaviness that's gone. 
 
 Gon. I have inly wept, 
 
 Or should have spoken ere this. Look down, you 
 
 gods, 
 And on this couple drop a blessed crown ! 
 For it is you that have chalk'd forth the way* 
 Which brought us hither. 
 
 *Cf. Bacon: "To mark (o»e-'.s- way) with chalk." 
 
 Promus, Xo. 710. 
 
 Alon. I say, Amen, Gonzalo ! 
 
 Gon. Was Milan thrust from Milan, that his is- 
 sue 
 Should become kings of Naples? O, rejoice 
 Beyond a common joy, and set it down 
 With gold on lasting pillars : In one voyage 
 Did Claribel her husband find at Tunis, 
 And Ferdinand, her brother, found a wife 
 Where he himself was lost, Prospero his dukedom 
 In a poor isle and all of us ourselves 
 When no man was his own. 
 
 Alon. {To Fer. and Mir.) Give me your hands: 
 Let grief and sorrow still embrace his heart 
 That doth not wish you joy! 
 
86 The Tempest. 
 
 Gon. Be it so ! Amen ! 
 
 Re-enter ARIEL, with the MASTER and BOAT- 
 SWAIN amazedly following. 
 O, look, sir, look, sir ! here is more of us : 
 I prophesied, if a gallows were on land, 
 This fellow could not drown. Now, blasphemy, 
 That swear'st grace o'erboard, not an oath on shore ? 
 Hast thou no mouth by land? What is the news? 
 
 Boats. The best news is, that we have safely found 
 
 Our king and company; the next, our ship 
 
 Which, but three glasses since, we gave out split — 
 Is tight and yare and bravely rigg'd as when 
 We first put out to sea. 
 
 Ari. {Aside to Pros.) Sir, all this service 
 Have I done since I went. 
 
 Pros. {Aside to Ari.) My tricksy spirit! 
 
 Alon. These are not natural events; they 
 strengthen 
 From strange to stranger. Say, how came you 
 hither? 
 
 Boats. If I did think, sir, I were well awake, 
 I 'Id strive to tell you. We were dead of sleep, 
 And — how we know not — all clapp'd under hatches ; 
 Where but even now with strange and several noises 
 Or roaring, shrieking, howling, jingling chains, 
 And more diversity of sounds, all horrible, 
 We were awaked ; straightway, at liberty ; 
 Where we, in all her trim, freshly beheld 
 Our royal, good and gallant ship, our master 
 Capering to eye her : on a trice, so please you, 
 Even in a dream, were we divided from them 
 And were brought moping hither. 
 
 Ari. {Aside to Pros.) Was 't well done? 
 
 Pros. {Aside to Ari.) Bravely, my diligence. 
 
 Thou shalt be free. 
 
 Alon. This is as strange a maze as e'er men trod; 
 And there is in this business more than nature 
 Was ever conduct of: some oracle 
 Must rectify our knowledge. 
 
Act V. Scene I. 87 
 
 Pros. Sir, my liege, 
 
 Do not infest your mind with beating on 
 The strangeness of this business ;* at pick'd leisure 
 Which shall be shortly, single I'll resolve you, 
 Which to you shall seem probable, of every 
 These happen'd accidents ; till when, be cheerful 
 And think of each thing well. (Aside to Ari.) Come 
 
 hither, spirit : 
 Set Caliban and his companions free ; 
 Untie the spell. (Exit Ariel) How fares my gra- 
 cious sir? 
 There are yet missing of your company 
 Some few odd lads that you remember not. 
 
 *"Par trop se debattre, la verite se perd." — Promus 
 So. 1462. 
 
 Re-enter ARIEL, driving in CALIBAN, STE- 
 PHANO and TRINCULO, in their stolen ap- 
 parel. 
 
 Ste. Every man shift for all the rest, and let no 
 man take care for himself; for all is but fortune. 
 Coragio, bully-monster, coragio ! 
 
 Trin. If these be true spies which I wear in my 
 head, here's a goodly sight. 
 
 Cal. O Setebos, these be brave spirits indeed ! 
 How fine my master is ! I am afraid 
 He will chastise me. 
 
 Seb. Ha, ha ! 
 
 What things are these, my lord Antonio? 
 Will money buy 'em? 
 
 Ant. Very like ; one of them 
 
 Is a plain fish, and, no doubt, marketable. 
 
 Pros. Mark but the badges of these men, my 
 lords, 
 Then say if they be true. This mis-shapen knave, 
 His mother was a witch, and one so strong 
 That could control the moon, make flows and ebbs, 
 And deal in her command without her power. 
 These three have robb'd me ; and this demi-devil — 
 For he's a bastard one — had plotted with them 
 
88 The Tempest. 
 
 To take my life. Two of these fellows you 
 Must know and own; this thing of darkness 1 
 Acknowledge mine. 
 
 Cal. I shall be pinch'd to death. 
 
 Alon. Is not this Stephano, my drunken butler? 
 
 Seb. He is drunk now: where had he wine? 
 
 Aon, And Trinculo is reeling ripe: where should 
 they 
 Find this grand liquor that hath gilded 'em? 
 How earnest thou in this pickle? 
 
 Trin. I have been in such a pickle since I saw you 
 last that, I fear me, will never out of my bones : I 
 shall not fear fly-blowing. 
 
 Seb. Why, how now, Stephano ! 
 
 Ste. O, touch me not ; I am not Stephano, but a 
 cramp. 
 
 Pros. You 'Id be king o' the isle, sirrah? 
 
 Ste. I should have been a sore one then. 
 
 Alon. This is a strange thing as e'er I look'd on. 
 
 (Pointing to Caliban. 
 
 Pros. He is as disproportion^ in his manners 
 As in his shape. Go, sirrah, to my cell ; 
 Take with you your companions ; as you look 
 To have my pardon, trim it handsomely. 
 
 Cal. Ay, that I will ; and I'll be wise hereafter 
 And seek for grace. What a thrice-double ass 
 Was I, to take this drunkard for a god 
 And worship this dull fool ! 
 
 Pros. Go to ; away ! 
 
 Alon. Hence, and bestow your luggage where you 
 found it. 
 
 Seb. Or stole it, rather. 
 
 (Exeunt Cal., Ste., and Trin. 
 
 Pros. Sir, I invite your highness and your train 
 To my poor cell, where you shall take your rest 
 For this one night; which, part of it, I'll waste 
 With such discourse as, I doubt, shall make it 
 Go quick away; the story of my life 
 And the particular accidents gone by 
 Since I came to this isle : and in the morn 
 
Act V. Scene I. 89 
 
 I'll bring you to your ship and so to Naples, 
 Where I have hope to see the nuptial 
 Of these our dear-beloved solemnized; 
 And thence retire me to my Milan, where 
 Every third thought shall be my grave. 
 
 A Ion. I long 
 
 To hear the story of your life, which must 
 Take the ear strangely. 
 
 Pros. I'll deliver all; 
 
 And promise you calm seas, auspicious gales 
 And sail so expeditious that shall catch 
 Your royal fleet far off. (A\side to Ari.) My Ariel, 
 
 chick, 
 That is thy charge : then to the elements 
 Be free, and fare thou well ! Please you, draw near. 
 
 (Exeunt. 
 
 EPILOGUE. 
 Spoken by PROSPERO. 
 
 Xow my charms are all o'erthrown, 
 And what strength I have's mine own, 
 Which is most faint : now, 'tis true, 
 I must be here confined by you, 
 Or sent to Naples. Let me not, 
 Since I have my dukedom got 
 And pardon'd the deceiver, dwell 
 In this bare island by your spell ; 
 But release me from my bands 
 With the help of your good hands : 
 Gentle breath of yours my sails 
 Must fill, or else my project fails, 
 Which was to please. Now I want 
 Spirits to enforce, art to enchant, 
 And my ending is despair, 
 Unless I be relieved by prayer, 
 Which pierces so that it assaults 
 Mercy itself and frees all faults. 
 As you from crimes would pardon'd be, 
 Let your indulgence set me free. 
 
90 
 
 The Tempest. 
 
 "Shakespeare closed the wonderful series of his dra- 
 matic writings by exhibiting the noblest elevation of 
 character, the most admirable attainment of heart, of in- 
 tellect, of will, which our present life admits, in the 
 person of Prospero. 
 
 Dowden's ShaJc. Mind & Art, P. 76. 
 
REFERENCES. 
 
 Francis Bacon — Advertisement touching on Holy 
 War (1622). 
 
 Advancement of Learning. (1605). 
 
 Charge against Owen. (1615). 
 
 Colors of Good and Evil. (1596). 
 
 De Augmentis. (1624). 
 
 De Principiis atque Originibus. (1604). 
 
 Essays — (1597- 1625). 
 
 Gray's Inn Masque. (1596). 
 
 History of the Winds. 
 
 History of Densi et Rari. 
 
 History of Life and Death. (1623). 
 
 Historia Ventorum. (1623). 
 
 Life of Henry VII. 
 
 Letter to Bishop Andrews. (1622). 
 
 Letter to Lord Burleigh. (1591). 
 
 Letter to King James. (1623). Pg. 6. 
 
 Letter to Villiers. 
 
 Natural History. (1627). 
 
 New Atlantis. (1617). 
 
 Novum Organum. (1620). 
 
 On the Interpretation of Nature. 
 
 Praise of Queen Elizabeth. (1608). 
 
 Promus Notes. (1594). 
 
 Sylva Sylvarum. (1627). 
 
 The Holy State. (1648). 
 Catullus. 
 
 Denton J. Snyder. 
 James Russell Lowell. 
 Elze's Life of Wm. Shakespeare. 
 John Milton. 
 Lord Mulgrave. 
 Richard Grant White. 
 Prof. Baynes. 
 
CRITICAL COMMENTS. 
 
 "Shakespeare and Bacon, the Prince of Poets and 
 the Prince of Philosophers, brought out their 
 mighty works side by side, and nearly at the same 
 time, though without any express recognition of 
 each other. And why may we not regard Prospero 
 as prognosticating in a poetic form those vast tri- 
 umphs of man's rational spirit which the philoso- 
 pher foresaw and prepared?" 
 
 Henry N. Hudson, 1872. 
 
 "We contend with Tieck that the play was writ- 
 ten for representation on occasion of the marriage 
 of James the First's daughter, Princess Elizabeth, 
 to Frederick, Elector Palatine; and that the chief 
 human personages represent James himself and the 
 princely bride and bridegroom. . . The little foibles 
 which Shakespeare has allowed to mingle with 
 Prospero's portrait . . . are, because the purpose of 
 the play compelled him partly to keep an eye on 
 James the First/' 
 
 The Henry Irving Shakespeare, 1890 
 
INDEX OF WORDS AND PHRASES 
 EXPLAINED. 
 
 
 Page 
 
 
 Page 
 
 abstemious, 
 
 68 
 
 doubt discovery, 
 
 41 
 
 aches, 
 
 24 
 
 drowned father, 
 
 26 
 
 apes, 
 
 44 
 
 
 
 a point, 
 
 15 
 
 every creature's best, 
 
 53 
 
 Argier, 
 
 20 
 
 
 
 aspersion, 
 
 66 
 
 falsehood, 
 
 10 
 
 ardor of my liver, 
 
 68 
 
 fast asleep, 
 
 40 
 
 a thousand thousand, 
 
 55 
 
 five for one, 
 
 62 
 
 at thy request, 
 
 59 
 
 flote, 
 
 17 
 
 
 
 fortunes droop, 
 
 14 
 
 baked with frost, 
 
 18 
 
 full poor cell, 
 
 6 
 
 barnacles, 
 
 75 
 
 
 
 bat-fowling, 
 
 38 
 
 great'st does least, 
 
 58 
 
 be my god, 
 
 49 
 
 
 
 Bermoothes, 
 
 17 
 
 heavens rain grace, 
 
 54 
 
 blessedly hope, 
 
 8 
 
 here's my comfort, 
 
 45 
 
 blister you all o'er, 
 
 22 
 
 honey-drops, 
 
 69 
 
 brains, 
 
 80-8 
 
 how the less, 
 
 23 
 
 breasts, 
 
 62 
 
 
 
 brave son , 
 
 28 
 
 I flamed amazent, 
 
 15 
 
 by thy trembling, 
 
 46 
 
 image tell me, me 
 
 7 
 
 by your art, 
 
 5 
 
 impertinent. 
 
 12 
 
 by'r lakin, 
 
 60 
 
 incharitable dog. 
 
 3 
 
 
 
 incapable, 
 
 11 
 
 Caliban. 
 
 chalked the way, 
 charity, 
 
 22 
 85 
 13 
 
 indeed the duke, 
 influence, 
 in good sooth, 
 inch-meal, 
 
 10 
 14 
 4S 
 44 
 
 changed eyes, 
 
 28 
 
 inherit, 
 
 72 
 
 cherub, 
 chirurgconly, 
 
 12 
 37 
 
 instinctively had quit it 
 in the dark. 
 
 12 
 
 44 
 
 chough, 
 commonwealth, 
 
 42 
 37 
 
 it was the first, 
 
 8 
 
 complexion, 
 
 2 
 
 kibe, 
 
 42 
 
 corollary. 
 
 68 
 
 
 crisp channels, 
 
 curfew, 
 
 cure deafness, 
 
 71 
 78 
 11 
 
 L,ay her ahold, 
 lay her off, 
 library, 
 
 4 
 
 4 
 
 13 
 
 
 
 Iyie there, my art, 
 
 6 
 
 dear'est o' the loss, 
 
 3 o 
 
 long spoon, 
 
 47 
 
 deck'd, 
 
 12 
 
 
 
 Ding, dong bell, 
 
 25-26 
 
 made them known, 
 
 23 
 
 Dis my daughter, 
 
 69 
 
 man's life, 
 
 41 
 
94 INDEX OF WORDS AND PHRASES EXPLAINED. 
 
 main-course, 
 
 meanders, 
 
 Miranda, 
 
 sleeps, 
 miraculous harp, 
 mind cankers, 
 moon-calf, 
 much admire, 
 mush-rooms, 
 my husband then, 
 
 Nobody, 
 nothing: to me, 
 note, 
 
 on this line, 
 
 O the, 
 
 of this business, 
 
 other princess' can, 
 
 owest, 
 
 O wonder, 
 
 painful, 
 perdition, 
 pied-ninny, 
 plantation, 
 played the Jack, 
 pleased his ear, 
 poor drunkard, 
 profit, 
 Prospero, 
 
 rack, 
 
 remorse, 
 
 ringlets, 
 
 sack, 
 
 secret studies, 
 
 Setebos, 
 
 screen, 
 
 Page 
 
 2 
 60 
 
 5 
 
 14 
 35 
 73 
 47 
 83 
 78 
 55 
 
 59 
 
 38 
 41 
 
 73 
 8 
 
 87 
 14 
 29 
 84 
 
 51 
 6 
 57 
 37 
 74 
 9 
 
 50 
 
 14 
 
 5 
 
 72 
 80 
 78 
 
 48 
 
 9 
 
 23 
 
 11 
 
 Page 
 
 skull, 80 
 
 sot, 58 
 
 spirit of persuasion, 40 
 
 standing water, 40 
 
 state grew stranger, 9 
 
 Stephano, 75 
 
 take heed, 66 
 
 talk nothing: to me, 38 
 
 teen, 8 
 
 theme of woe, 32 
 
 this is no fish, 45 
 
 business, 87 
 
 is strangre, 71 
 
 " lord, 40 
 
 to his hanging:, 2 
 
 to the foil, 53 
 
 top of admiration , 52 
 
 trash for over-topping, 9 
 
 troll the catch, 59 
 
 twilled brim, 68 
 
 two glasses, 18 
 
 vanity, 67 
 
 vengeance, 76 
 
 verdure out on't, 9 
 
 wallets of flesh, 62 
 
 well done ! avoid, 71 
 
 we would, 39 
 
 weazand, 58 
 
 wench, 12 
 
 when I do il, 51 
 
 wild waves, whist, 25 
 
 wilt not take, 24 
 
 will or no, 54 
 
 woe for 't, sir, 83 
 
 wonder, 49-83 
 
 would I admit, 37 
 
FEB 14 tSlO 
 
One copy del. to Cat. Div. 
 
 
111 
 Sill 
 
 
 
 1111 
 
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