C\J 
 
 o 
 
SHAKESPEARE'S PLAY OF 
 
 THE TEMPEST 
 
 ARRANGED FOR REPRESENTATION AT 
 
 THE PRINCESS'S THEATRE, 
 
 WITH 
 
 HISTORICAL AND EXPLANATORY NOTES, 
 
 BY 
 
 CHARLES KEAN, F.S.A., 
 
 AS FIRST PERFORMED ON 
 
 . WEDNESDAY, JULY 1, 1857. 
 
 ENTERED AT STATIONERS' HALL. 
 
 lEontron : 
 PRINTED BY JOHN K. CHAPMAN AND CO., 
 
 5, SHOE LANE, AND PETERBOROUGH COURT, FLEET STKEF/r. 
 
 PRICE ONE SHILLING. 
 
 TO BE HAD IN THE THEATRE. 
 

SHAKESPEARE'S PLAY OF 
 
 THE TEMPEST, 
 
 ARRANGED TOR REPRESENTATION AT 
 
 THE PRINCESS'S TffEATRE, 
 
 WITH 
 
 HISTORICAL AND EXPLANATORY NOTES, 
 
 BY 
 
 CHARLES KEAN, F.S.A., 
 
 AS FIRST PERFORMED ON 
 
 WEDNESDAY, JULY 1, 1857. 
 
 ENTERED AT STATIONERS' HALL. 
 
 ITontron : 
 PRINTED BY JOHN K. CHAPMAN AND CO., 
 
 SHOE LANE, AND PETERROKOUGEI COURT, FLEET STREET. 
 
JOHN K. CHAPMAN' AND COMPANY, 5, SHOE LANE, AND 
 PETERBOROUGH COURT, FLEET STREET. 
 

 DRAMATIS PERSONS. 
 
 ALONSO, (King of Naplc*) ............ Mr. COOPER. 
 
 SEBASTIAN, (his brother} ............ Mr. RAYMOND. 
 
 PROSPERO, (the rightful Duke of Milan") Mr. CHARLES KEAN 
 
 f ( A " hrotker > the 
 
 ( Duke of Milan) 
 
 FERDINAND, (Son to the King of Naples') Miss BTJFTON. 
 
 GONZALO, { C* honest oM Counsellor of\ M GKAH AM. 
 
 \ Ao/^e.s) ) 
 
 ADRIAN, \ \ Mr. BARSBY. 
 
 FRANCISCO, ) Olr. BRAZIER. 
 
 CALIBAN, (a Savage and Deformed Slave) Mr. RYDER. 
 TRINCTTLO, (a Jester} ................ Mr. HARLEY. 
 
 STEPHANO, (a Drunken Butler} .... Mr. FRANK MATTHEWS . 
 
 BOATSWAIN, ...................... Mr. PAULO. 
 
 Master of a &hip and Mariners. 
 
 MIRANDA, (DavpJUer to Prospero) Miss CARLOTTA LECLERCQ. 
 ARIEL, (an Airy Spirit) .............. Miss KATE TERRY. 
 
 IRIS, , ( Miss DENVILLE. 
 
 CERES, [ (Spirits.) j Miss HONEY. 
 
 JITNO, ) ' Miss POOLE. 
 
 Nymphs, Spirits, attending on Prospero, <tc., d'C. 
 
 SCENE The Sea, witu a Ship ; afterwards an 
 
 Island. 
 
 M773443 
 
THE SCENERY Painted by Mr. GEIEVE and Mr. TELBIN, 
 
 Assisted by Mr. W. GORDON, Mr. F. LLOYDS, 
 Mr. CUTHBEET, Mr. DATES, Mr. MORRIS, &c., &c. 
 THE Music under the direction of Mr. J. L. HATTOX. 
 
 THE DANCES AND ACTION, by Mr. OSCAR BYRN. 
 
 THE DKCOIIATIONS & APPOINTMENTS by Mr. E. AV. BRAD WELL, 
 
 THE DRESSES by Mrs. and Miss HOGGINS. 
 
 THE MACHINERY by Mr. G. HODSDON. 
 
 uiER, Mr. ASPLIN, of No. 13, New Bond Street. 
 
 For reference to Historical Authorities indicated l>y 
 Letters, see end of each Act. 
 
PREFACE. 
 
 " The Tempest, and the Midsummer Nighfs Dream, 
 are the noblest efforts of that sublime and amazing 
 imagination peculiar to Shakespeare, which soars 
 above the bounds of nature without forsaking sense ; 
 or more properly, carries nature along with him be- 
 yond her established limits." Such are the words 
 of one of our poet's most learned commentators. 
 Doctor Warburton, Bishop of Gloucester, conveying 
 a true estimate of the genius which conceived and 
 constructed the play of The Tempest. This won- 
 derful drama this bright creation of a sportive 
 fancy which peoples the air with sylphs and spirits 
 may be said to symbolize, almost as much as a his- 
 torical play, a definite period in the world's annals. 
 
 During the century that followed the first reve- 
 lation' of a new hemisphere to the eyes of astonished 
 Europe, the mind of man was repeatedly excited by 
 the announcement of fresh wonders. The inspired 
 perseverance of Columbus had awakened a spirit not 
 to be extinguished, and the names of Vasco de Gama, 
 Ferdinand Magellan, Sebastian Cabot, Francis Drake, 
 Walter Raleigh, and other bold navigators, remain 
 
VI PREFACE. 
 
 as bright monuments of an age of discoveries, which 
 has since produced so great a change in the aspect of 
 the entire world has expanded the human intellect 
 by the constant presentation of new objects and 
 has laid the foundation of those marvels which have 
 emanated from the philosophy of modern science. It 
 is this age of discoveries that is represented by The 
 Tempest. 
 
 In 1609, about three years before the production 
 of the play, the disastrous shipwreck of Sir George 
 Somers had familiarized the multitude with the 
 Bermuda Islands, which, as we learn from the ad- 
 dition to Stow's Annals, by Howes, were " said and 
 supposed to be enchanted, and inhabited with witches 
 and devils, which grew by reason of accustomed 
 monstrous thunder-storm and tempest near unto 
 those islands." 
 
 While the living generation was yet impressed 
 with these wonderful additions to the geography of 
 the globe's surface, and bewildered by the fabulous 
 stories derived from the bold and unscrupulous ad- 
 venturers who had traversed those distant regions 
 such; for instance, as the relation concerning <f men 
 whose heads stood in their breasts," in Sir Walter 
 lialeigh's voyage to Guiana in 1595 a most fearful 
 tempest swept the coast of England, destroying hun- 
 dreds of ships, and creating a terror so universal, that 
 public prayers were ordered, by authority, in the 
 various churches. 
 
PKEFACE. Vll 
 
 This appalling visitation may, perhaps, have stimu- 
 lated Shakespeare to compose a drama, which should 
 combine a " topic of the day '' with those wonders of 
 far countries which were greedily received as facts 
 by the credulous masses. The belief in sorcery and 
 witchcraft, which at that period prevailed, more or 
 less, throughout all society, and which had found an 
 additional aliment in the reports circulated with 
 regard to the Bermudas, had so much disposed the 
 public mind in favour of supernatural subjects, that 
 amongst the audiences who first witnessed the play 
 of The Tempest, many, doubtless, were to be found, 
 who gave ready credence to the reality of the prodi- 
 gies therein introduced. Apart from the popular 
 superstitious belief of the time, to which, perhaps, the 
 play partially owed its origin, the inexhaustible genius 
 of the poet has transmitted to posterity one of the 
 most fascinating dramatic compositions that ever 
 sprang from human intellect. The enchanted island, 
 governed by the wand of Prospero, released from its 
 association with the Bermudas, remains an imaginary 
 kingdom, the scene of affecting and mysterious inci- 
 dents, over which Ariel presides as the image of air, 
 in spiritual contrast to the grosser Caliban, who em- 
 bodies the earthly element. 
 
 In the stage arrangement, I have ventured to 
 depart almost entirely from conventional precedent. 
 To the close of the third act, for instance, where 
 61 strange shapes," without any specified identity, arc 
 
Vlll PKEFACE. 
 
 described as bringing in a banquet, I have endea- 
 voured to give a mythological character. In a later 
 portion of the play, a Masque is performed for the 
 entertainment of Ferdinand and Miranda, which 
 Shakespeare has invested with the classical forms of 
 antique goddesses and nymphs. I have, therefore, 
 deemed myself at liberty to adopt a similar view 
 with regard to the supposed Islanders, who invite 
 the King of Naples and his attendant Lords to 
 their magical repast. Naiads, Dryads, and Satyrs 
 have taken the place of the ludicrous and un- 
 meaning monsters hitherto presented, as being not 
 only more picturesque and poetical, but also more 
 in accordance with the classical figure of the Harpy, 
 which rises in the midst of them. To preserve the 
 mythological tone throughout, the principal demons 
 and goblins commanded to torture the brute Caliban, 
 and his drunken associates, Trinculo and Stephano, 
 at the close of the fourth act, are copied from 
 Furies depicted on Etruscan vases. 
 
 A great change has been made in the orchestral 
 arrangements, under the direction of Mr. J. I/. 
 Hat ton, who, with the exception of a few favorite 
 and well-known airs, has composed the whole of 
 the music. To give full strength to the vocal de- 
 partment, Miss Poole has been specially engaged to 
 appear as " Juno " in the Masque, and to take the 
 solo parts in the invisible chorusses which pervade the 
 performance. The songs usually allotted to Ariel 
 
PREFACE. IX 
 
 will be transferred to this lady, as leader of the spirit- 
 choir. In the play of The Tempest, no allusion 
 being made to any definite period of action, I 
 have exercised the liberty of selecting the thirteenth 
 century as a date for costume. The vessel lost in 
 the storm at the commencement, and restored in the 
 calm at the close of the piece, is also copied from 
 authentic records of the same period. 
 
 The scenery has been painted by Mr. Grieve and 
 Mr. Telbin ; and although a purely imaginative drama 
 does not admit of those historical details which have 
 been so accurately observed in earlier Shakespearian 
 revivals at this Theatre, an endeavor has been 
 made, in the present instance, to impart a generally 
 new character to one of the most lofty productions of 
 that master-poet, who supplied new worlds with 
 the rapidity of thought, and of whom it has been so 
 justly written, " that he lived, not for an age, but for 
 all time." 
 
 CHARLES KEAN. 
 
 Ijgp The kind indulgence of the public is requested should any 
 lengthened delay take place between the acts, during the first 
 representations of The Tempest. 
 
 This appeal is made -with greater confidence, when it is stated 
 that the scenic appliances of the play are of a more extensive and 
 complicated nature than have ever yet been attempted in any 
 theatre in Europe ; requiring the aid of above one hundred and 
 forty operatives nightly, Avho (unseen by the audience) are en- 
 gaged in working the machinery, and in carrying out the various 
 effects. 
 
THE TEMPEST. 
 
 ACT I. 
 
 SCENE I. A SE(IP IN A STORM. 
 
 The first scene, as now arranged, may be considered (in 
 introduction to the play ; on its conclusion, therefore, the 
 f/resn curtain will descend, and the Overture will Jtere 
 be performed, for the purpose of giving time for the 
 clearing away and re-setting of the stage. 
 
 SCENE II. THE ISLAND OVERLOOKING THE 
 SEA. 
 
 During the progress of the scene, the waters abate, the suit 
 rises, and the tide recedes, leaving the yelloiv sands, to 
 which FERDINAND is invited by ARIEL and the spirits. 
 
 PROSPERO and MIRANDA. 
 
 Mir. If by your art, my dearest father, you have 
 Put the wild waters in this roar, allay them : 
 O, I have suffer' d 
 
 With those that I saw suffer ! a brave vessel, 
 Who had no doubt some noble creatures in her, 
 Dash'd all to pieces. O, the cry did knock 
 Against my very heart ! Poor souls ! they perish'd. 
 
 Pro. Be collected; 
 
 No more amazement : tell your piteous heart, 
 There's no harm done. 
 
 Mir. O, woe the day ! 
 
 Pro. N"o harm. 
 
 I have done nothing but in care of thee, 
 
12 THE TEMPEST. [ACT r. 
 
 (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 1 
 Than Prospero, master of a full poor cell, 2 
 And thy no greater father. 
 
 Mir. More to know 
 
 Did never meddle with my thoughts. 3 
 
 Pro. 'Tis time 
 
 I should inform thee further. Lend thy hand, 
 And pluck my magic garment from me. So ; 
 
 [Lays down his mantle. 
 
 Lie there my art.(A) Wipe thou thine eye ; have comfort. 
 The direful spectacle of the wreck, which touch'd 
 The very virtue of compassion in thee, 
 I have with such prevision in mine art 4 
 So safely order'd, that there is no soul 
 No, not so much perdition as an hair, 
 Betid to any creature in the vessel 
 Which thou heard'st cry, which thou saw'st sink. Sit 
 
 down ; 
 For thou must now know further. 
 
 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. 
 
 Pro. The hour's now come ; 
 
 The very minute bids thee ope thine ear ; 
 Obey, and be attentive. Can'st thou remember 
 A time before we came unto this isle ? 
 I do not think thou can'st ; for then thou wast not 
 Out three years old. 5 
 
 1 more letter"] This un grammatical expression is very fre- 
 quent amongst our oldest writers. 
 
 2 full poor cell,] i.e., a cell in a great degree of poverty. 
 
 3 Did never meddle with my thoughts.] i.e., mix with them. To 
 meddle is often used with this sense by Chaucer. 
 
 * in mine art.] The great magician had by his art foreseen 
 
 that there should not be "so much perdition as an hair" among 
 the whole crew. COLLIER. 
 
 * Out three years old.] Quite three years old. 
 
SCENE ii.] THE TEMPEST. 13 
 
 Mir. Certainly, sir, I can. 
 
 Pro. By what ? By any other place or person ? 
 Of any thing the image tell me, that 
 Hath kept with thy remembrance ? 
 
 Mir. 'Tis 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 ? 
 
 Pro. Thou had'st, and more, Miranda : 
 Sixteen years, Miranda, sixteen years since, 
 Thy father was the Duke of Milan, and 
 A prince of power. 
 
 Mir. O, the heavens ! 
 
 What foul play had we, that we came from thence ? 
 
 Pro. My brother, and thy uncle, called Antonio, 
 I pray thee, mark me, that a brother should 
 Be so perfidious ; he whom, next thyself, 
 Of all the world I lov'd, and to him put 
 The manage of my state ; as, at that time, 
 Through all the signiories it was the first, 
 And Prospero the prime duke ; being so reputed 
 In dignity, and, for the liberal arts. 
 Without a parallel ; those being all my study, 
 The government I cast upon my brother, 
 And to my state grew stranger, being transported 
 And rapt in secret studies. Thy false uncle 
 Thus having both the key 
 Of officer and office, set all hearts 
 To what tune pleas'd his ear ; that now he was 
 The ivy, which had hid my princely trunk, 
 And suck'd my verdure out on't. Thou attend'st not : 
 I pray thee, mark me. 
 
 Mir. O good Sir, I do. 
 
 Pro. I thus neglecting worldly ends, 
 In my false brother 
 Awak'd an evil nature : 
 Hence his ambition 
 Growing, he needs will be 
 Absolute Milan : Me, poor man ! my library 
 Was dukedom large enough ; of temporal royalties 
 He thinks me now incapable : confederates 
 
14 THE TEMPEST. [ACT i. 
 
 (So dry he was for sway) 6 with 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. 
 
 3 fir. O, the heavens ! 
 
 Pro. 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, 
 A treacherous army levy'd, one midnight 
 Fated to the practise, 8 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. Wherefore did they not 
 
 That hour destroy us ? 
 
 Pro. * **" My child, 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 prepar'd 
 A rotten carcase of a boat, not rigg'd, 
 Nor tackle, sail, nor mast ;(B) the very rats 
 Instinctively had quit it : there they hoist us, 
 To cry to the sea that roar'd to us, 9 to sigh 
 To the winds, whose pity, sighing back again, 
 Did us but loving wrong. 
 
 * So dry lie was for sway"] i.e., so thirsty. 
 
 7 In lieu o* the premises, ] In lieu of, means here, in con- 
 sideration of in exchange for. 
 
 * Fated to the practise,] Shakespeare constantly uses the word 
 practise, to denote contrivance, artifice, or conspiracy. COLLIER. 
 
 9 To cry to the sea that roor'd to *,] The same idea occurs in The 
 Wintri' s Tale, " How the poor souls roarV, and the seawiocAV them." 
 
SCENE ii.] THE TEMPEST. 15 
 
 Mir. Alack ! what trouble 
 
 Was I then to you. 
 
 Pro. O ! a cherubim 
 
 Thou wast, that did preserve me ! Thou diclst smile, 
 Infused with a fortitude from heaven, 
 Which rais'd in me 
 A courage to bear up 
 Against what should ensue. 
 
 Mir. How came we ashore ? 
 
 Pro. By Providence divine. 
 Some food we had, and some fresh water, that 
 A noble Neapolitan, Gonzalo, 
 Out of his charity, (who being then appointed 
 Master of this design), did give us ; with 
 Rich garments, linens, stuffs, and necessaries, 
 Which since have steaded much ; so, of his gentleness, 
 Knowing I lov'd my books, he furnish'd me, 
 From my own library, with volumes that 
 I prize above my dukedom. 
 
 Mir. 'Would I might 
 
 But ever see that man. 
 
 Pro. Now I arise : 
 
 [Puts on his robe again (soft music). 
 Sit still, and hear the last of our sea-sorrow. 
 Here in this island we arriv'd ; and here 
 Have I, thy school- master, made thee more profit 
 Than other princes can, that have more time 
 For vainer hours, and tutors not so careful. - 
 
 Mir. Heavens thank you for't! And now, I pray you, sir, 
 (For still 'tis beating in my mind) your reason 
 For raising this sea-storm ? 
 
 Pro. Know thus far forth. 
 
 By accident most strange, bountiful fortune, 
 Now my dear lady, 1 '' 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 
 AY ill ever after droop. Here cease more questions; 
 
 10 
 
 Xotv uiy dear lady,] Fortune now my auspicious mistress. 
 
16 THE TEMPEST. [ACT i. 
 
 Thou art inclin'd to sleep ; ? tis a good dullness, 
 
 And give it way ; I know thou can'st not choose. 11 - 
 
 [MIRANDA, sleeps (imisic ceases}, 
 Come away, servant, come ; I am ready now : 
 Approach, my Ariel ; come. [ARIEL appears. 
 
 Ari. 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. 
 
 Pro. Hast thou, spirit, 
 
 Performed to point 12 the tempest that I bade thee : 
 
 Ari. To every article. 
 
 I boarded the king's ship ; now on the beak, 1:i 
 Now in the waist, 14 the deck, in every cabin, 
 I flam'd amazement, (c) The fire, and cracks 
 Of sulphurous roaring, the most mighty Neptune 
 Seem'd to besiege, and make his bold waves tremble, 
 Yea, his dread trident shake. Not a soul 
 But felt a fever of the mad, 15 and play'd 
 Some tricks of desperation : All, but mariners, 
 Plung'd in the foaming brine, and quit the vessel, 15 
 Then all a-fire 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. (D) 
 
 Pro. Why, that's my spirit ! 
 
 But was not this nigh shore ? 
 
 Ari. Close by, my master. 
 
 Pro. But are they, Ariel, safe ? 
 
 11 / know Ihou can'sl not choose, ] As the art of Prosper^ 
 
 has brought this sleepiness upon Miranda. 
 
 - Performed to point] i. e. t to the minutest article. 
 
 13 Beak,'] Forecastle. 
 
 14 the waist,] The part between the quarter-deck and the 
 
 forecastle. 
 
 1 6 felt a fever of the mad,] f. <., not a soul but felt such a fever 
 
 as madmen feel, when the frantic fit is upon them. 
 
 10 quit the vessel,] Quit is here used for quitted. 
 
SCENE ii.] THE TEMPEST. 17 
 
 Ari. Not a hair perish'd ; 
 
 On their sustaining garments not a blemish, 17 
 But fresher than before ; and as thou bad'st 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. 
 
 Pro. Of the king's ship, 
 
 The mariners, say, how thou hast disposed, 
 And all the rest o' the fleet ? 
 
 Ari. Safely iii harbour 
 
 Is the king's ship ; in a deep nook she's hid : 
 The mariners, all under hatches stow'cl, 
 I have left asleep : and for the rest o' the fleet, 
 Which I dispers'd, they all have met again; 
 And all upon the Mediterranean flote, 
 Bound sadly home for Naples ; 
 Supposing that they saw the king's ship wreck'd, 
 And his great person perish. 
 
 Pro. Ariel, thy charge 
 
 Exactly is performed ; but there's more work. _ 
 
 Ari. Is there more toil ? Since thou dost give me 
 
 pains, 
 
 Let me remember thee what thou hast promis'd, 
 Which is not yet perform'd me. 
 
 Pro. How now, moody ? 
 
 What is't thou can'st demand ? 
 
 Ari. My liberty. 18 
 
 Pro. Before the time be out ? no more. 
 
 Ari. I pray thee 
 
 Remember, I have done thee worthy service ; 
 Told thee no lies, made no mistakings, serv'd 
 Without or grudge, or grumblings : thou didst promise 
 To bate me a full year. 
 
 1 * 
 
 17 On their sustaining yarments not n blemish,] Enduring-garments, 
 which bore, without being injured, the drenching of the sea. 
 
 1 * Whnt is't thou can'st demand ? 
 
 My liberty.'] The spirits or familiars attending on magicians 
 were always supposed to be impatient of confinement. 
 
18 THE TEMPEST. [ACT i. 
 
 Pro. Dost thou forget 
 
 From what a torment I did free thec ? (E) 
 ATI. No. 
 
 Pro. 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 bak'd with frost. 
 
 Ari. I do not, sir. 
 
 Pro. Thou liest, malignant thing ! Hast thou forgot 
 The foul witch Sycorax, who, with age, and envy, 
 Was grown into a hoop '? hast thou forgot her ? 
 Ari. No, sir. 
 Pro. Thou hast : Where was she born : speak ; 
 
 tell me. 
 
 Ari. Sir, in "Argier. 19 
 
 Pro. O, was she so ? I must, 
 
 Once in a month, recount what thou hast been, 
 Which thou forget'st. This damn'd witch, Sycorax, 
 For mischiefs manifold, and sorceries terrible 
 To enter human hearing, from Argier, 
 Thou know'st, was banish'd ; for one thing she did, 
 They would not take her life : Is not this true ? 
 Ari. Ay, sir. 
 
 Pro. This blue-ey'd 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 bests, she did confine thee, 
 By help of her more potent ministers, 
 And in her most unmitigable rage, 
 Into a cloven pine ; within which rift 
 Imprison'd, thou didst painfully remain 
 A dozen years ; within which space she died, 
 And left thee there ; where thou didst vent thy groans, 
 As fast as mill-wheels strike : Then was this island, 
 
 1a Sir, in Argier.] Argier is the ancient English name for 
 Algiers. 
 
SCENE EL] THE TEMPEST. 19 
 
 (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. 
 
 Pro. 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 
 Could not again undo ; it was mine art, 
 When I arriv'd, and heard thee, that made gape 
 The pine, and let thee out. 
 
 Ari. I thank thee, master. 
 
 Pro. If thou more murmur'st, I will rend an oak, 
 And peg thee in his knotty entrails, till 
 Thou hast howFd away twelve winters. 
 
 Ari. Pardon, master : 
 
 I will be correspondent to command, 
 And do my spiriting gently. 
 
 Pro. 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 ? 
 
 Pro. Go make thyself like to a nymph o' the sea ; 
 Be subject to no sight but mine ; invisible 
 To every eye-ball else. Go, take this shape, 
 And hither come in't : hence, with diligence. 
 
 [ARIEL disappears. 
 
 Awake, dear heart, awake ! thou hast slept well ; 
 Awake ! 
 
 Mir. The strangeness of your story put 
 Heaviness in me. 
 
 Pro. 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. 
 
 Pro. But, as 'tis, 
 
20 THE TEMPEST. [ACT i. 
 
 We cannot miss him : M he does make our fire, 
 Fetch in our wood : and serves in offices 
 That profit us. What, ho ! slave ! Caliban ! 
 Thou earth, thou ? speak. 
 
 Cal. (within.'} There's wood enough within. 
 
 Pro. Come forth, I say ; there's other business for thee : 
 Come forth, thou tortoise ! when ? 2I 
 
 [ARIEL rises from the sea like a water nymph. 
 Fine apparition ! My quaint Ariel, 23 
 Hark in thine ear. 
 
 Ari. My lord, it shall be done. [ Floats away. 
 
 Pro. Thou poisonous slave, got by the devil himself 
 Upon thy wicked dam, come forth ! 
 
 Enter CALIBAN (F) from Cavern. 
 
 Cal. As wicked dew 23 as e'er my mother brush* d 
 With raven's leather from unwholesome fen, 
 Drop on you both ! a south-west blow on ye, 
 And blister you ail o'er ! 
 
 Pro. For this, be sure, to-night thou shalt have cramps, 
 Side-stitches that shall pen thy breath up ; urchins 24 
 Shall, for that vast of night that they may work, 25 
 All exercise on thee : thou shalt be pinch'd 
 As thick as honey-combs, each pinch more stinging 1 
 Than bees that made them. 
 
 Cal. I must eat my dinner. 
 
 This island's mine, by Sycorax my mother, 
 Which thou tak'st from me. When thou earnest first, 
 
 a We cannot miss him :] i. e. y we cannot do without him. 
 
 21 whe.n?~\ An expression of great impatience, equivalent 
 
 to " when will sucli a. thing be done r" 
 
 22 My quaint Ariel,'] Quaint means brisk, spruce, dexterous, 
 
 from the French cointe. 
 
 " 3 As wicked dew] Wicked, having baneful qualities so Spencer 
 says, ividied weed. 
 
 2 * urchins] Urchins sometimes mean hedge-hogs, but it is 
 
 probable that in this place they denote fairies or spirits. 
 
 25 for that vast of night (hat they may ivorl;,~\ So ill Hamlet 
 
 *' In the dead n-<nte and middle of the night." 
 
SCENE ii.] THE TEMPEST. 21 
 
 Thou strok'dst me, and mad'st much of me : would'st give 
 
 me 
 
 Water with berries in't ; and teach me how 
 To name the bigger light, and how the less, 
 That burn by day and night : and then I lov'J thee, 
 And show'd thee all the qualities o' the isle, 
 The fresh springs, brine pits, barren place, and fertile ; 
 Cursed be I that did so ! All the charms 
 Of Sycorax, toads, beetles, bats, light on you ! 
 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 of the island. 
 
 Pro. Thou most lying slave, 
 
 Whom stripes may move, not kindness : I have us'd thee, j_V> 
 Filth as thou art, with human care ; and lodg'd thee 
 In mine own cell, till thou didst seek to abuse 
 My gentle child. 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 would' st gabble like 
 A thing most brutish, I endow'd thy purposes 
 With words that made them known. 
 
 Gal. 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 ! 
 
 Pro. Hag-seed, hence ! 
 
 Fetch us in fuel ; and be quick, th' wert 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. 
 
 Cal. No, pray thee ! 
 
 I must obey : his art is of such power, [Aside. 
 
 It would control my dam's god Setebos, 26 
 And make a vassal of him. 
 
 = G Setebos,'] Setebos, the supreme God of the Patagonians, 
 is mentioned in Magellan's voyage as a frightful horned monster. 
 
22 THE TEMPEST. [ACT i. 
 
 Pro. So, slave ; hence ! 
 
 [Exit CALIBAN. 
 
 ARIEL floats across the sands, playing; FERDINAND 
 following. 
 
 SONG AND CHORUS BY INVISIBLE SPIRITS. 
 
 Come unto these yellow sands, 
 
 And then take hands : 
 Foot it featly here and there ; 
 And, sweet sprites, the burden bear. 
 
 Hark, hark ! 
 
 The watch-dogs bark : 
 
 Hark, hark ! I hear 
 The strain of chanticlere. 
 
 Fer. Where should this music be ? i' the air, or the 
 
 earth ? 
 
 It sounds no more : and sure, it waits upon 
 Some god of 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 His gone. 
 
 [Chorus recommences. 
 No, it begins again. 
 
 SONG AND CHORUS. 
 
 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 : 
 Hark ! now I hear them, ding-dong, bell. 
 
 Burden, ding-dong. 
 
 Fer. The ditty does remember my drown'd father : 
 This is no mortal business, nor no sound 
 That the earth owns. 
 
SCENE n.] THE TEMPEST. 23 
 
 Pro. The fringed curtains of thine eye advance, 
 And say, what thou seest yond'. 
 
 Mir. What is't ? a spirit r 
 
 Lord, bow it looks about ! Believe me, sir, 
 It carries a brave form : But 'tis a spirit. 
 
 Pro. No, wench ; it eats and sleeps, and Lath 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 might'st call him 
 A goodly person : he hath lost his fellows, 
 And strays about to find them. 
 
 Mir. I might call him 
 
 A thing divine ; for nothing natural. 
 I ever saw so noble. 
 
 Pro. It goes on, \_Aside. 
 
 As my soul prompts it : Spirit, fine spirit, I'll free thee 
 Within two days for this. 
 
 Fer. Most sure, the goddess \JKneeh. 
 
 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. (rising} My language ! heavens ! 
 
 I am the best of them that speak this speech, 
 Were I but where 'tis spoken. 
 
 Pro. 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, ne'er since at ebb, beheld 
 The king my father wreck'd. 
 
 Mir. Alack, for mercy ! 
 
 Fer. Yes, faith, and all his lords, 
 
 Pro. At the first sight [<dside. 
 
24 THE TEMPEST. [ACT i- 
 
 They have chang'd eyes r 7 Delicate Ariel, 
 
 I'll set thee free for this ! a word, good sir : 
 
 I fear, you have done yourself some wrong, 28 a word. 
 
 Mir. Why speaks my father so ungently? This 
 Is the third man that e'er I saw ; the first 
 That e'er I sigh'd for : pity move my father 
 To be inclined my way ! 
 
 Fer. O, if unmarried, 
 
 And your affection not gone forth, I'll make you 
 The Queen of Naples. 
 
 Pro. Soft, sir ; one word more. 
 
 They are both in either s powers : but this swift business 
 I must uneasy make, lest too light winning {^Asidc. 
 
 Make the prize light. One word more ; I charge thee, 
 That thou attend me : thou dost here usurp 
 The name thou own'st not ; and hast put thyself 
 Upon this island, as a spy, to win it 
 From me, the lord on't. 
 
 Fer. No. as I am alive. 
 
 Mir. There's nothing ill can dwell in such a temple : 
 If the ill spirit have so lair a house, 
 Good things will strive to dwell with't. 
 
 Pro. Follow me. \_To FERDINAND. 
 
 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. 
 
 [He draws his stvord, and is charmed from moving. 
 
 - ' They Jmi-e cJtany'J <-t/es:] The mutual transposition of self-love, 
 or transfer of personal 'identity, at sight of the beloved object. 
 
 - 8 I fear, you have dune yourself some wrong,'} i.e., I fear that in 
 asserting yourself to be King of Naples, you have uttered a false- 
 hood, which is below your character, and consequently, injurious 
 to your honor. So, in the Merry Wives of Windsor " This is 
 not well, Master Ford, this icroiH/s you.'" STEEVENS. 
 
SCENE ii.] THE TEMPEST. 25 
 
 Mir. O dear father, 
 
 Make not too rash a trial of him, for 
 He's gentle, and not fearful. 29 
 
 Pro. What, I say, 
 
 My foot my tutor ! 31 Put thy sword up, traitor ; 
 Who mak'st a shew, but dar'st not strike, thy conscience 
 Is so possessed with guilt : come from thy ward ; 31 
 For I can here disarm thee with this stick, 
 And make thy weapon drop. 
 
 Mir. Beseech you, father ! 
 
 Mir. Hence ; hang not on my garments. 
 
 Mir. Sir, have pity ; 
 
 I'll be his surety. 
 
 Pro. Silence : one word more 
 
 Shall make me chide thee, if not hate thee. What ! 
 An advocate for an impostor ? hush ! 
 
 Come on ; obey: [To FERDINAND. 
 
 Thy nerves are in their infancy again, 
 And have no vigour in them. 
 
 Fer. So they are : 
 
 My spirits, as in a dream, are all bound up. 32 
 My father's loss, the weakness which I feel, 
 The wreck of all my friends, or this man's threats, 
 To whom I am subdu'd, 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. [ARIEL appears again. 
 
 2 9 He's gentle, and not fearful.'} The probable meaning of this 
 line is, "He's noble and not timorous he will not tamely bear an 
 insult." 
 
 30 My foot my tutor /] Shall my heel teach my head? Shall 
 that which I tread upon give me law ? 
 
 31 come from thy ward;] Desist from any hope of awing 
 
 me by that posture of defence. JOHNSOX. 
 
 " 3 My spirits, as in a dream, are all bound up.~\ Alluding to a 
 common sensation in dreams, when we struggle, but with a total 
 impuissance in our endeavors, to run, strike, &c. WARBURTOX. 
 
26 THE TEMPEST. [ACT i. 
 
 Pro. It works : Come on. 
 
 Thou hast done well, fine Ariel ! Follow me. 
 
 \_2^o FERDINAND and MIRANDA. 
 Hark, what thou else shalt do me. [To ARIEL. 
 
 31ir. Be of comfort; 
 
 My father's of a better nature, sir, 
 Than he appears by speech ; this is unwonted, 
 Which now came from him. 
 
 Pro. Thou shalt be as free 
 
 As mountain winds : but then exactly do 
 All points of my command. 
 
 Ari. To the syllable. 
 
 Pro. Come, follow: speak not for him. [JExeunt. 
 
 DISTANT CHORUS OF SPIRITS. 
 
 JEND OF ACT FIRST. 
 
ACT i.] THE TEMPEST. 27 
 
 HISTORICAL NOTES TO ACT FIRST. 
 
 (A) Lie there my art.] Sir Will Cecil, Lord Burleigh, Lord High 
 Treasurer in the reign of Queen Elizabeth, when he put off his 
 gown at night, used to say, Lie there, lord treasurer. Fuller's Holy 
 'State, p. 257. 
 
 (B) A rotten carcase of a boat, not rigg*d, 
 JN T or tackle, sail, nor mast ;] 
 
 In the British Museum there is a French copy of an ancient 
 romance, entitled the Geste of King Horn. One might almost 
 conclude that some English translation of it existed in Shakespeare's 
 time, and that he had in the above passage imitated the following 
 description of the boat, in which Horn and his companions were 
 put by king Rodmund at the suggestion of Browans : " Sir, said 
 he, take one of your old boats, put into it these varlets whom I 
 see here ; let them have no oars to help them, sail nor rudder to 
 put them in motion." Illustrations of Shakespeare, by Francis Douce. 
 
 (c) Ifiamd amazement,} There is a meteor known to sailors, and 
 called by the several names of the fire of Saint Helen, Saint Elm, 
 Saint Herm, Saint Clare, Saint Peter, and Saint Nicholas. "When- 
 ever it appeared as a single flame it was supposed by the ancients 
 to be Helena, the sister of Castor and Pollux, and in this state to 
 bring ill luck, from the calamities which this lady is known to 
 have caused in the Trojan war. When it came double it was 
 called Castor and Pollux, and accounted a good omen. It has 
 been described as a little blaze of fire, sometimes appearing by 
 night on the tops of soldiers' lances, or at sea on masts and sail- 
 yards, whirling and leaping in a moment from one place to another. 
 Some have said, but erroneously, that it never appears but after a 
 tempest. It is also supposed to lead people to suicide by drowning. 
 Shakespeare seems to have consulted Stephen Batman's Golden 
 Booke oj the leaden Goddes, who, speaking of Castor and Pollux, says 
 "they were figured like two lampes or cresset lightes, one on the 
 toppe of a maste, the other on the stemme or foreshippe." He 
 adds, that if the light first appears in the stem or foreship and 
 ascends upwards, it is good luck ; if either lights begin at the top- 
 mast, bowsprit, or foreship, and descend towards the sea, it is a sign 
 of tempest. In taking therefore the latter position, Ariel had 
 fulfilled the commands of Prospero to raise a storm. Douce. 
 
 (D) And all the devils are here.'] It is exceedingly probable that the 
 
28 THE TEMPEST. [ACT r. 
 
 outline of a considerable part of this play was borrowed from the 
 voyage of Sir George Sommers to the Bermudas, in the year 
 1609, where he was shipwrecked. Several contemporary narratives 
 of the above event were published, which Shakspeare might have 
 consulted ; and the conversation of the time might have furnished, 
 or at least suggested, some particulars that are not to be found in. 
 any of the printed accounts. In 1610 Silvester Jourdan, an eye- 
 witness, published A ditcovery of the Bermudas, otherwise called the 
 ISLE OF DIVELS : Bif Sir Thomas Giifes, Sir Geo. Sommers, and Cap- 
 tayne Neirport, with divers others. Next followed Strachey's Pro- 
 ceedings of the English colonie in Virginia 1612, 4tO, and some Other 
 pamphlets of less moment. From these accounts it appears that 
 the Bermudas had never been inhabited, but regarded as under the 
 influence of inchantment ; though an edition to a subsequent edition 
 of Jourdan' s work gravely states that they are not inchanted ; that 
 Sommer's ship had been split between two rocks ; that during his 
 stay on the island several conspiracies had taken place ; and that a 
 sea-monster in shape like a man had been seen, who had been so 
 called after the monstrous tempests that often happened at Bermuda, 
 In Stowe's Annals we have also an account of Sommer's ship- 
 wreck, in which this important passage occurs : " Sir George Som- 
 mers sitting at the stearne, seeing the ship desperate of reliefe, 
 looking every minute when the ship would sinke,hee espied land, 
 which according to his and Captaine Newport's opinion, they 
 judged it should be that dreadfull coast of the Bermodes, which, 
 iland were of all nations said and supposed to bee inchanted and in- 
 habited with witches and devills, which grew by reason of accustomed 
 monstrous thunder, storm and tempest, neere unto those ilands, 
 also that for the whole coast is so wonderous dangerous of rockes, 
 that few can approach them, but with unspeakable hazard of 
 ship-wrack." Now if some of these circumstances in the ship- 
 wreck of Sir George Sommers be considered, it may possibly turn 
 out that they are " the particular and recent event which determin- 
 ed Shakspeare to call his play The Tempest." Douce. 
 
 (E) Dost thou forget from what a torment I did free thee ?] That the 
 character and conduct of Prospero may be understood, something 
 must be known of the system of enchantment, which supplied all 
 the marvellous found in the romances of the middle ages. This 
 system seems to be founded on the opinion that the fallen spirits, 
 having different degrees of guilt, had different habitations allotted 
 them at their expulsion, some being confined in hell, some (as 
 Hooker, who delivers the opinion of our poet's age, expresses it, 
 dispersed in air, some on earth, some in icater, others in caves, dens, or 
 minerals under the earth. Of these, some were more malignant and 
 mischievous than others. The earthly spirits seem to have been, 
 thought the most depraved, and the aerial the less vitiated. Thus 
 Prospero observes of Ariel : 
 
 Thou wast a spirit too delicate 
 
 To act her earthy and abhorrd commands. 
 
ACTS i.] THE TEMPEST. 29 
 
 Over these spirits a power might be obtained by certain rites per- 
 formed or charms learned. This power was called The Black Art, 
 or Knowledge of Enchantment. The enchanter being (as King James 
 observes in. his Demonology) one wlto commands Ike devil, ichcreas the 
 witch serves him. Those who thought best of this art, the existence 
 of which was, I am afraid, believed very seriously, held, that 
 certain sounds and characters had a physical power over spirits, 
 and compelled their agency ; others, who condemned the practice, 
 which in reality was surely never practised, were of opinion, with 
 more reason, that the power of charms arose only from compact, 
 and was no more than the spirits voluntarily allowed them for the 
 seduction of man. The art was held by all, though not equally 
 criminal, yet unlawful, and therefore Casaubon, speaking of one 
 who had commerce with spirits, blames him, though he imagines 
 him one of the best kind, who dealt with them by way of command. Thus 
 Prospero repents of his art in the last scene. The spirits were 
 always considered as in some measure enslaved to the enchanter, 
 at least for a time, as serving with unwillingness ; therefore 
 Ariel so often begs for liberty ; and Caliban observes, that the 
 spirits serve Prospero with no good will, but luite him rooledly. 
 Of these trifles enough. Johnson. 
 
 (F) Enter Caliban, ,] In the British Museum is preserved a 
 translation by John Florio (1603), of Montaigne's Essays, in which 
 Shakespeare's autograph is inscribed, thereby affording probability 
 that this identical volume was once the property of the great poet. 
 
 The chapter on Canniballes affords undoubted evidence that 
 Shakespeare was acquainted with the work, as a speech of Gonzalo's, 
 act 2nd, scene 1st (omitted in represent atiori) t \$> almost literally copied 
 from Montaigne's descriptions of a newly discovered country 
 (chap. 30) and it is not unlikely that (according to Dr. Farmer's 
 opinion) by transposing the letters of the woid Canibal, Shakes- 
 peare formed the name of Caliban. 
 
30 THE TEMPEST. [ACT n. 
 
 ACT II. 
 
 SCENE I. INTERIOR OF THE ISLAND. 
 
 Enter ALONSO, SEBASTIAN, ANTONIO, GONZALO, 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 : 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. 
 
 Alo. Pr'ythee, peace. 
 
 Gon. Well, I have done. 
 
 A.dr. Though this island seem to be desert, 
 Uninhabitable, and almost inaccessible. 
 It must needs be of subtle, tender, and delicate temperance. 1 
 The air breathes upon us here most sweetly. 
 
 Gon. But the rarity of it is (which is, indeed, almost be- 
 yond credit) that our garments being, as they were, drench'd 
 in the sea, hold, notwithstanding their freshness and glosses ; 
 being rather new dy'd, than stain'd with salt water, and are 
 now as fresh as when we put them on first in Africk, at the 
 marriage of the king's fair daughter Claribel, to the King of 
 Tunis. 
 
 Seb. 'Twtis a sweet marriage, and we prosper well in our 
 return. 
 
 Gon. Sir, we were talking, that our garments seem now 
 as fresh as when we were at Tunis, at the marriage of your 
 daughter, who is now queen. Are not, sir, my garments as 
 fresh as the first day I wore them, at your daughter's mar- 
 riage ? 
 
 1 delicate lanperanct.~\ Soft temperature. 
 
SCENE i.] THE TEMPEST. 31 
 
 Alo. You cram these words into mine ears, against 
 The stomach of my sense : Would I had never 
 Marry'd my daughter there ! for, coming thence, 
 My son is lost. O, thou, mine heir 
 Of Naples and of Milan. 
 
 Fra. Sir, he may live. 
 
 I saw him beat the surges under him, 
 And ride upon their hacks. I do not doubt, 
 He came alive to land. 
 
 Alo. No, no, he's gone. 
 
 Seb. Sir, you may thank yourself for this great loss ; 
 That would not bless our Europe with your daughter, 
 But rather lose her to an African ; 
 We have lost your son, 
 I fear, for ever : the fault's your own. 
 
 Alo. So is the dearest of the loss. 
 
 Gon. My Lord Sebastian, 
 The truth you speak doth lack some gentleness, 
 And time to speak it in : you rub the sore, 
 W 7 hen you should bring the plaster. 
 
 Enter ARIEL invisible. Solemn music. 
 
 Ant. Nay, my good lord, be not angry. 
 
 Gon. No, 1 warrant you; I will not adventure my dis- 
 cretion so weakly. Will you laugh me asleep, for I am 
 very heavy ? 
 
 Ant. Go sleep, and hear us. 
 
 \_All sleep but ALONSO, SEBASTIAN, and ANTONIO. 
 
 Alo. What, all so soon asleep ! I wish mine eyes 
 Would, with themselves, shut up my thoughts : 1 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 } our rest, 
 And watch your safety. 
 
 Alo. Thank you, Wond'rous heavy. 
 
 [ALONSO sleeps. Exit ARITX. 
 
 Seb. What a strange drowsiness possesses them ! 
 
32 THE TEMPEST. [ACT 11. 
 
 Ant. It is the quality o' the climate. 
 
 Seb. Why 
 
 Doth it not, then, our eye-lids sink ? I find not , 
 
 Myself dispos'd to sleep. 
 
 Ant. Nor I ; my spirits are nimble. 
 
 They fell together all as hy consent ; 
 They dropp'd, as by a thunder-stroke. What might, 
 Worthy Sebastian ? O, what might ? No more : 
 And yet, methinks, I see it in thy face, 
 What thou should'st 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. lYythen, say on : 
 
 The setting of thine eye, and check, proclaim 
 A matter from thee ; and a birth, indeed, 
 Which throes thee much to yield. 
 
 Ant. Thus, sir ; 
 
 Although this lord hath almost persuaded 
 The king his son's alive ; 'tis as impossible 
 That he's undrown'd, as he that sleeps here swims. 
 
 Seb. I have no hope 
 That he's undrown'd. 
 
 Ant. O, out of that no hope, 
 
 What great hope have you ! 
 Will you grant, with me, 
 That Ferdinand is drown' d ? 
 
 Seb. He's gone. 
 
 Ant. Then, tell me, 
 
 Who's the next heir of Naples? 
 
 Seb. Claribel. 
 
 Ant. She that is Queen cf Tunis ; she that dwells 
 Ten leagues beyond man's life. 2 Say, this were death 
 That now hath seiz'd them ; why, they were no worse 
 Than now they are : There be, that can rule Naples, 
 As well as he that sleeps ; 
 
 * Ten leagues leyond man's //>.] i.e., at a greater distance than 
 the life of man is long enough to reach. 
 
SCENE i.] THE TEMPEST. 33 
 
 O, that you bore 
 
 The mind that I do ; what a sleep were this 
 
 For your advancement ! Do you understand me ? 
 
 Seb. Methinks I do. 
 
 Ant. And how does your content 
 
 Tender your own good fortune ? 
 
 Seb. I remember, 
 
 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 ? But I feel not \j 
 This deity in my bosom: twenty consciences, 
 That stand 'twixt me and Milan, candy'd be they, 
 And melt, ere they molest ! 3 Here lies your brother, 
 No better than the earth he lies upon, 
 If he were that which now he's like ; 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, 5 this sir Prudence, who 
 Should not upbraid our course. 
 
 Seb. Thy case, dear friend, 
 
 Shall be my precedent ; as thou got'st Milan, 
 I'll come by Naples. Draw thy sword : one stroke 
 Shall free thee from the tribute which thou pay'st : 
 And I the king shall love thee. 
 
 Ant. Draw together : 
 
 3 twenty consciences, 
 
 That stand 'Iwixt me and Milan, candy'd be (hey, 
 And melt, ere they molest.] 
 
 Let twenty consciences be first congealed, and then dissolved, 
 ere they molest me, or prevent me from executing my purpose. 
 MALONE. 
 
 4 for aye] for ever. 
 
 6 This ancient morsel,'] This aged piece of a man in allusion to 
 Gonzalo. 
 
 c 
 
31 THE TEMPEST. [ACT ir. 
 
 And when I rear my hand, do you the like 
 To fall it on Gonzalo. 
 
 Seb. O, but one word. 
 
 \_They converse apart. 
 
 Music. Re-enter ARIEL, invisible. 
 
 Ari. My master, through his art, foresees the danger 
 That these, his friends, are in ; and sends me forth, 
 (For else his project dies), to keep them living. 6 
 
 \_Sings in GONZALO'S ear. 
 
 While you here do snoring lie, 
 Open-ey'd 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. 
 
 Alo. Why, how now, ho! awake ! Why are you drawn ! 7 
 Wherefore thus 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 it not wake you ? 
 It struck mine ear most terribly. 
 
 Alo. I heard nothing. 
 
 Heard you this, Gonzalo ? 
 
 Gon. Upon mine honour, sir, I heard a humming, 
 And that a strange one, too, which did awake me : 
 I saw their weapons drawn : there was a noise, 
 That's verity : 'Best stand upon our guard ; 
 Or that we quit this place : let's draw our weapons. 
 
 Alo. Lead off this ground ; and let's make further search 
 For my poor son. 
 
 G to keep them living.'] To preserve their lives. 
 
 7 Why are you drawn ?] Having your swords drawn. 
 
SCENE i.] THE TEMPEST. 35 
 
 Gon. Heavens keep him from these beasts ! 
 
 For he is, sure, i' the island. 
 
 Alo. Lead away. [Exeunt. 
 
 Art. Prospero my lord shall know what I have done. 
 
 [Aside. 
 So, king, go safely on to seek thy son. 
 
 [Flies away. 
 
 Enter CALIBAN with a burden of loood. 
 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 fire-brand, in the dark 
 Out of my way, unless he bid them ; but 
 For every trifle are they set upon me : 
 Sometimes like apes, that moe 8 and chatter at me, 
 And after, bite me ; then like hedge-hogs, which 
 Lie tumbling in my bare-foot way, and mount 
 Their prickles at my foot-fall ; sometime am I 
 All wound with adders, 9 who, with cloven tongues, 
 Do hiss me into madness : 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. 
 
 Enter TKHSTCTTLO. 
 
 Tri. 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 10 that would shed his liquor. If it should 
 
 8 that moe] Make mouths at me. 
 
 9 wound with adders,] Enwrapped by adders, wound or 
 
 twisted about me. 
 
 1 looks like a foul bombard] The word bombard means a large 
 vessel for holding drink, as well as the piece of ordnance so called. 
 
 c 2 
 
36 THE TEMPEST. [ACT it. 
 
 thunder, as it did before, 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. 11 A strange fish ! 
 Legg'd like a man ! and his fins like arms ! Warm o' my 
 troth ! I do now let loose my opinion, hold it no longer ; 
 this is no fish, but an islander, that hath lately suffer' d by a 
 thunder-bolt. [Thunder. ~\ Alas! the storm is come again ; 
 my best way is to creep under his gaberdine ; 12 there is no 
 other shelter hereabout : Misery acquaints a man with 
 strange bedfellows : I will here shroud, till the drench of 
 the storm be past. 
 
 A STORM TAKES PLACE. 
 
 Enter STEPHA.NO, singing. 
 
 Ste. I shall no more to sea, to sea, 
 
 Here shall I die a-shore ; 
 
 This is a very scurvy tune to sing at a man's funeral : Well, 
 here's my comfort. [Drinks. 
 
 The master, the swabber, the boatswain, and I, 
 
 The gunner, and his mate, 
 Lov'd Mall, Meg, and Marian, and Margery, 
 
 But none of us car'd for Kate : 
 For she had a tongue with a tang, 
 Then to sea, boys, and let her go hang. 
 This is a scurvy tune, too : But here's my comfort. 
 
 [Drinks. 
 
 Cal. Do not torment me : O ! 
 
 Ste. What's the matter ! Have we devils here ? Do 
 you put tricks upon us with savages, and men of Inde ? 
 Ha ! I have not 'scaped drowning, to be afeard now of your 
 four legs ; for it hath been said, as proper a man as ever 
 went on four legs, cannot make him give ground : and it 
 shall be said so again, while Stephano breathes at nostrils. 
 
 1 1 Poor- John.'] A coarse kind of fish, salted and dried. The 
 fish itself is called also hake. NARES'S GLOSSARY. 
 
 12 Gaberdine;'] The coarse frock, or outward garment of a 
 peasant. 
 
SCENE i.] THE TEMPEST. 37 
 
 Cal. The spirit torments me : O ! 
 
 Ste. This is some monster of the isle, with four legs ; 
 who hath got, as I take it, an ague : Where the devil 
 should he learn our language ? I will give him some relief 
 if it be hut for that : If I can recover him, and keep him 
 tame, and get to Naples with him, he's a present for any 
 emperor that ever trod on neat's-leather. 
 
 Cal. Do not torment me, pr'ythee ; 
 I'll bring my wood home faster. 
 
 Ste. He's in his fit now ; and does not talk after the 
 wisest. He shall taste of my bottle : if he have never 
 drunk wine afore, it will go near to remove his fit ; If I can 
 recover him, and keep him tame, I will not take too much 
 for him ; 13 he shall pay for him that hath him, and that 
 soundly. 
 
 Cal. Thou dost me yet but little hurt ; thou wilt 
 Anon, I know it by thy trembling ; u 
 Now Prosper works upon thee. 
 
 Ste. Come on your ways ; open your mouth ; here is that 
 which will give language to you, cat ; la 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. 
 
 Tri. I should know that voice : It should be But he is 
 drown'd ; and these are devils : O ! defend me ! 
 
 Ste. Four legs, and two voices ; a most delicate monster ! 
 His forward voice now is to speak well of his friend ; his back- 
 ward voice is to utter ibul speeches, and to detract. If all 
 the wine in my bottle will recover him, I will help his ague : 
 Come, Amen ! 16 I will pour some in thy other mouth. 
 
 Tri. Stephano, 
 
 Ste. Doth thy other mouth call me ? Mercy ! mercy ! 
 
 18 I will not take too much for him;] Too much means, any sum, 
 ever so much. 
 
 14 I know it by thy trembling;] This tremor is always represented 
 as the effect of being possessed by the devil. 
 
 1 5 Cat ;] Alluding to an old proverb, that good liquor will make 
 a c*t speak. 
 
 1 6 Amen /] Means, stop your draught come to a conclusio 11 * 
 
38 THE TEMPEST. [ACT n. 
 
 This is a devil, and no monster : I will leave him ; I have 
 no long spoon. 17 
 
 Tri. Stephano! if thou beest Stephano, touch me, 
 and speak to me ; for I am Trinculo ; be not afeard, thy 
 good friend Trinculo. 
 
 Ste. If thou beest Trinculo, come forth ; I'll pull thee 
 by the lesser legs : if any be Trinculo's legs, these are 
 they. Thou art very Trinculo, indeed : How cam'st thou 
 to be the siege 18 of this moon-calf? 19 
 
 Tri. I took him to be kill'd with a thunder-stroke : 
 But art thou not drown'd, Stephano ? I hope now, thou 
 art not drown'd. Is the storm over-blown? I hid me 
 under the dead moon's-calf's gaberdine, for fear of the 
 storm : And art thou living, Stephano ? O Stephano, two 
 Neapolitans 'scap'd ! 
 
 Ste. Pr'ythee, do not turn me about ; my stomach is not 
 constant. 
 
 Gal. 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 did'st thou 'scape ? How cam'st thou hither ? 
 swear by this bottle, how thou cam'st hither. I escap'd 
 upon a butt of sack, which the sailors heav'd over-board, 
 by this bottle ! Here ; swear then how thou escap'dst. 
 
 Tri. Swam a-shore, 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. 
 
 Tri. 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 ? 
 
 Col. Hast thou not dropp'd from heaven ? 20 
 
 17 7 have no long spoon.] Alluding to the proverb, a long spoon 
 to eat with the devil. It may be fouud in Chaucer. 
 
 18 Siege] Stool. 
 
 19 Moon-calf.] An inanimate shapeless mass. 
 
 20 Hast thou not dropp'd from heaven f] The newly-discovered 
 Indians of the island of St. Salvador, asked, by signs, whether 
 Columbus and his companions were not come down from heaven. 
 
SCENE i.] THE TEMPEST. 39 
 
 Ste. Out o' the moon, I do assure thee : I was the man 
 in the moon (A) when time was. 
 
 Cal. I have seen thee in her, and I do adore thee. 
 
 Ste. Come, swear to that : kiss the book : I will furnish 
 it anon with new contents ; swear. 
 
 Tri. 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 monster : Well drawn, 
 monster, in good sooth. 21 
 
 Cal. I'll shew thee every fertile inch o' the island ; 
 And kiss thy foot : I pr'ythee, be my god. 
 
 Tri. By this light, a most perfidious and drunken mon- 
 ster ; when his god's asleep, he'll rob his bottle. 
 
 Cal. I'll kiss thy foot : I'll swear myself thy subject. 
 
 Ste. Come on then ; down, and swear. 
 
 Tri. 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, 
 
 Tri. but that the poor monster's in drink : An abomi- 
 nable monster ! 
 
 Cal. I'll shew 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 wond'rous man. 
 
 Tri. A most ridiculous monster ; to make a wonder of a 
 poor drunkard. 
 
 Cal. I pr'ythee, let me bring thee where crabs grow ; 
 And I with my long nails will dig thee pig-nuts ; 
 Shew thee a jay's nest, and instruct thee how 
 To snare the nimble marmozet ; I'll bring thee 
 To clust'ring filberds, and sometimes I'll get thee 
 Young sea-rnells 23 from the rock : Wilt thou go with me ? 
 
 21 Well drawn, monster, in good sooth.] Caliban has just had 
 another draught from Stephano's bottle of "celestial liquor," 
 and Trinculo compliments him upon having taken so capital a 
 41 pull," or " draw." 
 
 22 Sea-metis.] A species of sea-gulls. 
 
40 THE TEMPEST. [ACT n. 
 
 Ste. I pr'ythee now, lead the way, without any more 
 talking. Triiiculo, the king and all our company else being 
 drown'd, we will inherit here. Here ; bear my bottle. 
 Fellow Trinculo, we'll fill him by and by a?ain. 
 Cal. Farewell, master; farewell, farewell. 
 
 [Sings drunkenly. 
 
 Tri. A howling monster ; a drunken monster. 
 . Cal. No more dams I'll make for fish ; 
 Nor fetch in firing 
 At requiring. 
 
 Nor scrape trencher, nor wash dish : 
 'Ban 'Ban, Ca Caliban, 
 Has a new master Get a new man. 23 
 Ste. O brave monster ' lead the way. \_Exeunt. 
 
 23 Get a new man.'] In allusion to Prospero, who must 
 
 new find a new servant, as he (Caliban) is about to serve a new 
 master. 
 
 END OF ACT SECOND. 
 
ACT ii.] THE TEMPEST. 41 
 
 HISTORICAL NOTES TO ACT SECOND. 
 
 (A) I ivas the man in the moon.'} This is a very old superstition, 
 founded, as Mr. Ritsoii has observed, on Numbers xv. 32. See 
 Ancient songs, p. 34. So far the tradition is still preserved amongst 
 nurses and schoolboys ; but how the culprit came to be imprisoned 
 in the moon, has not yet been accounted for. It should seem that 
 he had not merely gathered sticks on the sabbath, but that he 
 had stolen what he gathered, as appears from the following lines in 
 Chaucer's Testament of Creseid, where the poet, describing the 
 moon, informs us that she had 
 
 " On her brest a chorle paiatcd fal even 
 Bearing a bush of thorns on his backe, 
 Which Jbr his theft might climb no ner the heven." 
 
 Yv^e are to suppose that he was doomed to perpetual confinement 
 in this planet, and precluded from every possibility of inhabiting 
 the mansions of the just. With the Italians, Cain appears to 
 have been the offender, and he is alluded to in a very extraordinary 
 manner by Dante, in the twentieth canto of the Inferno, where the 
 moon is described by the periphrasis Caino e le spine. One of the 
 commentators on that poet says, that this alludes to the popular 
 opinion of Cain loaded with the bundle of faggots ; but how he 
 procured them we are not informed. The Jews have some Tal- 
 mudical story that Jacob is in the moon, and they believe 
 that his face is visible. The natives of Ceylon instead of a man, 
 have placed a hare in the moon ; and it is said to have got there in 
 the following manner : Their great Deity, Buddha, when a hermit 
 on earth, lost himself one day in the forest. After wandering about 
 in great distress he met a hare, who thus addressed him : " It is 
 in my power to extricate you from your difficulty ; take the path 
 on your right hand, and it will lead" you out of the forest." " I 
 am greatly obliged to you, Mr. Hare," said Buddha, " but I am un- 
 fortunately very poor and very hungry, and have nothing to offer 
 you in reward for your kindness." " If you are hungry," returned 
 the hare, " I am again at your service ; make a fire, kill me, roast me, 
 and eat me." Buddha made the fire, and the hare instantly jumped 
 into it. Buddha now exerted his miraculous powers, snatched the 
 animal from the flames, and threw him into the moon, where he has 
 ever since remained. This is from the information of a learned and 
 intelligent French gentleman, recently arrived from Ceylon, who 
 adds that the Cingalese would often request of him to permit them 
 
42 THE TEMPEST. [ACT u. 
 
 to look for the hare through his telescope, and exclaim in raptures 
 that they saw it. It is remarkable that the Chinese represent the 
 moon by a rabbit pounding rice in a mortar. Their mythological 
 moon Jut-ho is figured by a beautiful young woman with a double 
 sphere behind her head, and a rabbit at her feet. The period of 
 this animal's gestation is thirty days ; may it not therefore typify 
 the moon's revolution round the earth ? Douce. 
 
SCENE i.] THE TEMPEST. 43 
 
 ACT III. 
 
 SCENE I. ANOTHER PART OF THE ISLAND. 
 
 Enter FERDINAND, bearing a log. 
 
 Per. There be some sports are painful ; but their labour 
 Delight in them sets off i 1 This ray mean task would be 
 As heavy to me, as 'tis odious ; but 
 The mistress, which I serve, quickens what's dead, 
 And makes my labours pleasures. 
 
 Enter MIRA.NDA. 
 
 Mir. Alas, now ! pray you, 
 Work not so hard : I would, the lightning had 
 Burnt up those logs, that you are enjoin'd to pile ! 
 
 Fer. 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. 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 broke your hest 2 to say so ! 
 
 Fer. Full many a lady 
 
 I have ey'd with best regard. But you, O you, 
 
 1 but their labour delight in tfiem sets off:"] The same thought 
 
 is in Macbeth "The labour we delight in physicks pain." 
 
 2 hest] For befast, i.e., command. 
 
44 THE TEMPEST. [A.CT in. 
 
 So perfect, and so peerless, are created 
 Of every creature's best. 3 
 
 Mir. 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 
 Something too wildly, and my father's precepts 
 Therein forget. 
 
 Fer. I am, in my condition, 
 
 A prince, Miranda ; I do think, a king ; 
 The very instant that I saw you, did 
 My heart fly to your service ; 
 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, 
 Beyond all limit of what else i' the world,* 
 I love, prize, honour you. 
 
 Mir. I am a fool, 
 
 To weep at what I am glad of. 
 
 Fer. Wherefore weep you ? 
 
 Mir. At mine unworthiness. 
 But this is trifling ; 
 
 And all the more it seeks 5 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 6 
 You may deny me ; but I'll be your servant, 
 Whether you will or no. 
 
 Fer. My mistress, dearest, 
 
 And I thus humble ever. 
 Here's my hand. 
 
 8 Of every creature's best.] A collection of the best things pos- 
 sessed by every other creature. 
 
 * of what else i' the world,] i.e., of aught else; of whatever 
 
 else there is in the world. 
 
 6 it seeks] i.e., my affection seeks. 
 
 6 to be your fellow'} i.e., companion. 
 
SCENE i.] THE TEMPEST. 45 
 
 Mir. And mine, with my heart in't : And now, farewell, 
 Till half an hour hence. 
 
 Fer. A thousand ! thousand ! 
 
 \_Exeunt FERDINAND and MIRANDA. 
 
 Enter STEPHANO and TRINCULO ; CALIBAN following. 
 
 Ste. Tell not me ; when the butt is out, we will drink 
 water ; not a drop before : therefore bear up, and board 
 J em : 7 Servant-monster, drink to me. 
 
 Tri. 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 brain' d like us, the state 
 totters. 
 
 Ste. Drink, servant-monster, when I bid thee ; thy eyes 
 are almost set in thy head. 
 
 Tri. 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. 
 
 Tir. Your lieutenant, if you list ; he's no standard. 8 
 
 Ste. We'll not run, monsieur monster. 
 
 Tri. 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 : I'll 
 not serve him, he is not valiant. 
 
 Tri. Thou liest, most ignorant monster ; I am in case 
 to justle a constable : Why, thou debauch'd fish thou, was 
 there ever a 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 monster ? 
 
 7 . and board 'em:] a metaphor alluding to a chase at sea. 
 
 * he's no standard.'] Meaning, lie is so much intoxicated, as 
 not to be able to stand. 
 
46 THE TEMPEST. [ACT in. 
 
 Cal. Lo, how he mocks me! wilt thou let him, my 
 lord ? 
 
 Tri. Lord, quoth he ! that a monster should be such a 
 natural ! 
 
 Cal. Lo, lo, again ! bite him to death, I pr'ythee. 
 
 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 indignity. 
 
 Cal. I thank my noble lord. Wilt thou be pleas'd to 
 hearken once again the suit I made thee ? 
 
 Ste. Marry will I : kneel, and repeat it; I will stand, and 
 so shall Trinculo. 
 
 AEIEL appears. 
 
 Cal. As I told thee 
 Before, I am subject to a tyrant ; 
 A sorcerer, that by his cunning hath 
 Cheated me of the island. 
 
 Ari. Thou liest. 
 
 Cal. Thou liest, thou jesting monkey, thou ; 
 I would, my valiant master would destroy thee : 
 I do not lie. 
 
 Ste. Trinculo, if you trouble him any more in his tale, by 
 this hand, I will suppknt some of your teeth. 
 
 Tri. Why, I said nothing. 
 
 Ste. Mum then, and no more. 
 Proceed. [To CALIBAN. 
 
 Cal. I say, by sorcery he got this isle : 
 From me he got it. If thy greatness will 
 Revenge it on him for, I know, thou dar'st : 
 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 coinpass'd? Canst thou 
 brin- me to the party ? 
 
 Cal. Yea, yea, my lord ; I'll yield him thee asleep, 
 Where thou may'st knock a nail into his head. 
 
 Ari. Thou liest, thou canst not. 
 
acsxs i.] THE TEMPEST. 47 
 
 Cal. What a py'd ninny's this ? 3 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 shew him 
 Where the quick freshes are. 
 
 Ste. Trinculo, run into no further danger : interrupt the 
 monster one word further, and, by this hand, I'll turn 
 my mercy out of doors, and make a stock-fish of thee. 
 
 Tri. Why, what did I r I did nothing ; I'll go further 
 off. 
 
 Ste. Didst thou not say, he lied ? 
 
 Ari. Thou liest. 
 
 Sts. Do I so ? take thou that. [Strikes him.'] As you 
 like this, give me the lie another time. 
 
 Tri. I did not give the lie : Out o'your wits, and hearing 
 
 too ? A plague 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. Pr'ythee stand further 
 off. 
 
 Cal. Beat him enough : after a little time, 
 I'll beat him too. 
 
 Ste. Stand further. Come, proceed. 
 
 Cal. Why, as I told thee, 'tis a custom with him, 
 I'the afternoon to sleep : there thou may'st brain him, 
 Having first seized his books ; or with a log 
 Batter his skull, or paunch him with a stake, 
 Or cut his wezand 10 with thy knife : Remember, 
 First to possess his books ; u for without them 
 He's but a sot, as I am, nor hath not 
 One spirit to command. 
 
 What a py'd ninmfs this ?] In allusion to the party-coloured 
 dress worn by Trinculo, the jester. 
 
 10 Wezand] i.e., throat. 
 
 1 Remember, first to possess his books /] In the old romances, the 
 sorcerer is always furnished with a boot:, by reading certain parts 
 of which he is enabled to summon to his aid whatever demons or 
 spirits he has occasion to employ. When he is deprived of his 
 look, his power ceases. 
 
48 THE TEMPEST. [ACT in. 
 
 Ste. Monster, I will kill this man : his daughter and I 
 will be king and queen ; (save our graces !) and Trinculo 
 and thyself shall be vice-roys : Dost thou like the plot, 
 Trinculo ? 
 
 Tri. Excellent. 
 
 Ste. Give me thy hand; I am sorry I beat thec: but, 
 while thou liv'st, 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 mak'st me merry : I am full of pleasure ; 
 Let us be jocund : Will you troll the catch l3 
 You taught me but while-ere ? 
 
 Ste. At thy request, monster, I will do reason, any 
 reason : Come on, Trinculo, let us sing. [_Sings. 
 
 Floufem, and skoufem; and shout* em, and flout 1 em ; 
 
 Thought is free. 
 
 Cal. That's not the tune. 
 
 [ The tune is played on a tabor and pipe, by ARIEL 
 invisible. 
 
 Ste. What is this same ? 
 
 Tri. This is the tune of our catch, played by the picture 
 of No-body. 
 
 Sle. If thou beest a man, shew thyself in thy likeness : if 
 thou beest a devil, take 't as thou list. 
 
 Tri. O, forgive me my sins ! 
 
 Ste. He that dies pays all debts : I defy thee : Mercy 
 upon us ! 
 
 Cal. Art thou afeard? 13 
 
 Ste. No, monster, not I. 
 
 Cal. Be not afeard ; the isle is full of noises, 
 Sounds, and sweet airs, that give delight, and hurt not. 
 Sometimes a thousand twangling instruments 
 Will hum about mine ears ; and sometime voices, 
 That, if I then had wak'd after long sleep, 
 
 13 'Will you troll the catch] Will you put about the song in 
 
 a like jovial manner ? NARES. 
 
 13 Art thou afear<n] To afear is an obsolete verb. 
 
SCKXE I. 
 
 THE TEMPEST. 49 
 
 Will make me sleep again : and then, in dreaming, 
 The clouds, methought, would open, and shew riches 
 Ready to drop upon me ; that, when I wak'd, 
 I cry'd to dream again. 
 
 Ste. This will prove a brave kingdom to me, where I 
 shall have my music for nothing. 
 
 Cal. When Prospero is destroy'd. 
 
 Ste. That shall be by and by : I remember the story. 
 
 Tri. 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. Wilt come ? 
 
 Tri. I follow, Stephano. [Exeunt. 
 
 Entir ALONSO, SEBASTIAN, ANTONIO, GONZALO, ADRIAN, 
 FRANCISCO, and others. 
 
 Gon. 3y'r lakin, 14 1 can go no further, Sir; 
 My old bones ache : here by your patience, 
 I needs must rest me. 
 
 Alo. 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 15 search on land ; Well let him go. 
 
 Ant. I am right glad that he's so out of hope. 
 
 [Aside to SEBASTIAN. 
 Do not, for one repulse, forego the purpose 
 That you resolv'd to effect. 
 
 Seb. The next advantage 
 
 Will we take thoroughly. 
 
 Ant. 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. I say to-night : no more. 
 
 [Solemn Music. 
 
 14 By'r lakin,] The dimunitive of our lady'; Id. est., Hdykin. 
 18 Our frustrate search'] Frustrate frustrated. 
 D 
 
50 THE TEMPEST. [ACT in. 
 
 Alo. What harmony is this ? my good friends, hark ! 
 Gon. Marvellous sweet music ! 
 
 THE SCENE IS GRADUALLY TRANSFORMED FROM 
 
 BARRENNESS TO LUXURIANT VEGETATION. 
 
 AFTER -WHICH 
 
 ENTER MANY STRANGE SHAPES, BEARING FRUIT 
 AND FLOWERS, 
 
 WITH WHICH THEY FORM A BANQUET, 
 
 AND DISAPPEAR. 
 
 Alo. Give us kind keepers, heavens ! 
 What were these ! 
 
 Fra. They vanish'd strangely. 
 
 Seb. No matter, since 
 
 They have left their viands behind ; for we have stomachs. 
 Wil't please you taste of what is here ? 
 
 Gon. If in Naples 
 I should report this now, would they believe me ? 
 
 Alo. 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. 
 
 ARIEL rises like a Harpy. (A) 
 
 Ari. You are three men of sin, whom destiny 
 (That hath to instrument this lower world, 1G 
 And what is in't) the never-surfeited sea 
 Hath caused to belch up ; and on this island 
 Where man doth not inhabit : you 'mongst men 
 Being most unfit to live. 
 
 [Seeing ALONSO, SEBASTIOX, ^c., draw their 
 
 swords. ( Thunder.) 
 You fools ! I and my fellows 
 Are ministers of fate ; but, remember, 
 (For that's my business to you,) that you three 
 From Milan did supplant good Prospero ; 
 
 18 That hath to instrument this lower world,] id rst. t that makes use 
 of this world, and everything in it, as its instruments to bring 
 about its ends. 
 
SCENE i.] THE TEMPEST. 51 
 
 Expos' d unto the sea, which hath requit it, 
 
 Him, and his innocent child : for which foul deed 
 
 Ling'ring perdition (worse than any death 
 
 Can be at once,) shall step hy 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's sorrow, 
 
 And a clear life ensuing. 17 [He vanishes in thunder. 
 
 Alo. O, it is monstrous ! monstrous ! 
 
 Methought, the billows spoke, airl told me of it; 
 The winds did sing it to me ; and the thunder, 
 That deep and dreadful organ-pipe, pronounc'd 
 The name of Prosper ; it did bass my trespass. 18 
 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 fiend at a time, 
 
 I'll fight their legions o'er. 
 
 Ant. I'll be thy second. 
 
 [Exeunt SEBASTIAN and ANTONIO. 
 
 Gon. All three of them are desperate ; their great guilt, 
 Like poison given to work a great time after, (B) 
 Now 'gins to bite the spirits : I do beseech you 
 That are of suppler joints, follow them swiftly, 
 And hinder them from what this ecstacy 19 
 May now provoke them to. 
 
 Adr. Follow, I pray you. 
 
 [Exeunt. 
 
 MUSIC. THE SHAPES, See., RE-APPEAR. 20 
 
 DANCE. 
 
 17 And a clear life ensuing.'] i. e., a miserable state, which nothing 
 but contrition and amendment of life can avert. 
 
 18 it did bass my trespass.] It gave the bass notes to my 
 
 trespass. 
 
 19 this ecslacy~\ Alienation of mind madness in this sense 
 
 the word is now obsolete. 
 
 20 Satyrs are described as always joining in the dances ami 
 revels of nymphs. 
 
 END OF ACT THIRD. 
 
 D 2 
 
52 THE TEMPEST. [ACT in. 
 
 HISTORICAL NOTES TO ACT THIRD. 
 
 (A) Ariel rises like a Harpy."] Pantomimes were exhibited in 
 France and Italy, and were known and instituted in this country. 
 
 Flying, rising, and descending services were to be found at 
 -entertainments given by the Duke of Burgundy, c., in 1453, and 
 by the Grand Duke of 'Tuscany, in 1600, &c. 
 
 (B) Like poisn given to work a. great time after,] The natives of 
 Africa have been supposed to be possessed of the secret how to 
 temper poisons with such art as not to operate till several years 
 after they were administered. Their drugs were then as certain in 
 their effect as subtle in their preparation. So, in the celebrated 
 libel called Leicester's Commonwealth : " I heard him once myselfe 
 in publique act at Oxford, and that in presence of my Lord of Leices- 
 ter, maintain that poyson might be so tempered "and given, as it 
 should not appear presently, and yet should kill the party after- 
 wards at what time should be appointed." Stecvens. 
 
SCENE i.] THE TEMPEST. 53 
 
 ACT IV. 
 
 SCENE I. PROSPERO'S CELL. 
 Enter PROSPERO, FERDINAND, and MIRANDA. 
 
 Pro. If I have too austerely punish' d you, 
 Your compensation makes amends;, for I 
 Have given you here a thread of mine own life, 
 Or that for which I live ; all thy vexations 
 Were but my trials of thy love, and thou 
 Hast strangely stood the test : l 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, 
 
 A gainst an oracle. 
 
 Pro. Then, as my gift, and thine own acquisition 
 Worthily purchasYl, take my daughter : So 
 Sit then, and talk with her, she is thine own. 
 What, Ariel ; my industrious servant, Ariel ! 
 
 [ARIEL appears. 
 
 An. What would my potent master ? here I am. 
 
 Pro. Thou and thy meaner fellows your last service 
 Did worthily perform ; and I must use you 
 In such another trick : go, bring the rabble, 3 
 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 
 
 j_ strangely stood the test :] Strangely is here used as a term of 
 
 commendation. " Thou hast wonderfully stood the test." 
 
 * go, bring the rabble,'] The crew of meaner spirits. 
 
54 THE TEMPEST. [ACT IT. 
 
 Some vanity of mine art ; 3 it is my promise, 
 And they expect it from me. 
 
 Ari, Presently?* 
 
 Pro. 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 arid mowe : 
 Do you love me, master ? no. 
 
 Pro. Dearly, my delicate Ariel : Do not approach, 
 Till thou dost hear me call. 
 
 An. Well I conceive. [Disappears. 
 
 Pro. No tongue ; r> all eyes ; be silent. [Soft music. 
 
 A MASQUE. (A) 
 
 IKIS(B) appears floating in mid-air, and is passed by VENUS(C) 
 
 and CUPID, (D) " cutting the clouds towards Paphos" in a 
 
 dove-drawn car. 
 
 VIEW OF ELEUSIS(E) AND ITS TEMPLE, 
 
 DEDICATED TO THE GODDESS CERES. 
 
 Iri. Ceres, most bounteous lady, thy rich leas 
 Of wheat, rye, barley, vetches, oats, and peas ; 
 Thy banks with pioned and till'd 7 brims, 
 Which spungy April at thy hest betrims, 
 To make cold nymphs chaste crowns. 
 The Queen o' the sky, 
 Whose watery arch, and messenger am I, 
 Bids thee leave these ; and with her sovereign grace, 
 
 a vanity of mine art ;] i. e., illusion of mine art. 
 
 4 Presently ?1 Now ? at once r 
 
 5 with mop and moire :] A colloquial corruption of mocks 
 
 and mouths. 
 
 c No tongue ;] Those who are present at incantations are obliged 
 to be strictly silent, " else," as we are afterwards told, " the spell 
 is marred." JOHNSON. 
 
 7 with pioned andtilFd brims,] Till'd refeis to cultivation 
 
 by "pioning'' or digging. COLLIER. 
 
SCEXE i.] THE TEMPEST. 55 
 
 Here on this grass plot, in this very place, 
 To come and sport : her peacocks fly amain ; 
 Approach, rich Ceres, her to entertain. 
 
 Enter CERES. (F) 
 
 Cer. Hail, many coloured messenger, that ne'er 
 Dost disobey the wife of Jupiter ; 
 Who, with thy saffron wings, upon my flowers 
 Diffusest honey-drops, refreshing showers ; 
 And with each end of thy blue bow dost crown 
 My bosky acres, 8 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 ? 
 
 Iri. A contract of true love to celebrate ; 
 And some donation freely to bestow 
 On the bless'd lovers 
 
 Cer. Tell me, heavenly bow, 
 
 If Venus, or her son, as thou dost know, 
 Do now attend the queen : since they did plot 9 
 The means, that dusky Dis 10 my daughter got, 
 Her and her blind boy's scandal'd company 
 I have forsworn. 
 
 Iri. Of her society 
 
 Be not afraid , I met her deity 
 Cutting the clouds towards Paphos ; and her son 
 Dove-drawn with her. 
 
 Cer. Highest queen of state, 
 
 Great Juno comes : I know her by her gait. 
 
 JUNO DESCENDS,(G) 
 
 ACCOMPANIED BY 
 
 THE GRACES (H) AND THE SEASONS (K) 
 
 WITH OTHER SPIRITS. 
 
 8 My bosky acres,] Woody acres, or fields divided from each, 
 other by hedge-rows. 
 
 o since they did plot 
 
 Tlie. means, that dusky Dis my daughter qof,~\ An allusion to her 
 daughter Proserpine (Persephone), being carried off by Acidoneus 
 (Pluto). 
 
 dufl-y Dis'] Dis is contracted from Dives, a name some- 
 times given to Pluto. 
 
5<> THE TEMPEST. [ACT iv. 
 
 Fer. This is a most majestic vision, and 
 Harmonious charmingly : May I be bold 
 To think these spirits ? 
 
 Pro. 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, 11 and a wife, 
 Make this place Paradise. 
 
 Pro. Sweet now, silence : 
 
 There's something else to do : hush, and be mute, 
 Or else our spell is marr'd. 
 
 Jun. You nymphs, call'd Naiads, of the wand'ring brooks, 
 With your sedg'd crowns, and ever-harmless looks, 
 Leave your crisp channels, 12 and on this green land 
 Answer your summons ; Juno does command. 
 
 Enter certain NYMPHS. (K) 
 You sun-burn'd sicklemen, of August weary, 
 Come hither from the furrow and be merry ; 
 Make holy-day : your rye straw hats put on, 
 And these fresh nymphs encounter every one 
 In country footing. 
 
 SONG. 
 Jun. Honour, riches, marriage-blessing, 
 
 Long continuance, and increasing, 
 
 Hourly joys be still upou you ! 
 
 Juno sings her blessing on you. 
 Cer. Vines, with clust'ring bunches growing : 
 
 Plants, with goodly burden bowing ; 
 
 Rain come to you, at the farthest, 
 
 In the very end of harvest ! 
 
 Earth's increase, and foison plenty ; 13 
 
 Barns and garners never empty. 
 
 11 a wonder'd father,] A father able to produce such 
 
 wonders. 
 
 * 3 your crisp channels,] Crisp is sometimes used for curling 
 
 or winding, but in the present instance the word may be understood 
 to denote the curl raised by a breeze on the surface of the water. 
 
 13 Earth's increase, and foison plenty ;] The produce of the earth 
 and (foison') plenty to the utmost abundance. 
 
SCENE i.] THE TEMPEST. 57 
 
 Scarcity, and want, shall shun you ; 
 Ceres' blessing so is on you. 
 
 CHORUS. 
 The REAPERS join with the NYMPHS in a dance. f 
 
 At end of chorus, PROSPERO starts suddenly, and speaks. 
 
 Pro. [To the Spirits:'] Well done ; avoid : 
 no more. [Spirits vanish. 
 
 [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. 
 
 Fer. This is most strange : your father's in some passion 
 That works him strongly. 
 
 Mir. Never till this da} r , 
 
 Saw I him touch'd with anger so distemper'd. 
 
 fro. You do look, my son, in a mov'd 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- capt towers, the gorgeous palaces, 
 The solemn temples, the great globe itself, 
 Yea, all which it inherit, 14 shall dissolve ; 
 And, like this insubstantial pageant faded, 15 
 Leave not a rack behind : 16 We are such stuff 
 As dreams are made of, and our little life 
 Is rounded with a sleep. Sir, I am vex'd; i 
 
 Bear with my weakness ; my old brain is troubled. 
 Be not disturb'd with my infirmity : 
 If you be pleas'd, retire into my cell, 
 
 14 alt which it inherit,] All who possess, who dwell upon it. 
 
 15 faded,'] Vanished. 
 
 16 Leave not a rack behind:] Leave not a trace leave not the 
 smallest particle of a feathery cloud behind. 
 
58 THE TEMPEST. [ACT iv. 
 
 And there repose ; a turn or two I'll walk, 
 To still my beating mind. 
 
 ,f/ J We wish you peace. [Exeunt. 
 
 Pro. Come with a thought : I thank you : Ariel, come. 
 
 [ABIEL appears. 
 
 Ari. Thy thoughts I cleave to : 17 What's thy pleasure ? 
 
 Pro. Spirit, 
 
 We must prepare to meet with Caliban. 18 
 
 Ari. Ay, my commander ! 
 
 Pro. Say again, where didst thou leave these varlets r 
 
 Ari. I told you, sir, they were red-hot with drinking ; 
 So full of valour, that they smote the air 
 For breathing in their faces ; beat the ground 
 For kissing of their feet : yet always bending 
 Towards their project ; 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 
 I' the filthy-mantled pool beyond your cell, 
 There dancing up to their chins in the foul lake. 
 
 Pro. This was well done, my bird ; 
 Thy shape invisible retain thou still : 
 The trumpery in my house, go, bring it hither, 
 For stale iy to catch these thieves. 
 
 Ari. I go, I go. [Disappears. 
 
 Pro. A devil, a born devil, on whose nature 
 Nurture 20 can never stick ; on whom my pains, 
 Humanely taken, are all lost, quite lost ; 
 And as, with age, his body uglier grows, 
 So his mind cankers : I will plague them all, 
 
 [ARIEL re-appears, loaded with glittering apparel., fyc. 
 
 17 Thy thoughts I cleave to :] To cleave to, is to unite with closely. 
 
 18 to meet with Caliban. ,] To counteract Caliban. 
 
 1 9 For stale] Stale is a word infolding, and is used to mean a bait 
 or decoy to catch birds. 
 
 20 Nurture can never stick ;] Nurture is education. 
 
SCENE i.] THE TEMPEST. 59 
 
 Even to roaring : Come, place them on this seat. 
 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, 21 or cat o' mountain. 
 
 Ari. They shall roar. 
 
 Pro. 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. 
 
 Enter CALIBAN, STEPHANO, and TKINCULO, 
 iv et and muddy. 
 
 Cal. Pray you, tread softly, that the blind mole may not 
 Hear a foot fall :'" we now are near his cell. 
 
 Sic. Monster, your fairy, which, you say, is a harmless 
 fairy, has done little better than play'd the Jack with us. 23 
 
 Tri Monster, I do smell all horse-pond, 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, 
 
 Tri. 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 hood-wink this mischance : therefore, speak softly ; 
 All hush'd as midnight yet. 
 
 Tri. Ay, but to lose our bottles in the pool 
 
 Ste. There is not only disgrace and dishonour in that, 
 monster, but an infinite loss. 
 
 Tri. That's more to me than my wetting : yet this is 
 your harmless fairy, monster. 
 
 Leopard. 
 
 2 ~ that the Lllndmole may not hear a footfall :] The mole is supposed 
 to possess the quality of hearing to a high degree. 
 
 23 - plaiidilic Jack with us.] Jack with a lantern; has led us 
 about like an ignis fatuus. 
 
60 THE TEMPEST. [ACT iv, 
 
 Ste. I will fetch off my bottle, though I be o'er ears for 
 my labour. 
 
 Cal. Pr'ythee, my king, be quiet. See'st thou here, 
 This is the inner 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. 
 
 Tri. O, King Stephano! O, peer! O, worthy Ste- 
 phano ! look, Avhat a wardrobe here is for thee ! 
 
 Cal. Let it alone, thou fool; it is but trash. 
 
 Tri. O, ho ! monster ; we know what belongs to a frip- 
 pery. 24 O, King Stephano ! 
 
 Ste. Put off that gown, Trinculo ; by this hand, I'll have 
 that gown. 
 
 Tri. Thy grace shall have it. 
 
 Cal. The dropsy drown this fool ! what do you mean, 
 To doat thus on such luggage ? Let's along, 
 And do the murder first : if he awake, 
 From toe to crown, he'll fill our skin with pinches; 
 Make us strange stuff. 
 
 Ste. Be you quiet, monster, 
 
 Cal. We shall lose our time, 
 And all be turn'd to barnacles, 25 or to apes 
 With foreheads villainous low. 26 
 
 Ste. Monster, lay-to your fingers ; help to bear this 
 
 24 a frippery.*] A. frippery was a shop where old clothes 
 
 were sold, and the person who kept one of these shops was called 
 a fripper. Strype, in the Life of Stowe, says, that these frippers 
 lived in Birchin-lane and Cornhill. 
 
 25 turn (I to barnacles,'] The barnacle is a kind of shell fish, 
 growing on a flexible stem, and adhering to loose timber, bottoms 
 of ships, &c., anciently supposed to turn into a Solan goose. 
 Whether the fish or the bird be meant in the above passage, is not 
 clear. NAHES'S GLOSSARY. 
 
 26 With foreheads villainous loic.~\ Low foreheads were anciently 
 reckoned amongst deformities. STEEVENS. 
 
SCENE i.] THE TEMPEST. 61 
 
 away, where my hogshead of wine is, or I'll turn you out of 
 my kingdom : go to, carry this. 
 
 Tri. And this. 
 
 Ste. Ay, and this. 
 
 A NOISE OF HUNTERS HEARD. 
 ENTER DIVERS SPIRITS, IN VARIOUS SHAPES, 
 
 AND HUNT THEJI ABOUT; 
 
 ARIEL, FLYING ON A BAT'S BACK, 
 
 SETTING THEM ON. 
 
 END OF ACT FOURTH. 
 
THE TEMPEST. [ACT iv. 
 
 HISTORICAL NOTES TO ACT FOURTH. 
 
 (A) A Masque."] The ancient English payccwts were shows exhibit- 
 ed on the reception of a prince, or any other solemnity of a similar 
 kind. They were presented on occasional stages erected in the 
 street. Originally they appear to have been nothing more than 
 dumb shows ; but before the time of our author, they had been en- 
 livened by the introduction of speaking personages, who were cha- 
 racteristically habited. The speeches were sometimes in Terse ; and 
 as the procession movedforward, the speakers, who constantly bore 
 some allusion to the ceremony, either conversed together in the 
 form of a dialogue, or addressed the noble person whose presence 
 occasioned the celebrity. On these allegorical spectacles very 
 costly ornaments were bestowed. When King James and his 
 Queen passed from the Tower to Westminster, seven gates or 
 arches were erected in different places, through which the pro- 
 cession passed. Over the first gate " was represented the true 
 likeness of all the notable houses, TOWERS and steeples, within the 
 citie of London." " The sixt arche or gate of triumph was erected 
 above the Conduit in Fleete-Streete, whereon the GLOBE of the 
 world was seen to move, &c. At Temple-bar a seaventh arche or 
 gate was erected, the fore-front whereof was proportioned in every 
 respect like a TEMPLE, being dedicated to Janus, &c. The citie o"f 
 Westminster, and dutchy of Lancaster, at the Strand had erected 
 the invention of a Rainbow, the moone, sunne, audstarres, advanc - 
 ed between two Pyramides, &c." AXXALS, p. 1129, edit. 160-5. 
 Malone. 
 
 (B) Iris, is described by Homer in the Iliad as the messenger of 
 the Gods, especially of Zeus and Hera (Jupiter and Juno). Iris 
 appears to have been originally the personification of the rainbow : 
 for this brilliant phenomenon in the skies, which vanishes as quickly 
 as it appears, was regarded as the swift messenger of the Gods. 
 Some poets describe Iris as the rainbow itself; but other writers 
 represent the rainbow as only the road on which Iris travels. Iris 
 is represented in works of art dressed in a long tunic, with wings 
 attached to her shoulders, and carrying the Herald's staff in her 
 left hand. 
 
 (c) Venus amongst the Romans the goddess of love and beauty, 
 ana under the name of Aphrodite, one of the great divinities of the 
 
ACT iv.] THE TEMPEST. 
 
 Greeks. Her worship AVRS of Eastern origin ; and probably in- 
 troduced by the Phoenicians to the island of Cyprus, Cvthera, and 
 others, from whence it spread all over Greece. She appears to 
 have been originally identical with Astarte, called by the Hebrews, 
 Ashtoreth. The sparrow, the dove, the swan, and the swallow, 
 are mentioned as drawing her chariot, or serving as her messengers. 
 
 (D) Cupid, son of Jupiter and Venus, a celebrated deity amongst; 
 the ancients God of love and love itself described as a lively 
 ingenious youth, and represented as a winged infant, naked, armed 
 with a bow, and quiver full of arrows. 
 
 (E) Eleusis, a town of Attica, situate N. W. of Athens. It 
 possessed a magnificent temple of Demeter (Ceres), and it gave 
 its name to the great festival of the Eleusinia, which was cele- 
 brated in honour of Demeter (Ceres) and her daughter Tersephone. 
 
 (r) Ceres, under the name of Demeter, one of the greatest 
 divinities of the Greeks was the goddess of the earth, and her 
 name probably signified mother-earth. She was the protectress of 
 agriculture, and of all the fruits of the earth. The Romans 
 received from Sicily the worship of Demeter, to whom they gave 
 the name of Ceres. 
 
 In works of art, Demeter is represented wearing around her 
 head a garland of corn-ears ; and in her hand she held a sceptre 
 of corn- ears or a poppy. 
 
 (G) Juno this goddess was worshipped under the name of 
 Juno at Rome, as the queen of heaven, but was called Hera by 
 the Greeks. As Jupiter is the king of heaven and of the gods, 
 so Juno is the queen or the female Jupiter. She is represented as 
 adorned with a crown or diadem. A veil frequently hangs down 
 the back of her head, to characterise her as the bride of Zeu.s 
 (Jupiter) ; and the diadem, veil, sceptre, and peacock, are her 
 ordinary attributes. 
 
 (H) The Graces, called Charites by the Greeks, were the per- 
 sonification of Grace and Beauty. They are usually described as 
 three in number, and were the goddesses who enhanced the en- 
 joyments of life by refinement and gentleness. They lent their 
 grace and beauty to every thing that delighted and elevated gods 
 and men, and were described as in the service of other divinities. 
 
 (r) Seasons (Horae) Originally the. goddesses of the order of 
 nature and the seasons, but in later times, the goddesses of order 
 in general, and of justice. The course of the seasons is symboli- 
 cally described as the dance of the Horse. They bear a resem- 
 blance to, and are mentioned along with, the Graces, and both arc 
 frequently confounded or identified. They were the protectresses 
 of youth, and gave to the state good laws, justice, and peace. 
 
 (K) Enter certain JfympktJ\ The nymphs of fresh water, 
 whether of rivers, lakes, brooks, or springs, were designated by 
 the general name Naiades. 
 
64 THE TEMPEST. [ACT iv. 
 
 The early Greeks saw, in all the phenomena of nature, some 
 manifestations of the Deity. 
 
 Springs, rivers, grottoes, trees, and mountains, all seemed to 
 them fraught with life, and all were only the visible embodiment 
 of so many divine agents. The salutary and beneficent powers of 
 nature were thus personified, and regarded as so many divinities. 
 
 For Classical Authorities Vide Smith's Dictionary, 
 
SCENE i.] THE TEMPEST. 65 
 
 ACT Y. 
 
 SCENE I. BEFORE THE CELL OF PROSPERO. 
 
 PRGSPERO in his magic, roles. 
 
 Pro. Now does my project gather to a head : 
 My charms crack not ; my spirits obey ; and time 
 Goes upright with his carriage. 1 Ariel ! say, 
 
 t f ARIEL appears. 
 
 How fares the king and his r 2 
 
 Ari. Confm'd together 
 
 In the same fashion as you gave in charge ; 
 Just as you left them ; all prisoners, sir ; 
 They cannot budge, till your release. 3 The king, 
 His brother, and yours, abide all three distracted ; 
 And the remainder mourning over them, 
 Brim-full of sorrow, and dismay ; 
 Your charm so strongly works them, 
 That if you now beheld them, your affections 
 Would become tender. 
 
 Pro. Do'st thou think so, spirit ? 
 
 Ari. Mine would, sir, were I human. 
 
 Pro. And mine shall. 
 
 Hast thou, which art but air, a touch, 4 a feeling 
 Of their afflictions ? and shall not myself, 
 One of their kind, be kindlier mov'd than thou art ? 
 
 1 time goes upright with 'his carriage.] Time goes upright 
 
 with his burden. Events move on rightly. 
 
 2 How fares the king and his ?] And his followers. 
 
 3 till your release.] Till you release them. 
 
 * a, touch,'] A sensation. 
 
<)(> THE TEMPEST. [ACT V 
 
 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. 
 " Art'. I'll fetch them, sir. [Disappears. 
 
 Pro. Ye elves 5 of hills (A), brooks, standing lakes and 
 
 groves ; 
 
 And ye, that on the sands with printless foot 
 Do chase the ebbing Neptune ; by whose aid 
 ; Weak masters though ye be,) I have be-dimnvd 
 The noon-tide sun, call'd forth the mutinous winds, 
 And 'twixt the green sea and the azur'd 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-bas'd promontory 
 Have I made shake ; and by the spurs pluck'd up 
 The pine, and cedar : 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 
 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. PKOSPERO describes a Circle 
 with his ivand. 
 
 Pro. Ariel ! [ARIEL reappears. 
 
 Dainty spirit, 
 
 Thou shalt ere long be free. I shall miss thee ; 
 But yet thou shalt have freedom : 
 To the king's ship, invisible as thou art : 
 There shalt thou find the mariners asleep 
 Under the hatches ; the master, and the boatswain, 
 
 Ye elves] Fairies and elves are frequently in, the poets mcu- 
 tioncd together. 
 
SCENE i.] THE TEMPEST. -G7 
 
 Being awake, enforce them to this place ; 
 And presently I pr'ythee. 
 
 Ari. My lord, it shall be done. 
 
 Pro. Set Caliban and his companions free. 
 Untie the spell. 
 
 Ari. I drink the air before me, and return 
 Or e'er your pulse twice beat. \Exit ARIKJ.. 
 
 Pro. I will disease me, and myself present 
 As I was sometime Milan. 6 
 
 [Exit PROSPERO into tavern. 
 
 Enter ALONSO with a frantic gesture, attended by GOXKALO ; 
 SEBASTIAN and ANTONIO in like manner, attended by 
 ADRIAN and FRANCISCO .- they all enter the circle 
 which PROSPERO had made, and there stand charmed. 
 
 Gon. Some heavenly power guide us 
 Out of this fearful country. 
 
 SONG BY INVISIBLE SPIRIT. 
 
 Where the bee sucks, there suck I ; 
 
 In a cowslip's bell I lie : 
 
 There I couch when owls do cry. 
 
 On the bat's back I do fly, 
 
 After sunset merrily : 
 
 Merrily, merrily, shall I live now, 
 
 Under the blossom that hangs on the bough. 
 
 Enter PROSPERO, as the Duke of Milan. 
 
 Pro. There stand, for you are spell- stopp'd. 
 Not one of them, 
 
 That yet looks on me, or would know me. 
 Noble Gonzalo honourable man 
 Mine eyes e'en sociable to the flow of thine, 
 Fall fellow drops. The charm dissolves apace ; 
 
 * I will disease nie, and myself present 
 
 As I was sometime Milan. :] id est., I will take off this dress 
 and present myself as I was sometime since, the Duks of Milan. 
 
 I 2 
 
68 THE TEMPEST. [ACT r 
 
 And as the morning steals upon the night, 
 Melting the darkness, so their rising senses 
 Begin to chase the ignorant fumes 7 that mantle 
 Their clearer reason. 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. 
 
 Alo. Whe'r 8 thou beest he, or no, 
 
 Or some enchanted devil to abuse me, 
 As late I have been, I know not. 
 Thy dukedom I resign ; 9 and do intreat 
 Thou pardon me my wrongs : But how should Prospero 
 Be living, and be here ? 
 
 Pro. First, noble friend, 
 
 Let me embrace thine age ; whose honour cannot 
 Be measur'd, or confm'd. 
 
 Gon. Whether this be, 
 
 Or be not, I'll not swear. 
 
 Pro. You do yet taste 
 
 Some subtilties o' the isle, 10 that will not let you 
 Believe things certain : Welcome, my friends all : 
 But you, my brace of lords, were I so minded, 
 
 \Aside to SEBASTIAN and ANTONIO. 
 I here could pluck his highness' frown upon you, 
 And j ustify you traitors ; at this time 
 I'll tell no tales. 
 
 Seb. The devil speaks in him. \_Aside. 
 
 7 tlie ignorant fumes] i. e., fumes of ignorance. 
 
 8 Whe'r'] Whether. 
 
 Thy dukedom I resign ;~\ The Duchy of Milan being, through 
 the treachery of Antonio, made feudatory to the crown of Naples, 
 Alonso promises to resign his claim of sovereignty for the future. 
 STEEVENS. 
 
 10 Some suit lit ieso' the isle,] This is a phrase adopted from ancient 
 cookery and confectionery. When a dish was so contrived as to 
 appear unlike what it really was, they called it a subtilty. Dragons, 
 castles, trees, &c., made out of sugar, had the like denomination. 
 
SCENE T.] THE TEMPEST. 
 
 Pro. 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. 
 
 Alo. If thou beest 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. 
 
 Pro. I am woe fort, sir. 11 
 
 But howsoe'r 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 
 Upon this shore, where you were wreck'd, was landed, 
 To be the lord on't. No more yet of this. 
 Welcome, sir ; 
 
 This cell's mv court : here have I few attendants, 
 And subjects none abroad : pray you, look in. 
 My dukedom since you have given me again, 
 I will requite you with as good a thing ; 
 At least, bring forth a wonder, to content ye, 
 As much as me my dukedom, 
 
 The entrance of the cell opens, and discovers FERDINAN* 
 and MIRANDA playing at chess. 
 
 Alo. If this prove 
 A vision of the island, one dear son 
 Shall I twice lose. 
 
 Sel. A most high miracle ! 
 
 [FERDINAND and MIRANDA come from the cell. 
 Fcr. Though the seas threaten, they are merciful : 
 I have curs'd them without cause. 
 
 [FERDINAND Jtneels to ALONSO. 
 Alo. Now all the blessings 
 
 11 J am woefcr't, sn:"] I am sorry for it. To le woe is often used 
 by old writers to signify "to be sorry," 
 
70 THE TEMPEST. [ACT v, 
 
 Of a glad father compass thee about ! 
 Arise, and say how thou cam'st here. 
 
 Mir. O! wonder! 
 
 How many goodly creatures are there here ! 
 How beauteous mankind is ! 
 
 Alo. What is this maid, with whom thou wast at play? 
 Is she the goddess that hath sever'd us, 
 And brought us thus together ? 
 
 Fer. Sir, she's 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 
 Receiv'd a second life, and second father 
 This lady makes him to me. 
 
 Alo. I am hers : 
 
 But O, how oddly will it sound, that I 
 Must ask my child forgiveness ! 
 
 Pro. There, sir, stop ; 
 
 Let us not burden our remembrances 
 With a heaviness that's gone. 
 
 Alo. Give me your hands : 
 
 [7b FERDINAND and MIRANDA. 
 Let grief and sorrow still embrace his heart, 
 That doth not wish you joy ! 
 
 Gon. Be't so ! Amen ! 
 
 Enter the MASTER and BOATSWAIN amazedly. 
 O, look, sir, look, sir ; here are more of us ! 
 
 Boa. The best news is, that we have safely found 
 Our king, and company : the next, our ship, 
 Is tight, and yare, 12 and bravely rigg'd. as when 
 We first put out to sea. 
 
 Pro. How fares my gracious sir ? 
 There are yet missing of your company 
 Some few odd lads, that you remember not. 
 
 Yarf,] Beady, 
 
8CENB i.] THE TEMPEST. 71 
 
 Enter CALIBAN, STEPHANO, and TRINCULO. 
 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 ! 13 
 
 Tri. If these be true spies which I wear in my head, 
 here's a goodly sight. 
 
 Gal. O Setebos, these be brave spirits, indeed ! 
 How fine my master is ! I am afraid 
 He will chastise me. 
 I shall be pinch'd to death. 
 
 Alo. Is this not Stephano, my drunken butler ? 
 Seb. He is drunk now : Where had he wine ? 
 Alo. And Trinculo is reeling ripe : 
 How cam'st thou in this pickle ? 
 
 Tri. 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. 14 
 
 Seb. Why, how now, Stephano : 
 
 Ste. O, touch me not ; I am not Stephano, but a cramp. 1 "' 
 
 Pro. You'd be king of the isle, sirrah ? 
 
 Ste. I should have been a sore one, then. 
 
 Alo. This is as strange a thing as e'er I look'd on. 
 
 [Pointing to CALIBAN. 
 
 Pro. He is as disproportion'd 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 ? 
 
 Pro. Go to ; away ! 
 
 1 z Coragio /] An exclamation of encouragement. 
 l * - fly -blowing.] Such a pickle alludes to their being left by 
 Ariel " in the filthy mantled pool ;" and pickling preserves meat 
 
 18 - but a cramp.} I am all over a cramp. Prospero having 
 ordered Ariel " to shorten t// then sineics with aged crarrp*." 
 
72 THE TEMPEST. [ACT v. 
 
 *dlo. Hence, and bestow your luggage where you found it. 
 
 Seb. Or stole it, rather. 
 
 [Exeunt CALIBAN, STEPHANO, and TRINCULO. 
 
 Pro. 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 euch discourse, as, I not doubt, shall make it 
 Go quick away : the story of my life, 
 And the particular accidents, gone by, 
 Since I came to this isle : And in the morn, 
 I'll bring you to your ship, and so to Naples, 
 Where I have hope to see the nuptial 
 Of these our dear beloved solemniz'd ; 
 And thence retire me to my Milan, where 
 Every third thought shall be my grave. 
 
 Jllo. I long 
 
 To hear the story of your life, which must 
 Take the ear strangely. 
 
 Pro. I'll deliver all; 
 
 And promise you calm seas, auspicious gales, 
 And sail so expeditious, that shall catch 
 Your royal fleet far off. 
 Please you draw near. 
 
 [Exeunt all but PROSPERO into cell. 
 
 My Ariel ; chick ! [ARIEL appears. 
 
 That is thy charge ; then to the elements 
 Be free, and fare thou well ! 
 
 NIGHT DESCENDS. 
 THE SPIRITS, RELEASED BY PROSPERO, 
 
 TAKE THEIR FLIGHT FROM THE ISLAND, INTO TliE A1K. 
 
 CHORUS OF SPIRITS. 
 
 Where the bee sucks, &c., &c. 
 
 MORNING BREAKS, AND SHOWS 
 
 A SHIP IN A CALM, 
 
 PREPARED TO CONVEY THE KING AND HIS 
 COMPANIONS BACK TO NAPLES. 
 
SCENE i.] THE TEMPEST. 73 
 
 EPILOGUE. 
 
 SPOKEN BY PROSPERO FROM THE DECK OF THE VESSEL. 
 
 Now 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 confin'd 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. 16 
 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 reliev'd by prayer ; n 
 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. 
 
 THE SHIP GRADUALLY SAILS OFF, 
 THE ISLAND RECEDES FROM SIGHT, 
 
 AND ARIEL REMAINS ALONE IN MID-AIR, WATCHING 
 THE DEPARTURE OF HIS LATE MASTER. 
 
 DISTANT CHORUS OF SPIRITS. 
 
 6 With the help of your good hands. ,] By your applause, by clap- 
 ping hands. Noise being supposed to dissolve a spell. 
 
 1 7 Unless I he relieved by prayer ;] This is an allusion to the old 
 stories told of the despair of necromancers in their last moments, 
 and of the efficacy of the prayers of their friends for them. 
 
 WARBUKTOX. 
 
 THE END. 
 
74 THE TEMPEST. [ACT T 
 
 HISTORICAL NOTES TO ACT FIFTH. 
 
 (A) Ye el.s of hills.'] The different species of the fairy tribe are v 
 called in the Northern languages celfen, elfen, and alpen, words 
 of remote and uncertain etymology. The Greek o\$io<r, felix, 
 is not so plausible an original as the Teutonic helfen, juvare ; 
 because many of these supernatural beings were supposed to be 
 of a mischievous nature, but all of them might very properly be 
 invoked to assist mankind. Some of the northern nations regard- 
 ed them as the souls of men who in this world had given them- 
 selves up to corporeal pleasures, and trespasses against human 
 laws. It was conceived, therefore, that they were doomed to 
 wander for a certain time about the earth, and to be bound in a 
 kind of servitude to mortals. One of their occupations was that 
 of protecting horses in the stable. See Olaus Magnus de gentibus 
 septentrionalibus, lib. iii. cap. xi. It is probable that our fairy 
 system is originally derived from the Fates, Fauns, Nymphs, 
 Dryads, Dese matres, &c., of the ancients, in like manner as other 
 Pagan superstitions were corruptedly retained after the promulga- 
 tion of Christianity. The general stock might have been augmented 
 and improved by means of the crusades and other causes of inter- 
 course with the nations of the East. Douce. 
 
-AXE, 
 
 ERRATA. 
 
 A few trifling omissions have been found 
 absolutely necessary in representation, since the 
 first edition of the book was published. The 
 corrections will be made in the next issue. 
 
74 THE TEMPEST. [ACT v. 
 
 HISTORICAL NOTES TO ACT FIFTH. 
 
 (A) Ye elvts of hills.] The different species of the fairy tribe are , 
 called in the Northern languages celfen, elfen, and alpen, words 
 of remote and uncertain etymology. The Greek oX&ioff, felix, 
 is not so plausible an original as the Teutonic helfen, juvare ; 
 because many of these supernatural beings were supposed to be 
 
 of a m.isP-'hifi'B'^ia y>o<-"^ V.-fc -11 - f ^1 
 
 invoke 
 
 ed ther. 
 
 selves i 
 
 laws. 
 
 wandei 
 
 kind 01 
 
 of prot 
 
 septentn 
 
 system 
 
 Dryads 
 
 Pagan 
 
 tionof( 
 
 and im] 
 
 course ,,^^ W1C naviuus 01 uie j^ast. Douce. 
 
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