_Pros._ Fairly spoke.
Sit, then, and talk with her; she is thine own.
What, Ariel! my industrious servant, Ariel!
_Enter ARIEL._
_Ari._ What would my potent master? here I am.
_Pros._ Thou and thy meaner fellows your last service 35
Did worthily perform; and I must use you
In such another trick. Go bring the rabble,
O'er whom I give thee power, here to this place:
Incite them to quick motion; for I must
Bestow upon the eyes of this young couple 40
Some vanity of mine art: it is my promise,
And they expect it from me.
_Ari._ Presently?
_Pros._ Ay, with a twink.
_Ari._ Before you can say, 'come,' and 'go,'
And breathe twice, and cry, 'so, so,' 45
Each one, tripping on his toe,
Will be here with mop and mow.
Do you love me, master? no?
_Pros._ Dearly, my delicate Ariel. Do not approach
Till thou dost hear me call.
_Ari._ Well, I conceive. [_Exit._ 50
_Pros._ Look thou be true; do not give dalliance
Too much the rein: the strongest oaths are straw
To the fire i' the blood: be more abstemious,
Or else, good night your vow!
_Fer._ I warrant you, sir;
The white cold virgin snow upon my heart 55
Abates the ardour of my liver.
_Pros._ Well.
Now come, my Ariel! bring a corollary,
Rather than want a spirit: appear, and pertly!
No tongue! all eyes! be silent. [_Soft music._
_Enter IRIS._
_Iris._ Ceres, most bounteous lady, thy rich leas 60
Of wheat, rye, barley, vetches, oats, and pease;
Thy turfy mountains, where live nibbling sheep,
And flat meads thatch'd with stover, them to keep;
Thy banks with pioned and twilled brims,
Which spongy April at thy best betrims, 65
To make cold nymphs chaste crowns; and thy broom-groves,
Whose shadow the dismissed bachelor loves,
Being lass-lorn; thy pole-clipt vineyard;
And thy sea-marge, sterile and rocky-hard,
Where thou thyself dost air;--the queen o' the sky, 70
Whose watery arch and messenger am I,
Bids thee leave these; and with her sovereign grace,
Here on this grass-plot, in this very place,
To come and sport:--her peacocks fly amain:
Approach, rich Ceres, her to entertain. 75
_Enter CERES._
_Cer._ Hail, many-colour'd messenger, that ne'er
Dost disobey the wife of Jupiter;
Who, with thy saffron wings, upon my flowers
Diffusest honey-drops, refreshing showers;
And with each end of thy blue bow dost crown 80
My bosky acres and my unshrubb'd down,
Rich scarf to my proud earth;--why hath thy queen
Summon'd me hither, to this short-grass'd green?
_Iris._ A contract of true love to celebrate;
And some donation freely to estate 85
On the blest lovers.
_Cer._ Tell me, heavenly bow,
If Venus or her son, as thou dost know,
Do now attend the queen? Since they did plot
The means that dusky Dis my daughter got,
Her and her blind boy's scandal'd company 90
I have forsworn.
_Iris._ Of her society
Be not afraid: I met her Deity
Cutting the clouds towards Paphos, and her son
Dove-drawn with her. Here thought they to have done
Some wanton charm upon this man and maid, 95
Whose vows are, that no bed-right shall be paid
Till Hymen's torch be lighted: but in vain;
Mars's hot minion is returned again;
Her waspish-headed son has broke his arrows,
Swears he will shoot no more, but play with sparrows, 100
And be a boy right out.
_Cer._ High'st queen of state,
Great Juno, comes; I know her by her gait.
_Enter JUNO._
_Juno._ How does my bounteous sister? Go with me
To bless this twain, that they may prosperous be,
And honour'd in their issue. [_They sing:_ 105
_Juno._ Honour, riches, marriage-blessing,
Long continuance, and increasing,
Hourly joys be still upon you!
Juno sings her blessings on you.
_Cer._ Earth's increase, foison plenty, 110
Barns and garners never empty;
Vines with clustering bunches growing;
Plants with goodly burthen bowing;
Spring come to you at the farthest
In the very end of harvest! 115
Scarcity and want shall shun you;
Ceres' blessing so is on you.
_Fer._ This is a most majestic vision, and
Harmonious charmingly. May I be bold
To think these spirits?
_Pros._ Spirits, which by mine art 120
I have from their confines call'd to enact
My present fancies.
_Fer._ Let me live here ever;
So rare a wonder'd father and a wife
Makes this place Paradise.
[_Juno and Ceres whisper, and send Iris on employment._
_Pros._ Sweet, now, silence!
Juno and Ceres whisper seriously; 125
There's something else to do: hush, and be mute,
Or else our spell is marr'd.
_Iris._ You nymphs, call'd Naiads, of the windring brooks,
With your sedged crowns and ever-harmless looks,
Leave your crisp channels, and on this green land 130
Answer your summons; Juno does command:
Come, temperate nymphs, and help to celebrate
A contract of true love; be not too late.
_Enter certain Nymphs._
You sunburnt sicklemen, of August weary,
Come hither from the furrow, and be merry: 135
Make holiday; your rye-straw hats put on,
And these fresh nymphs encounter every one
In country footing.
_Enter certain Reapers, properly habited: they join with the
Nymphs in a graceful dance; towards the end whereof PROSPERO
starts suddenly, and speaks; after which, to a strange, hollow,
and confused noise, they heavily vanish._
_Pros._ [_Aside_] I had forgot that foul conspiracy
Of the beast Caliban and his confederates 140
Against my life: the minute of their plot
Is almost come. [_To the Spirits._] Well done! avoid; no more!
_Fer._ This is strange: your father's in some passion
That works him strongly.
_Mir._ Never till this day
Saw I him touch'd with anger so distemper'd. 145
_Pros._ You do look, my son, in a moved sort,
As if you were dismay'd: be cheerful, sir.
Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air: 150
And, like the baseless fabric of this vision,
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve,
And, like this insubstantial pageant faded, 155
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep. Sir, I am vex'd;
Bear with my weakness; my old brain is troubled:
Be not disturb'd with my infirmity: 160
If you be pleased, retire into my cell,
And there repose: a turn or two I'll walk,
To still my beating mind.
_Fer._ _Mir._ We wish your peace. [_Exeunt._
_Pros._ Come with a thought. I thank thee, Ariel: come.
_Enter ARIEL._
_Ari._ Thy thoughts I cleave to. What's thy pleasure? 165
_Pros._ Spirit,
We must prepare to meet with Caliban.
_Ari._ Ay, my commander: when I presented Ceres,
I thought to have told thee of it; but I fear'd
Lest I might anger thee.
_Pros._ Say again, where didst thou leave these varlets? 170
_Ari._ I told you, sir, they were red-hot with drinking;
So full of valour that they smote the air
For breathing in their faces; beat the ground
For kissing of their feet; yet always bending
Towards their project. Then I beat my tabor; 175
At which, like unback'd colts, they prick'd their ears,
Advanced their eyelids, lifted up their noses
As they smelt music: so I charm'd their ears,
That, calf-like, they my lowing follow'd through
Tooth'd briers, sharp furzes, pricking goss, and thorns, 180
Which enter'd their frail shins: at last I left them
I' the filthy-mantled pool beyond your cell,
There dancing up to the chins, that the foul lake
O'erstunk their feet.
_Pros._ This was well done, my bird.
Thy shape invisible retain thou still: 185
The trumpery in my house, go bring it hither,
For stale to catch these thieves.
_Ari._ I go, I go. [_Exit._
_Pros._ A devil, a born devil, on whose nature
Nurture can never stick; on whom my pains,
Humanely taken, all, all lost, quite lost; 190
And as with age his body uglier grows,
So his mind cankers. I will plague them all,
Even to roaring.
_Re-enter ARIEL, loaden with glistering apparel, &c._
Come, hang them on this line.
_PROSPERO and ARIEL remain, invisible. Enter CALIBAN, STEPHANO,
and TRINCULO, all wet._
_Cal._ Pray you, tread softly, that the blind mole may not
Hear a foot fall: we now are near his cell. 195
_Ste._ Monster, your fairy, which you say is a harmless
fairy, has done little better than played the Jack with us.
_Trin._ Monster, I do smell all horse-piss; at which my
nose is in great indignation.
_Ste._ So is mine. Do you hear, monster? If I should 200
take a displeasure against you, look you,--
_Trin._ Thou wert but a lost monster.
_Cal._ Good my lord, give me thy favour still.
Be patient, for the prize I'll bring thee to
Shall hoodwink this mischance: therefore speak softly. 205
All's hush'd as midnight yet.
_Trin._ Ay, but to lose our bottles in the pool,--
_Ste._ There is not only disgrace and dishonour in that,
monster, but an infinite loss.
_Trin._ That's more to me than my wetting: yet this is 210
your harmless fairy, monster.
_Ste._ I will fetch off my bottle, though I be o'er ears for
my labour.
_Cal._ Prithee, my king, be quiet. See'st thou here,
This is the mouth o' the cell: no noise, and enter. 215
Do that good mischief which may make this island
Thine own for ever, and I, thy Caliban,
For aye thy foot-licker.
_Ste._ Give me thy hand. I do begin to have bloody
thoughts. 220
_Trin._ O King Stephano! O peer! O worthy Stephano!
look what a wardrobe here is for thee!
_Cal._ Let it alone, thou fool; it is but trash.
_Trin._ O, ho, monster! we know what belongs to a frippery.
O King Stephano! 225
_Ste._ Put off that gown, Trinculo; by this hand, I'll
have that gown.
_Trin._ Thy Grace shall have it.
_Cal._ The dropsy drown this fool! what do you mean
To dote thus on such luggage? Let's alone, 230
And do the murder first: if he awake,
From toe to crown he'll fill our skins with pinches,
Make us strange stuff.
_Ste._ Be you quiet, monster. Mistress line, is not this
my jerkin? Now is the jerkin under the line: now, jerkin, 235
you are like to lose your hair, and prove a bald jerkin.
_Trin._ Do, do: we steal by line and level, an't like your
Grace.
_Ste._ I thank thee for that jest; here's a garment for't:
wit shall not go unrewarded while I am king of this country. 240
'Steal by line and level' is an excellent pass of pate;
there's another garment for't.
_Trin._ Monster, come, put some lime upon your fingers,
and away with the rest.
_Cal._ I will have none on't: we shall lose our time, 245
And all be turn'd to barnacles, or to apes
With foreheads villanous low.
_Ste._ Monster, lay-to your fingers: help to bear this
away where my hogshead of wine is, or I'll turn you out
of my kingdom: go to, carry this. 250
_Trin._ And this.
_Ste._ Ay, and this.
_A noise of hunters heard. Enter divers Spirits, in shape of
dogs and hounds, and hunt them about, PROSPERO and ARIEL setting
them on._
_Pros._ Hey, Mountain, hey!
_Ari._ Silver! there it goes, Silver!
_Pros._ Fury, fury! there, Tyrant, there! hark, hark! 255
[_Cal., Ste., and Trin. are driven out._
Go charge my goblins that they grind their joints
With dry convulsions; shorten up their sinews
With aged cramps; and more pinch-spotted make them
Then pard or cat o' mountain.
_Ari._ Hark, they roar!
_Pros._ Let them be hunted soundly. At this hour 260
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._
Notes: IV, 1.
3: _a third_] _a thread_ Theobald. _the thread_ Williams conj.
4: _who_] _whom_ Pope.
7: _test_] F1. _rest_ F2 F3 F4.
9: _off_] F2 F3 F4. _of_ F1.
11: _do_] om. Pope.
13: _gift_] Rowe. _guest_ Ff.
14: _but_] F1. om. F2 F3 F4.
25: _'tis_] _is_ Capell.
30: _Phoebus'_] _Phoebus_ F1. _Phoedus_ F2 F3. _Phoeduus_ F4.
34: SCENE II. Pope.
41: _vanity_] _rarity_ S. Walker conj.
48: _no_?] _no_. Rowe.
53: _abstemious_] _abstenious_ F1.
60: SCENE III. A MASQUE. Pope.]
_thy_] F1. _the_ F2 F3 F4.
64: _pioned_] _pionied_ Warburton. _peonied_ Steevens.
_twilled_] _tulip'd_ Rowe. _tilled_ Capell (Holt conj.). _lilied_
Steevens.]
66: _broom-groves_] _brown groves_ Hanmer.
68: _pole-clipt_] _pale-clipt_ Hanmer.
72: After this line Ff. have the stage direction, '_Juno descends._'
74: _her_] Rowe. _here_ Ff.
83: _short-grass'd_] F3 F4. _short gras'd_ F1 F2. _short-grass_ Pope.
96: _bed-right_] _bed-rite_ Singer.
101: _High'st_] _High_ Pope.
102: Enter JUNO] om. Ff.
110: Cer.] Theobald. om. Ff.
_foison_] F1 _and foison_ F2 F3 F4.
114: _Spring_] _Rain_ Collier MS.
119: _charmingly_] _charming lay_ Hanmer. _charming lays_ Warburton.
_Harmoniously charming_ Steevens conj.
121: _from their_] F1. _from all their_ F2 F3 F4.
123: _wife_] F1 (var.). Rowe. _wise_ F1 (var.) F2 F3 F4.
124: _Makes_] _make_ Pope.
_sweet, now, silence_] _now, silence, sweet_ Hanmer.
124: In Ff. the stage direction [Juno, &c. follows line 127.
Capell made the change.
128: _windring_] _winding_ Rowe. _wand'ring_ Steevens.
129: _sedged_] _sedge_ Collier MS.
136: _holiday_] _holly day_ F1 F2 F3. _holy-day_ F4.
139: SCENE IV. Pope.
143: _This is_] _This'_ (for This 's) S. Walker conj.]
_strange_] _most strange_ Hanmer.
145: Ff put a comma after _anger_. Warburton omitted it.
146: _do_] om. Pope. See note (XVI).
151: _this_] F1. _their_ F2 F3 F4. _th' air visions_ Warburton.
156: _rack_] F3 F4. _racke_ F1 F2. _track_ Hanmer. _wreck_ Dyce
(Malone conj.).
163: _your_] F1 F2 F3. _you_ F4.
164: _I thank thee, Ariel: come._] _I thank you:--Ariel, come._
Theobald.
169: _Lest_] F4. _Least_ F1 F2 F3.
170: _Say again_] _Well, say again_ Capell.
180: _furzes_] Rowe. _firzes_ Ff.
181: _shins_] _skins_ Warburton conj. (note, V. 1. p. 87).
182: _filthy-mantled_] _filthy mantled_ Ff. _filth-ymantled_
Steevens conj.
184: _feet_] _fear_ Spedding conj.
190: _all, all_] _are all_ Malone conj.
193: _them on_ Rowe. _on them_ Ff.
Prospero ... invisible. Theobald, Capell. om. Ff.
194: SCENE V. Pope.
230: _Let's alone_] _Let's along_ Theobald. _Let it alone_ Hanmer.
_Let 't alone_ Collier. See note (XVII).
246: _to apes_] om. _to_ Pope.
255: Stage direction added by Theobald.
256: _they_] F1 F3 F4. _thou_ F2.
261: _Lie_] Rowe. _lies_ Ff.
ACT V.
SCENE I. _Before the cell of Prospero._
_Enter PROSPERO in his magic robes, and ARIEL._
_Pros._ Now does my project gather to a head:
My charms crack not; my spirits obey; and time
Goes upright with his carriage. How's the day?
_Ari._ On the sixth hour; at which time, my lord,
You said our work should cease.
_Pros._ I did say so, 5
When first I raised the tempest. Say, my spirit,
How fares the king and's followers?
_Ari._ Confined together
In the same fashion as you gave in charge,
Just as you left them; all prisoners, sir,
In the line-grove which weather-fends your cell; 10
They cannot budge till your release. The king,
His brother, and yours, abide all three distracted,
And the remainder mourning over them,
Brimful of sorrow and dismay; but chiefly
Him that you term'd, sir, "The good old lord, Gonzalo;" 15
His tears run down his beard, like winter's drops
From eaves of reeds. Your charm so strongly works 'em,
That if you now beheld them, your affections
Would become tender.
_Pros._ Dost thou think so, spirit?
_Ari._ Mine would, sir, were I human.
_Pros._ And mine shall. 20
Hast thou, which art but air, a touch, a feeling
Of their afflictions, and shall not myself,
One of their kind, that relish all as sharply,
Passion as they, be kindlier moved than thou art?
Though with their high wrongs I am struck to the quick, 25
Yet with my nobler reason 'gainst my fury
Do I take part: the rarer action is
In virtue than in vengeance: they being penitent,
The sole drift of my purpose doth extend
Not a frown further. Go release them, Ariel: 30
My charms I'll break, their senses I'll restore,
And they shall be themselves.
_Ari._ I'll fetch them, sir. [_Exit._
_Pros._ Ye elves of hills, brooks, standing lakes, and groves;
And ye that on the sands with printless foot
Do chase the ebbing Neptune, and do fly him 35
When he comes back; you demi-puppets that
By moonshine do the green sour ringlets make,
Whereof the ewe not bites; and you whose pastime
Is to make midnight mushrooms, that rejoice
To hear the solemn curfew; by whose aid-- 40
Weak masters though ye be--I have bedimm'd
The noontide sun, call'd forth the mutinous winds.
And 'twixt the green sea and the azured vault
Set roaring war: to the dread rattling thunder
Have I given fire, and rifted Jove's stout oak 45
With his own bolt; the strong-based promontory
Have I made shake, and by the spurs pluck'd up
The pine and cedar: graves at my command
Have waked their sleepers, oped, and let 'em forth
By my so potent art. But this rough magic 50
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, 55
And deeper than did ever plummet sound
I'll drown my book. [_Solemn music._
_Re-enter ARIEL before: then ALONSO, with a frantic gesture,
attended by GONZALO; SEBASTIAN and ANTONIO in like manner,
attended by ADRIAN and FRANCISCO: they all enter the circle
which PROSPERO had made, and there stand charmed; which PROSPERO
observing, speaks:_
A solemn air, and the best comforter
To an unsettled fancy, cure thy brains,
Now useless, boil'd within thy skull! There stand, 60
For you are spell-stopp'd.
Holy Gonzalo, honourable man,
Mine eyes, even sociable to the show of thine,
Fall fellowly drops. The charm dissolves apace;
And as the morning steals upon the night, 65
Melting the darkness, so their rising senses
Begin to chase the ignorant fumes that mantle
Their clearer reason. O good Gonzalo,
My true preserver, and a loyal sir
To him thou follow'st! I will pay thy graces 70
Home both in word and deed. Most cruelly
Didst thou, Alonso, use me and my daughter:
Thy brother was a furtherer in the act.
Thou art pinch'd for't now, Sebastian. Flesh and blood,
You, brother mine, that entertain'd ambition, 75
Expell'd remorse and nature; who, with Sebastian,--
Whose inward pinches therefore are most strong,--
Would here have kill'd your king; I do forgive thee,
Unnatural though thou art. Their understanding
Begins to swell; and the approaching tide 80
Will shortly fill the reasonable shore,
That now lies foul and muddy. Not one of them
That yet looks on me, or would know me: Ariel,
Fetch me the hat and rapier in my cell:
I will discase me, and myself present 85
As I was sometime Milan: quickly, spirit;
Thou shalt ere long be free.
_ARIEL sings and helps to attire him._
Where the bee sucks, there suck I:
In a cowslip's bell I lie;
There I couch when owls do cry. 90
On the bat's back I do fly
After summer merrily.
Merrily, merrily shall I live now
Under the blossom that hangs on the bough.
_Pros._ Why, that's my dainty Ariel! I shall miss thee; 95
But yet thou shalt have freedom: so, so, so.
To the king's ship, invisible as thou art:
There shalt thou find the mariners asleep
Under the hatches; the master and the boatswain
Being awake, enforce them to this place, 100
And presently, I prithee.
_Ari._ I drink the air before me, and return
Or ere your pulse twice beat. [_Exit._
_Gon._ All torment, trouble, wonder and amazement
Inhabits here: some heavenly power guide us 105
Out of this fearful country!
_Pros._ Behold, sir king,
The wronged Duke of Milan, Prospero:
For more assurance that a living prince
Does now speak to thee, I embrace thy body;
And to thee and thy company I bid 110
A hearty welcome.
_Alon._ Whether thou be'st he or no,
Or some enchanted trifle to abuse me,
As late I have been, I not know: thy pulse
Beats, as of flesh and blood; and, since I saw thee,
The affliction of my mind amends, with which, 115
I fear, a madness held me: this must crave--
An if this be at all--a most strange story.
Thy dukedom I resign, and do entreat
Thou pardon me my wrongs. --But how should Prospero
Be living and be here?
_Pros._ First, noble friend, 120
Let me embrace thine age, whose honour cannot
Be measured or confined.
_Gon._ Whether this be
Or be not, I'll not swear.
_Pros._ You do yet taste
Some subtilties o' the isle, that will not let you
Believe things certain. Welcome, my friends all! 125
[_Aside to Seb. and Ant._]
But you, my brace of lords, were I so minded,
I here could pluck his Highness' frown upon you,
And justify you traitors: at this time
I will tell no tales.
_Seb._ [_Aside_] The devil speaks in him.
_Pros._ No.
For you, most wicked sir, whom to call brother 130
Would even infect my mouth, I do forgive
Thy rankest fault,--all of them; and require
My dukedom of thee, which perforce, I know,
Thou must restore.
_Alon._ If thou be'st Prospero,
Give us particulars of thy preservation; 135
How thou hast met us here, who three hours since
Were wreck'd upon this shore; where I have lost--
How sharp the point of this remembrance is!--
My dear son Ferdinand.
_Pros._ I am woe for't, sir.
_Alon._ Irreparable is the loss; and patience 140
Says it is past her cure.
_Pros._ I rather think
You have not sought her help, of whose soft grace
For the like loss I have her sovereign aid,
And rest myself content.
_Alon._ You the like loss!
_Pros._ As great to me as late; and, supportable 145
To make the dear loss, have I means much weaker
Than you may call to comfort you, for I
Have lost my daughter.
_Alon._ A daughter?
O heavens, that they were living both in Naples,
The king and queen there! that they were, I wish 150
Myself were mudded in that oozy bed
Where my son lies. When did you lose you daughter?
_Pros._ In this last tempest. I perceive, these lords
At this encounter do so much admire,
That they devour their reason, and scarce think 155
Their eyes do offices of truth, their words
Are natural breath: but, howsoe'er you have
Been justled from your senses, know for certain
That I am Prospero, and that very duke
Which was thrust forth of Milan; who most strangely 160
Upon this shore, where you were wreck'd, was landed,
To be the Lord on't. No more yet of this;
For 'tis a chronicle of day by day,
Not a relation for a breakfast, nor
Befitting this first meeting. Welcome, sir; 165
This cell's my court: here have I few attendants,
And subjects none abroad: pray you, look in.
My dukedom since you have given me again,
I will requite you with as good a thing;
At least bring forth a wonder, to content ye 170
As much as me my dukedom.
_Here Prospero discovers FERDINAND and MIRANDA playing at chess._
_Mir._ Sweet lord, you play me false.
_Fer._ No, my dear'st love,
I would not for the world.
_Mir._ Yes, for a score of kingdoms you should wrangle,
And I would call it fair play.
_Alon._ If this prove 175
A vision of the island, one dear son
Shall I twice lose.
_Seb._ A most high miracle!
_Fer._ Though the seas threaten, they are merciful;
I have cursed them without cause. [_Kneels._
_Alon._ Now all the blessings
Of a glad father compass thee about! 180
Arise, and say how thou camest here.
_Mir._ O, wonder!
How many goodly creatures are there here!
How beauteous mankind is! O brave new world,
That has such people in't!
_Pros._ 'Tis new to thee.
_Alon._ What is this maid with whom thou wast at play? 185
Your eld'st acquaintance cannot be three hours:
Is she the goddess that hath sever'd us,
And brought us thus together?
_Fer._ Sir, she is mortal;
But by immortal Providence she's mine:
I chose her when I could not ask my father 190
For his advice, nor thought I had one. She
Is daughter to this famous Duke of Milan,
Of whom so often I have heard renown,
But never saw before; of whom I have
Received a second life; and second father 195
This lady makes him to me.
_Alon._ I am hers:
But, O, how oddly will it sound that I
Must ask my child forgiveness!
_Pros._ There, sir, stop:
Let us not burthen our remembrances with
A heaviness that's gone.
_Gon._ I have inly wept, 200
Or should have spoke ere this. Look down, you gods,
And on this couple drop a blessed crown!
For it is you that have chalk'd forth the way
Which brought us hither.
_Alon._ I say, Amen, Gonzalo!
_Gon._ Was Milan thrust from Milan, that his issue 205
Should become kings of Naples? O, rejoice
Beyond a common joy! and set it down
With gold on lasting pillars: In one voyage
Did Claribel her husband find at Tunis,
And Ferdinand, her brother, found a wife 210
Where he himself was lost, Prospero his dukedom
In a poor isle, and all of us ourselves
When no man was his own.
_Alon._ [_to Fer. and Mir._] Give me your hands:
Let grief and sorrow still embrace his heart
That doth not wish you joy!
_Gon._ Be it so! Amen! 215
_Re-enter ARIEL, with the _Master_ and _Boatswain_ amazedly
following._
O, look, sir, look, sir! here is more of us:
I prophesied, if a gallows were on land,
This fellow could not drown. Now, blasphemy,
That swear'st grace o'erboard, not an oath on shore?
Hast thou no mouth by land? What is the news? 220
_Boats._ The best news is, that we have safely found
Our king and company; the next, our ship--
Which, but three glasses since, we gave out split--
Is tight and yare and bravely rigg'd, as when
We first put out to sea.
_Ari._ [_Aside to Pros._] Sir, all this service 225
Have I done since I went.
_Pros._ [_Aside to Ari._] My tricksy spirit!
_Alon._ These are not natural events; they strengthen
From strange to stranger. Say, how came you hither?
_Boats._ If I did think, sir, I were well awake,
I'ld strive to tell you. We were dead of sleep, 230
And--how we know not--all clapp'd under hatches;
Where, but even now, with strange and several noises
Of roaring, shrieking, howling, jingling chains,
And more diversity of sounds, all horrible,
We were awaked; straightway, at liberty; 235
Where we, in all her trim, freshly beheld
Our royal, good, and gallant ship; our master
Capering to eye her:--on a trice, so please you,
Even in a dream, were we divided from them,
And were brought moping hither.
_Ari._ [_Aside to Pros._] Was't well done? 240
_Pros._ [_Aside to Ari._] Bravely, my diligence. Thou shalt be free.
_Alon._ This is as strange a maze as e'er men trod;
And there is in this business more than nature
Was ever conduct of: some oracle
Must rectify our knowledge.
_Pros._ Sir, my liege, 245
Do not infest your mind with beating on
The strangeness of this business; at pick'd leisure
Which shall be shortly, single I'll resolve you,
Which to you shall seem probable, of every
These happen'd accidents; till when, be cheerful, 250
And think of each thing well.
[_Aside to Ari._] Come hither, spirit:
Set Caliban and his companions free;
Untie the spell. [_Exit Ariel._] How fares my gracious sir?
There are yet missing of your company
Some few odd lads that you remember not. 255
_Re-enter ARIEL, driving in CALIBAN, STEPHANO, and TRINCULO,
in their stolen apparel._
_Ste._ Every man shift for all the rest, and let no man
take care for himself; for all is but fortune. --Coragio,
bully-monster, coragio!
_Trin._ If these be true spies which I wear in my head,
here's a goodly sight. 260
_Cal._ O Setebos, these be brave spirits indeed!
How fine my master is! I am afraid
He will chastise me.
_Seb._ Ha, ha!
What things are these, my lord Antonio?
Will money buy 'em?
_Ant._ Very like; one of them 265
Is a plain fish, and, no doubt, marketable.
_Pros._ Mark but the badges of these men, my lords,
Then say if they be true. This mis-shapen knave,
His mother was a witch; and one so strong
That could control the moon, make flows and ebbs, 270
And deal in her command, without her power.
These three have robb'd me; and this demi-devil--
For he's a bastard one--had plotted with them
To take my life. Two of these fellows you
Must know and own; this thing of darkness I 275
Acknowledge mine.
_Cal._ I shall be pinch'd to death.
_Alon._ Is not this Stephano, my drunken butler?
_Seb._ He is drunk now: where had he wine?
_Alon._ And Trinculo is reeling ripe: where should they
Find this grand liquor that hath gilded 'em?-- 280
How camest thou in this pickle?
_Trin._ I have been in such a pickle, since I saw you
last, that, I fear me, will never out of my bones: I shall not
fear fly-blowing.
_Seb._ Why, how now, Stephano! 285
_Ste._ O, touch me not;--I am not Stephano, but a cramp.
_Pros._ You'ld be king o' the isle, sirrah?
_Ste._ I should have been a sore one, then.
_Alon._ This is a strange thing as e'er I look'd on.
[_Pointing to Caliban._
_Pros._ He is as disproportion'd in his manners 290
As in his shape. Go, sirrah, to my cell;
Take with you your companions; as you look
To have my pardon, trim it handsomely.
_Cal._ Ay, that I will; and I'll be wise hereafter,
And seek for grace. What a thrice-double ass 295
Was I, to take this drunkard for a god,
And worship this dull fool!
_Pros._ Go to; away!
_Alon._ Hence, and bestow your luggage where you found it.
_Seb._ Or stole it, rather. [_Exeunt Cal., Ste., and Trin._
_Pros._ Sir, I invite your Highness and your train 300
To my poor cell, where you shall take your rest
For this one night; which, part of it, I'll waste
With such discourse as, I not doubt, shall make it
Go quick away: the story of my life,
And the particular accidents gone by 305
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 solemnized;
And thence retire me to my Milan, where 310
Every third thought shall be my grave.
_Alon._ I long
To hear the story of your life, which must
Take the ear strangely.
_Pros._ I'll deliver all;
And promise you calm seas, auspicious gales,
And sail so expeditious, that shall catch
Your royal fleet far off. [_Aside to Ari._] My Ariel, chick, 315
That is thy charge: then to the elements
Be free, and fare thou well! Please you, draw near.
[_Exeunt._
Notes: V, 1.
7: _together_] om. Pope.
9: _all_] _all your_ Pope.
10: _line-grove_] _lime-grove_ Rowe.
11: _your_] F1 F2. _you_ F3 F4.
15: _sir_] om. Pope.
16: _run_] _runs_ F1.
_winter's_] _winter_ F4.]
23: F1 F2 put a comma after _sharply_. F3 F4 omit it.
24: _Passion_] _Passion'd_ Pope.
26: _'gainst_] Pope. _gainst_ F1 F2. _against_ F3 F4.
33: SCENE II. Pope.
37: _green sour_] _green-sward_ Douce conj.
46: _strong-based_] Rowe. _strong-bass'd_ Ff.
58: SCENE III. Pope.
60: _boil'd_] Pope. _boile_ F1 F2. _boil_ F3 F4.
62: _Holy_] _Noble_ Collier MS.
63: _show_] _shew_ Ff. _flow_ Collier MS.
64: _fellowly_] _fellow_ Pope.
68: _O_] _O my_ Pope. _O thou_ S. Walker conj.
69: _sir_] _servant_ Collier MS.
72: _Didst_] F3 F4. _Did_ F1 F2.
74: _Sebastian. Flesh and blood,_] _Sebastian, flesh and blood._
Theobald.
75: _entertain'd_] _entertaine_ F1.
76: _who_] Rowe. _whom_ Ff.
82: _lies_] F3 F4. _ly_ F1 F2.
83: _or_] _e'er_ Collier MS.
84: Theobald gives as stage direction "Exit Ariel and returns
immediately."
88: _suck_] _lurk_ Theobald.
90: _couch_] _crowch_ F3 F4.
[Capell punctuates _There I couch: when owls do cry,_]
92: _summer_] _sun-set_ Theobald.
106: _Behold,_] _lo!_ Pope.
111: _Whether thou be'st_] _Where thou beest_ Ff. _Be'st thou_ Pope.
_Whe'r thou be'st_ Capell.
112: _trifle_] _devil_ Collier MS.
119: _my_] _thy_ Collier MS.
124: _not_] F3 F4. _nor_ F1 F2.
132: _fault_] _faults_ F4.
136: _who_] F2 F3 F4. _whom_ F1.
145: _and,_] _sir, and_ Capell.
_supportable_] F1 F2. _insupportable_ F3 F4. _portable_ Steevens.
148: _my_] _my only_ Hanmer.
_A daughter_] _Only daughter_ Hanmer. _Daughter_ Capell.
156: _eyes_] F1. _eye_ F2 F3 F4.
_their_] _these_ Capell.]
172: SCENE IV. Pope.
Here Prospero discovers...] Ff. SCENE opens to the entrance of
the cell. Here Prospero discovers... Theobald. Cell opens and
discovers... Capell.]
172: _dear'st_] _dearest_ Ff.
179: [Kneels] Theobald.
191: _advice_] F4. _advise_ F1 F2 F3.
199, 200: _remembrances with_] _remembrance with_ Pope.
_remembrances With_ Malone.
213: _When_] _Where_ Johnson conj.]
_and_] om. Capell.
216: SCENE V. Pope.
_sir, look, sir_] _sir, look_ F3 F4.]
_is_] _are_ Pope.]
221: _safely_] _safe_ F3 F4.
230: _of sleep_] _a-sleep_ Pope.
234: _more_] Rowe. _mo_ F1 F2. _moe_ F3 F4.
236: _her_] Theobald (Thirlby conj.). _our_ Ff.
242-245: Given to Ariel in F2 F3 F4.
247: _leisure_] F1. _seisure_ F2. _seizure_ F3 F4.
248: _Which shall be shortly, single_] Pope. _(which shall be
shortly single)_ Ff.
253: [Exit Ariel] Capell.
256: SCENE VI. Pope.
258: _Coragio_] _corasio_ F1.
268: _mis-shapen_] _mis-shap'd_ Pope.
271: _command, without her power._] _command. Without her power,_
anon. conj.
_without_] _with all_ Collier MS.
280: _liquor_] _'lixir_ Theobald.
282-284: Printed as verse in Ff.
289: _This is_] F1 F2. _'Tis_ F3 F4.]
_e'er I_] _I ever_ Hanmer.
[Pointing to Caliban.] Steevens.]
299: [Exeunt... Trin.] Capell.
308: _nuptial_] _nuptiall_ F1. _nuptials_ F2 F3 F4.
309: See note (XVIII).
EPILOGUE.
SPOKEN BY PROSPERO.
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 confined by you,
Or sent to Naples. Let me not, 5
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: 10
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, 15
Unless I be relieved by prayer,
Which pierces so, that it assaults
Mercy itself, and frees all faults.
As you from crimes would pardon'd be,
Let your indulgence set me free. 20
Notes: Epilogue.
EPILOGUE ... PROSPERO.] advancing, Capell.]
1: _Now_] _Now, now_ F3 F4.
3: _now_] _and now_ Pope.
13: _Now_] _For now_ Pope.
NOTES.
NOTE I.
I. 1. 15. _What cares these roarers._ This grammatical inaccuracy, which
escaped correction in the later folios, probably came from Shakespeare's
pen. Similar cases occur frequently, especially when the verb precedes
its nominative. For example, _Tempest_, IV. 1. 262, 'Lies at my mercy
all mine enemies,' and _Measure for Measure_, II. 1. 22, 'What knows the
laws, &c.' We correct it in those passages where the occurrence of a
vulgarism would be likely to annoy the reader. In the mouth of a
Boatswain it can offend no one. We therefore leave it.
NOTE II.
I. 1. 57-59. _Mercy on us!--we split, &c._ It may be doubtful whether
the printer of the first folio intended these broken speeches to express
'a confused noise within.' Without question such was the author's
meaning. Rowe, however, and subsequent editors, printed them as part of
Gonzalo's speech. Capell was the first editor who gave the true
arrangement.
NOTE III.
I. 2. 173. _princesses._ See Mr Sidney Walker's _Shakespeare's
Versification_, p. 243 sqq. 'The plurals of substantives ending in _s_,
in certain instances, in _se_, _ss_, _ce_, and sometimes _ge_, ... are
found without the usual addition of _s_ or _es_, in pronunciation at
least, although in many instances the plural affix is added in printing,
where the metre shows that it is not to be pronounced.'
In this and other instances, we have thought it better to trust to the
ear of the reader for the rhythm than to introduce an innovation in
orthography which might perplex him as to the sense. The form
'princesses,' the use of which in Shakespeare's time was doubted by one
of our correspondents, is found in the _History of King Leir_.
Rowe's reading 'princes' might be defended on the ground that the
sentiment is general, and applicable to royal children of both sexes; or
that Sir Philip Sidney, in the first book of the _Arcadia_, calls Pamela
and Philoclea 'princes.'
NOTE IV.
I. 2. 298. The metre of this line, as well as of lines 301, 302, is
defective, but as no mode of correction can be regarded as completely
satisfactory we have in accordance with our custom left the lines as
they are printed in the Folio. The defect, indeed, in the metre of line
298 has not been noticed except by Hanmer, who makes a line thus:
'Do so, and after two days I'll discharge thee.'
Possibly it ought to be printed thus:
'Do so; and
After two days
I will discharge thee.'
There is a broken line, also of four syllables, 253 of the same scene,
another of seven, 235.
There is no reason to doubt that the _words_ are as Shakespeare wrote
them, for, although the action of the play terminates in less than four
hours (I. 2. 240 and V. 1. 186), yet Ariel's ministry is not to end till
the voyage to Naples shall be over. Prospero, too, repeats his promise,
and marks his contentment by further shortening the time of servitude,
'within two days,' I. 2. 420. Possibly 'Invisible' (301) should have a
line to itself. Words thus occupying a broken line acquire a marked
emphasis.
But the truth is that in dialogue Shakespeare's language passes so
rapidly from verse to prose and from prose to verse, sometimes even
hovering, as it were, over the confines, being rhythmical rather than
metrical, that all attempts to give regularity to the metre must be made
with diffidence and received with doubt.
NOTE V.
I. 2. 377, 378:
_Courtsied when you have and kiss'd_
_The wild waves whist._
This punctuation seems to be supported by what Ferdinand says (391,
392):
'The music crept by me upon the waters,
Allaying both their fury and my passion, &c.'
At the end of the stanza we have printed _Hark, hark! ... The watch-dogs
bark_ as that part of the burthen which 'sweet sprites bear.' The other
part is borne by distant watch-dogs.
NOTE VI.
I. 2. 443. _I fear you have done yourself some wrong._ See this phrase
used in a similar sense, _Measure for Measure_, I. 11. 39.
NOTE VII.
II. 1. 27. _Which, of he or Adrian._ 'Of' is found in the same
construction, _Midsummer Night's Dream_, III. 2. 336,
'Now follow if thou darest to try whose right,
Of thine or mine, is most in Helena.'
NOTE VIII.
II. 1. 157. _Of its own kind._ There is no doubt, as Dr Guest has shewn,
that 'it,' which is the reading of the 1st and 2nd folios, was commonly
used as a genitive in Shakespeare's time, as it is still in some
provincial dialects. 'Its,' however, was coming into use. One instance
occurs in this play, I. 11. 95, 'in its contrary.'
NOTE IX.
II. 1. 241. _she that from whom._ Mr Spedding writes: 'The received
emendation is not satisfactory to me. I would rather read, "She
that--From whom? All were sea-swallow'd &c., i.e. from whom should she
have note? The report from Naples will be that all were drowned. We
shall be the only survivors." The break in the construction seems to me
characteristic of the speaker. But you must read the whole speech to
feel the effect.'
NOTE X.
II. 1. 249-251. All editors except Mr Staunton have printed in italics
(or between inverted commas) only as far as '_Naples?_', but as '_keep_'
is printed with a small k in the folios, they seem to sanction the
arrangement given in our text.
NOTE XI.
II. 1. 267. _Ay, sir; where lies that? if 'twere a kibe._ Mr Singer and
Mr Dyce have changed ''twere' to 'it were' for the sake of the metre.
But then the first part of the line must be read with a wrong emphasis.
The proper emphasis clearly falls on the first, third, and fifth
syllables, 'AY, sir; WHERE lies THAT?' See Preface.
NOTE XII.
II. 2. 165. Before 'here; bear my bottle' Capell inserts a stage
direction [_To Cal._], but it appears from III. 2. 62, that Trinculo was
entrusted with the office of bottle-bearer.
NOTE XIII.
III. 1. 15. _Most busy lest, when I do it._ As none of the proposed
emendations can be regarded as certain, we have left the reading of F1,
though it is manifestly corrupt. The spelling 'doe' makes Mr Spedding's
conjecture 'idlest' for 'I doe it' more probable.
NOTE XIV.
III. 3. 17. The stage direction, which we have divided into two parts,
is placed all at once in the folios after 'as when they are fresh'
[Solemne and strange Musicke; and Prosper on the top (invisible:) Enter
... depart].
Pope transferred it to follow Sebastian's words, 'I say, to night: no
more.'
NOTE XV.
III. 3. 48. _Each putter out of five for one._ See Beaumont and
Fletcher, _The Noble Gentleman_, I. 1. (Vol. II. p. 261, ed. Moxon):
'The return will give you five for one.' MARINE is about to travel.
NOTE XVI.
IV. 1. 146. _You do look, my son, in a moved sort._ Seymour suggests a
transposition: 'you do, my son, look in a moved sort.' This line however
can scarcely have come from Shakespeare's pen. Perhaps the writer who
composed the Masque was allowed to join it, as best he might, to
Shakespeare's words, which re-commence at 'Our revels now are ended,'
&c.
NOTE XVII.
IV. 1. 230. _Let's alone._ See Staunton's "Shakespeare," Vol. I. p. 81,
note (b).
NOTE XVIII.
V. 1. 309. _Of these our dear-beloved solemnized._ The Folios have
'belov'd'; a mode of spelling, which in this case is convenient as
indicating the probable rhythm of the verse. We have written 'beloved,'
in accordance with the general rule mentioned in the Preface.
'Solemnized' occurs in four other verse passages of Shakespeare. It is
three times to be accented 'SOlemnized' and once (_Love's Labour's
Lost_, II. 1. 41) 'soLEMnized.'
* * * * *
* * * *
* * * * *
Sources:
The editors' Preface (e-text 23041) discusses the 17th- and
18th-century editions in detail; the newer (19th-century) editions
are simply listed by name. The following editions may appear in the
Notes. All inset text is quoted from the Preface.
Folios:
F1 1623; F2 (no date given); F3 1663; F4 1685.
"The five plays contained in this volume occur in the first Folio
in the same order, and ... were there printed for the first time."
Early editions:
Rowe 1709
Pope 1715
"Pope was the first to indicate the _place_ of each new scene;
as, for instance, _Tempest_, I. 1. 'On a ship at sea.' He also
subdivided the scenes as given by the Folios and Rowe, making
a fresh scene whenever a new character entered--an arrangement
followed by Hanmer, Warburton, and Johnson. For convenience of
reference to these editions, we have always recorded the
commencement of Pope's scenes."
Theobald 1733
Hanmer ("Oxford edition") 1744
Warburton 1747
Johnson 1765
Capell 1768; _also Capell's annotated copy of F2_
Steevens 1773
Malone 1790
Reed 1803
Later editions:
Singer, Knight, Cornwall, Collier, Phelps, Halliwell, Dyce, Staunton
Dryden:
"_The Tempest_ was altered by Dryden and D'Avenant, and published
as _The Tempest; or the Enchanted Island_, in 1669. We mark the
emendations derived from it: 'Dryden's version.'"
Errors and inconsistencies:
_Re-enter Boatswain._
[printed BOATSWAIN in small capitals]
_Enter _Ariel_._
[printed "Ariel" in lower case]
Where my son lies. When did you lose you daughter?
[Text unchanged: error for "your"?]
[Text-critical notes]
I. 2. 135: _to 't_] om. Steevens (Farmer conj.).
[Here and elsewhere in the volume, body text has unspaced "to't"
while line notes have spaced "to 't".]
I. 2. 202: _o' the_] _of_ Pope.
[Text unchanged: body text is capitalized "O' the"]
II. 1. 88: _Ay._] I. Ff. _Ay?_ Pope.
[Text unchanged: apparent error for italic _I._]
III. 3. 17: Prospero above]
[Text unchanged: stage direction is after l. 19]
[Endnotes]
I: I. 1. 15. [I. 1. 16]
V: 377, 378. [376-377]
XVI: IV. 1. 146 [IV. 1. 147]
