From 27d92e0dc3980cc8b4114184a0f80a3b075bf17c Mon Sep 17 00:00:00 2001
From: RPG Research <3338987+rpgresearch@users.noreply.github.com>
Date: Thu, 23 Jan 2020 19:08:43 -0800
Subject: [PATCH] Created Tempest Script (markdown)

---
 Tempest-Script.md | 6053 +++++++++++++++++++++++++++++++++++++++++++++
 1 file changed, 6053 insertions(+)
 create mode 100644 Tempest-Script.md

diff --git a/Tempest-Script.md b/Tempest-Script.md
new file mode 100644
index 0000000..b6615fd
--- /dev/null
+++ b/Tempest-Script.md
@@ -0,0 +1,6053 @@
+Since This is Public domain, here is the actual text.
+
+Insert comments and branching narrative ideas for insertion.
+https://www.gutenberg.org/files/23042/23042-h/23042-h.htm
+
+
+The Project Gutenberg EBook of The Tempest, by William Shakespeare
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Tempest
+       The Works of William Shakespeare [Cambridge Edition] [9 vols.]
+
+Author: William Shakespeare
+
+Editor: William George Clark
+        John Glover
+
+Release Date: October 26, 2007 [EBook #23042]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE TEMPEST ***
+
+
+
+
+Produced by Louise Hope, Jonathan Ingram and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+
+
+
+
+This text of The Tempest is from Volume I of the nine-volume 1863 Cambridge edition of Shakespeare. The editors’ preface (e-text 23041) and the other plays from this volume are each available as separate e-texts.
+
+General Notes are in their original location at the end of the play, followed by the text-critical notes originally printed at the bottom of each page. All notes are hyperlinked in both directions. In dialogue, a link from a speaker’s name generally means that the note applies to the entire line or group of lines.
+
+Line numbers—shown in the right margin and used for all notes—are from the original text. In prose passages the exact line counts will depend on your browser settings, and will probably be different from the displayed numbers. Stage directions were not included in the line numbering.
+
+Texts cited in the Notes are listed at the end of the e-text.
+
+THE WORKS
+OF
+WILLIAM SHAKESPEARE
+EDITED BY
+WILLIAM GEORGE CLARK, M.A.
+FELLOW AND TUTOR OF TRINITY COLLEGE, AND PUBLIC ORATOR
+IN THE UNIVERSITY OF CAMBRIDGE;
+and JOHN GLOVER, M.A.
+LIBRARIAN OF TRINITY COLLEGE, CAMBRIDGE.
+ 
+VOLUME I.
+ 
+Cambridge and London:
+MACMILLAN AND CO.
+1863.
+Dramatis Personæ
+ 
+Act I	Scene 1	On a ship at sea.
+Scene 2	The island. Before Prospero’s cell.
+Act II	Scene 1	Another part of the island.
+Scene 2	Another part of the island.
+Act III	Scene 1	Before Prospero’s cell.
+Scene 2	Another part of the island.
+Scene 3	Another part of the island.
+Act IV	Scene 1	Before Prospero’s cell.
+Act V	Scene 1	Before the cell of Prospero.
+ 
+Endnotes
+Critical Apparatus (“Linenotes”)
+Texts Used (from general preface)
+1
+THE TEMPEST.
+2
+DRAMATIS PERSONÆ.1
+Alonso, King of Naples.
+
+Sebastian, his brother.
+
+Prospero, the right Duke of Milan.
+
+Antonio, his brother, the usurping Duke of Milan.
+
+Ferdinand, son to the King of Naples.
+
+Gonzalo, an honest old Counsellor.
+
+Adrian,	Lords.
+Francisco,
+Caliban, a savage and deformed Slave.
+
+Trinculo, a Jester.
+
+Stephano, a drunken Butler.
+
+Master of a Ship.
+
+Boatswain.
+
+Mariners.
+
+ 
+
+Miranda, daughter to Prospero.
+
+ 
+
+Ariel, an airy Spirit.
+
+Iris,	presented by2 Spirits.
+Ceres,
+Juno,
+Nymphs,
+Reapers,
+ 
+
+Other Spirits attending on Prospero3.
+
+Scene—A ship at sea4: an uninhabited island.
+1. Dramatis Personæ] Names of the actors F1 at the end of the Play.
+
+2. presented by] Edd.
+
+3. Other ... Prospero] Theobald.
+
+4. A ship at sea:] At sea: Capell.
+
+3
+THE TEMPEST.
+ACT I.
+I. 1Scene I. On a ship at sea: a tempestuous noise of thunder and lightning heard.
+Enter a Ship-Master and a Boatswain.
+Mast. Boatswain!
+
+Boats. Here, master: what cheer?
+
+Mast. Good, speak to the mariners: fall to’t, yarely, or we run ourselves aground: bestir, bestir.Exit.
+
+Enter Mariners.
+5Boats. Heigh, my hearts! cheerly, cheerly, my hearts! yare, yare! Take in the topsail. Tend to the master’s whistle. Blow, till thou burst thy wind, if room enough!
+
+Enter Alonso, Sebastian, Antonio, Ferdinand, Gonzalo, and others.
+Alon. Good boatswain, have care. Where’s the master? Play the men.
+
+10Boats. I pray now, keep below.
+
+Ant. Where is the master, boatswain?
+
+4
+Boats. Do you not hear him? You mar our labour: keep your cabins: you do assist the storm.
+
+Gon. Nay, good, be patient.
+
+15Boats. When the sea is. Hence! What cares these roarers for the name of king? To cabin: silence! trouble us not.
+
+Gon. Good, yet remember whom thou hast aboard.
+
+Boats. None that I more love than myself. You are a 20Counsellor; if you can command these elements to silence, and work the peace of the present, we will not hand a rope more; use your authority: if you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap. Cheerly, good I. 1. 25hearts! Out of our way, I say.Exit.
+
+Gon. I have great comfort from this fellow: methinks he hath no drowning mark upon him; his complexion is perfect gallows. Stand fast, good Fate, to his hanging: make the rope of his destiny our cable, for our own doth 30little advantage. If he be not born to be hanged, our case is miserable.Exeunt.
+
+Re-enter Boatswain.
+Boats. Down with the topmast! yare! lower, lower! Bring her to try with main-course. [A cry within.] A plague upon this howling! they are louder than the weather 35or our office.
+
+Re-enter Sebastian, Antonio, and Gonzalo.
+Yet again! what do you here? Shall we give o’er, and drown? Have you a mind to sink?
+
+Seb. A pox o’ your throat, you bawling, blasphemous, incharitable dog!
+
+40Boats. Work you, then.
+
+Ant. Hang, cur! hang, you whoreson, insolent noise-maker. We are less afraid to be drowned than thou art.
+
+5
+Gon. I’ll warrant him for drowning; though the ship were no stronger than a nutshell, and as leaky as an unstanched 45wench.
+
+Boats. Lay her a-hold, a-hold! set her two courses off to sea again; lay her off.
+
+Enter Mariners wet.
+Mariners. All lost! to prayers, to prayers! all lost!
+
+Boats. What, must our mouths be cold?
+
+I. 1. 50Gon. The king and prince at prayers! let’s assist them,
+
+For our case is as theirs.
+
+Seb.
+I’m out of patience.
+
+Ant. We are merely cheated of our lives by drunkards:
+
+This wide-chapp’d rascal,—would thou mightst lie drowning
+
+The washing of ten tides!
+
+Gon.
+He’ll be hang’d yet,
+
+55Though every drop of water swear against it,
+
+And gape at widest to glut him.
+
+A confused noise within: “Mercy on us!”—“We split, we split!”—“Farewell my wife and children!”—“Farewell, brother!”—“We split, we split, we split!”
+60Ant. Let’s all sink with the king.
+
+Seb. Let’s take leave of him.Exeunt Ant. and Seb.
+
+Gon. Now would I give a thousand furlongs of sea for an acre of barren ground, long heath, brown furze, any thing. The wills above be done! but I would fain die a 65dry death.Exeunt.
+
+6
+I. 2Scene II. The island. Before Prospero’s cell.
+Enter Prospero and Miranda.
+Mir. If by your art, my dearest father, you have
+
+Put the wild waters in this roar, allay them.
+
+The sky, it seems, would pour down stinking pitch,
+
+But that the sea, mounting to the welkin’s cheek,
+
+5Dashes the fire out. O, I have suffer’d
+
+With those that I saw suffer! a brave vessel,
+
+Who had, no doubt, some noble creature in her,
+
+Dash’d all to pieces. O, the cry did knock
+
+Against my very heart! Poor souls, they perish’d!
+
+10Had I been any god of power, I would
+
+Have sunk the sea within the earth, or ere
+
+It should the good ship so have swallow’d and
+
+The fraughting souls within her.
+
+Pros.
+Be collected:
+
+No more amazement: tell your piteous heart
+
+There’s no harm done.
+
+Mir.
+O, woe the day!
+
+Pros.
+15No harm.
+
+I have done nothing but in care of thee,
+
+Of thee, my dear one, thee, my daughter, who
+
+Art ignorant of what thou art, nought knowing
+
+Of whence I am, nor that I am more better
+
+20Than Prospero, master of a full poor cell,
+
+And thy no greater father.
+
+Mir.
+More to know
+
+Did never meddle with my thoughts.
+
+Pros.
+’Tis time
+
+I should inform thee farther. Lend thy hand,
+
+And pluck my magic garment from me.—So:Lays down his mantle.
+
+7
+I. 2. 25Lie there, my art. Wipe thou thine eyes; have comfort.
+
+The direful spectacle of the wreck, which touch’d
+
+The very virtue of compassion in thee,
+
+I have with such provision in mine art
+
+So safely order’d, that there is no soul,
+
+30No, 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 farther.
+
+Mir.
+You have often
+
+Begun to tell me what I am; but stopp’d,
+
+35
+And left me to a bootless inquisition,
+
+Concluding “Stay: not yet.”
+
+Pros.
+The hour’s now come;
+
+The very minute bids thee ope thine ear;
+
+Obey, and be attentive. Canst thou remember
+
+A time before we came unto this cell?
+
+40I do not think thou canst, for then thou wast not
+
+Out three years old.
+
+Mir.
+Certainly, sir, I can.
+
+Pros. By what? by any other house or person?
+
+Of any thing the image tell me that
+
+Hath kept with thy remembrance.
+
+Mir.
+’Tis far off,
+
+45And rather like a dream than an assurance
+
+That my remembrance warrants. Had I not
+
+Four or five women once that tended me?
+
+Pros. Thou hadst, and more, Miranda. But how is it
+
+That this lives in thy mind? What seest thou else
+
+I. 2. 50In the dark backward and abysm of time?
+
+If thou remember’st ought ere thou camest here,
+
+How thou camest here thou mayst.
+
+Mir.
+But that I do not.
+
+8
+Pros. Twelve year since, Miranda, twelve year since,
+
+Thy father was the Duke of Milan, and
+
+A prince of power.
+
+Mir.
+55Sir, are not you my father?
+
+Pros. Thy mother was a piece of virtue, and
+
+She said thou wast my daughter; and thy father
+
+Was Duke of Milan; and his only heir
+
+And princess, no worse issued.
+
+Mir.
+O the heavens!
+
+60What foul play had we, that we came from thence?
+
+Or blessed was’t we did?
+
+Pros.
+Both, both, my girl:
+
+By foul play, as thou say’st, were we heaved thence;
+
+But blessedly holp hither.
+
+Mir.
+O, my heart bleeds
+
+To think o’ the teen that I have turn’d you to.
+
+65Which is from my remembrance! Please you, farther.
+
+Pros. My brother, and thy uncle, call’d Antonio,—
+
+I pray thee, mark me,—that a brother should
+
+Be so perfidious!—he whom, next thyself,
+
+Of all the world I loved, and to him put
+
+70The manage of my state; as, at that time,
+
+Through all the signories it was the first,
+
+And Prospero the prime duke, being so reputed
+
+In dignity, and for the liberal arts
+
+Without a parallel; those being all my study,
+
+I. 2. 75The government I cast upon my brother,
+
+And to my state grew stranger, being transported
+
+And rapt in secret studies. Thy false uncle—
+
+Dost thou attend me?
+
+Mir.
+Sir, most heedfully.
+
+Pros. Being once perfected how to grant suits,
+
+80How to deny them, whom to advance, and whom
+
+9
+To trash for over-topping, new created
+
+The creatures that were mine, I say, or changed ’em,
+
+Or else new form’d ’em; having both the key
+
+Of officer and office, set all hearts i’ the state
+
+85To what tune pleased his ear; that now he was
+
+The ivy which had hid my princely trunk,
+
+And suck’d my verdure out on’t. Thou attend’st not.
+
+Mir. O, good sir, I do.
+
+Pros.
+I pray thee, mark me.
+
+I, thus neglecting worldly ends, all dedicated
+
+90To closeness and the bettering of my mind
+
+With that which, but by being so retired,
+
+O’er-prized all popular rate, in my false brother
+
+Awaked an evil nature; and my trust,
+
+Like a good parent, did beget of him
+
+95A falsehood in its contrary, as great
+
+As my trust was; which had indeed no limit,
+
+A confidence sans bound. He being thus lorded,
+
+Not only with what my revenue yielded,
+
+But what my power might else exact, like one
+
+I. 2. 100Who having into truth, by telling of it,
+
+Made such a sinner of his memory,
+
+To credit his own lie, he did believe
+
+He was indeed the duke; out o’ the substitution,
+
+And executing the outward face of royalty,
+
+105With all prerogative:—hence his ambition growing,—
+
+10
+Dost thou hear?
+
+Mir.
+Your tale, sir, would cure deafness.
+
+Pros. To have no screen between this part he play’d
+
+And him he play’d it for, he needs will be
+
+Absolute Milan. Me, poor man, my library
+
+110Was dukedom large enough: of temporal royalties
+
+He thinks me now incapable; confederates,
+
+So dry he was for sway, wi’ the King of Naples
+
+To give him annual tribute, do him homage,
+
+Subject his coronet to his crown, and bend
+
+115The dukedom, yet unbow’d,—alas, poor Milan!—
+
+To most ignoble stooping.
+
+Mir.
+O the heavens!
+
+Pros. Mark his condition, and th’ event; then tell me
+
+If this might be a brother.
+
+Mir.
+I should sin
+
+To think but nobly of my grandmother:
+
+Good wombs have borne bad sons.
+
+Pros.
+120Now the condition.
+
+This King of Naples, being an enemy
+
+To me inveterate, hearkens my brother’s suit;
+
+Which was, that he, in lieu o’ the premises,
+
+Of homage and I know not how much tribute,
+
+I. 2. 125Should presently extirpate me and mine
+
+Out of the dukedom, and confer fair Milan,
+
+With all the honours, on my brother: whereon,
+
+A treacherous army levied, one midnight
+
+Fated to the purpose, did Antonio open
+
+130The gates of Milan; and, i’ the dead of darkness,
+
+The ministers for the purpose hurried thence
+
+Me and thy crying self.
+
+Mir.
+Alack, for pity!
+
+I, not remembering how I cried out then,
+
+11
+Will cry it o’er again: it is a hint
+
+That wrings mine eyes to’t.
+
+Pros.
+135Hear a little further,
+
+And then I’ll bring thee to the present business
+
+Which now’s upon ’s; without the which, this story
+
+Were most impertinent.
+
+Mir.
+Wherefore did they not
+
+That hour destroy us?
+
+Pros.
+Well demanded, wench:
+
+140My tale provokes that question. Dear, they durst not,
+
+So dear the love my people bore me; nor set
+
+A mark so bloody on the business; but
+
+With colours fairer painted their foul ends.
+
+In few, they hurried us aboard a bark,
+
+145Bore us some leagues to sea; where they prepared
+
+A rotten carcass of a boat, not rigg’d,
+
+Nor tackle, sail, nor mast; the very rats
+
+Instinctively have quit it: there they hoist us,
+
+To cry to the sea that roar’d to us; to sigh
+
+I. 2. 150To the winds, whose pity, sighing back again,
+
+Did us but loving wrong.
+
+Mir.
+Alack, what trouble
+
+Was I then to you!
+
+Pros.
+O, a cherubin
+
+Thou wast that did preserve me. Thou didst smile,
+
+Infused with a fortitude from heaven,
+
+155When I have deck’d the sea with drops full salt,
+
+Under my burthen groan’d; which raised in me
+
+An undergoing stomach, to bear up
+
+Against what should ensue.
+
+Mir.
+How came we ashore?
+
+Pros. By Providence divine.
+
+160Some food we had, and some fresh water, that
+
+12
+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,
+
+165Which since have steaded much; so, of his gentleness,
+
+Knowing I loved my books, he furnish’d me
+
+From mine own library with volumes that
+
+I prize above my dukedom.
+
+Mir.
+Would I might
+
+But ever see that man!
+
+Pros.
+Now I arise:Resumes his mantle.
+
+170Sit still, and hear the last of our sea-sorrow.
+
+Here in this island we arrived; and here
+
+Have I, thy schoolmaster, made thee more profit
+
+Than other princesses can, that have more time
+
+For vainer hours, and tutors not so careful.
+
+I. 2. 175Mir. Heavens thank you for’t! And now, I pray you, sir,
+
+For still ’tis beating in my mind, your reason
+
+For raising this sea-storm?
+
+Pros.
+Know thus far forth.
+
+By accident most strange, bountiful Fortune,
+
+Now my dear lady, hath mine enemies
+
+180Brought to this shore; and by my prescience
+
+I find my zenith doth depend upon
+
+A most auspicious star, whose influence
+
+If now I court not, but omit, my fortunes
+
+Will ever after droop. Here cease more questions:
+
+185Thou art inclined to sleep; ’tis a good dulness,
+
+And give it way: I know thou canst not choose.Miranda sleeps.
+
+Come away, servant, come. I am ready now.
+
+Approach, my Ariel, come.
+
+Enter Ariel.
+Ari. All hail, great master! grave sir, hail! I come
+
+13
+190To answer thy best pleasure; be’t to fly,
+
+To swim, to dive into the fire, to ride
+
+On the curl’d clouds, to thy strong bidding task
+
+Ariel and all his quality.
+
+Pros.
+Hast thou, spirit,
+
+Perform’d to point the tempest that I bade thee?
+
+195Ari. To every article.
+
+I boarded the king’s ship; now on the beak,
+
+Now in the waist, the deck, in every cabin,
+
+I flamed amazement: sometime I’ld divide,
+
+And burn in many places; on the topmast,
+
+I. 2. 200The yards and bowsprit, would I flame distinctly,
+
+Then meet and join. Jove’s lightnings, the precursors
+
+O’ the dreadful thunder-claps, more momentary
+
+And sight-outrunning were not: the fire and cracks
+
+Of sulphurous roaring the most mighty Neptune
+
+205Seem to besiege, and make his bold waves tremble,
+
+Yea, his dread trident shake.
+
+Pros.
+My brave spirit!
+
+Who was so firm, so constant, that this coil
+
+Would not infect his reason?
+
+Ari.
+Not a soul
+
+But felt a fever of the mad, and play’d
+
+210Some tricks of desperation. All but mariners
+
+Plunged in the foaming brine, and quit the vessel,
+
+Then all afire with me: the king’s son, Ferdinand,
+
+With hair up-staring,—then like reeds, not hair,—
+
+Was the first man that leap’d; cried, “Hell is empty,
+
+And all the devils are here.”
+
+Pros.
+215Why, that’s my spirit!
+
+But was not this nigh shore?
+
+14Ari.
+Close by, my master.
+
+Pros. But are they, Ariel, safe?
+
+Ari.
+Not a hair perish’d;
+
+On their sustaining garments not a blemish,
+
+But fresher than before: and, as thou badest me,
+
+220In troops I have dispersed them ’bout the isle.
+
+The king’s son have I landed by himself;
+
+Whom I left cooling of the air with sighs
+
+In an odd angle of the isle, and sitting,
+
+His arms in this sad knot.
+
+Pros.
+Of the king’s ship
+
+I. 2. 225The mariners, say how thou hast disposed,
+
+And all the rest o’ the fleet.
+
+Ari.
+Safely in harbour
+
+Is the king’s ship; in the deep nook, where once
+
+Thou call’dst me up at midnight to fetch dew
+
+From the still-vex’d Bermoothes, there she’s hid:
+
+230The mariners all under hatches stow’d;
+
+Who, with a charm join’d to their suffer’d labour,
+
+I have left asleep: and for the rest o’ the fleet,
+
+Which I dispersed, they all have met again,
+
+And are upon the Mediterranean flote,
+
+235Bound sadly home for Naples;
+
+Supposing that they saw the king’s ship wreck’d,
+
+And his great person perish.
+
+Pros.
+Ariel, thy charge
+
+Exactly is perform’d: but there’s more work.
+
+What is the time o’ the day?
+
+Ari.
+Past the mid season.
+
+240Pros. At least two glasses. The time ’twixt six and now
+
+Must by us both be spent most preciously.
+
+Ari. Is there more toil? Since thou dost give me pains,
+
+Let me remember thee what thou hast promised,
+
+15
+Which is not yet perform’d me.
+
+Pros.
+How now? moody?
+
+What is’t thou canst demand?
+
+Ari.
+245My liberty.
+
+Pros. Before the time be out? no more!
+
+Ari.
+I prithee,
+
+Remember I have done thee worthy service;
+
+Told thee no lies, made thee no mistakings, served
+
+Without or grudge or grumblings: thou didst promise
+
+To bate me a full year.
+
+Pros.
+I. 2. 250Dost thou forget
+
+From what a torment I did free thee?
+
+Ari.
+No.
+
+Pros. Thou dost; and think’st it much to tread the ooze
+
+Of the salt deep,
+
+To run upon the sharp wind of the north,
+
+255To do me business in the veins o’ the earth
+
+When it is baked with frost.
+
+Ari.
+I do not, sir.
+
+Pros. Thou liest, malignant thing! Hast thou forgot
+
+The foul witch Sycorax, who with age and envy
+
+Was grown into a hoop? hast thou forgot her?
+
+Ari. No, sir.
+
+Pros.
+260Thou hast. Where was she born? speak; tell me.
+
+Ari. Sir, in Argier.
+
+Pros.
+O, was she so? I must
+
+Once in a month recount what thou hast been,
+
+Which thou forget’st. This damn’d witch Sycorax,
+
+For mischiefs manifold, and sorceries terrible
+
+265To enter human hearing, from Argier,
+
+Thou know’st, was banish’d: for one thing she did
+
+They would not take her life. Is not this true?
+
+Ari. Ay, sir.
+
+Pros. This blue-eyed hag was hither brought with child,
+
+16
+270And here was left by the sailors. Thou, my slave,
+
+As thou report’st thyself, wast then her servant;
+
+And, for thou wast a spirit too delicate
+
+To act her earthy and abhorr’d commands,
+
+Refusing her grand hests, she did confine thee,
+
+I. 2. 275By 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,
+
+280And left thee there; where thou didst vent thy groans
+
+As fast as mill-wheels strike. Then was this island—
+
+Save for the son that she did litter here,
+
+A freckled whelp hag-born—not honour’d with
+
+A human shape.
+
+Ari.
+Yes, Caliban her son.
+
+285Pros. 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
+
+290To lay upon the damn’d, which Sycorax
+
+Could not again undo: it was mine art,
+
+When I arrived and heard thee, that made gape
+
+The pine, and let thee out.
+
+Ari.
+I thank thee, master.
+
+Pros. If thou more murmur’st, I will rend an oak,
+
+295And peg thee in his knotty entrails, till
+
+Thou hast howl’d away twelve winters.
+
+Ari.
+Pardon, master:
+
+I will be correspondent to command,
+
+And do my spiriting gently.
+
+Pros.
+Do so; and after two days
+
+I will discharge thee.
+
+Ari.
+That’s my noble master!
+
+I. 2. 300What shall I do? say what; what shall I do?
+
+17
+Pros. Go make thyself like a nymph o’ the sea:
+
+Be subject to no sight but thine and mine; invisible
+
+To every eyeball else. Go take this shape,
+
+And hither come in’t: go, hence with diligence!Exit Ariel.
+
+305Awake, dear heart, awake! thou hast slept well;
+
+Awake!
+
+Mir.
+The strangeness of your story put
+
+Heaviness in me.
+
+Pros.
+Shake it off. Come on;
+
+We’ll visit Caliban my slave, who never
+
+Yields us kind answer.
+
+Mir.
+’Tis a villain, sir,
+
+I do not love to look on.
+
+Pros.
+310But, as ’tis,
+
+We cannot miss him: he does make our fire,
+
+Fetch in our wood, and serves in offices
+
+That profit us. What, ho! slave! Caliban!
+
+Thou earth, thou! speak.
+
+Cal. [within] There’s wood enough within.
+
+315Pros. Come forth, I say! there’s other business for thee:
+
+Come, thou tortoise! when?
+
+Re-enter Ariel like a water-nymph.
+Fine apparition! My quaint Ariel,
+
+Hark in thine ear.
+
+Ari.
+My lord, it shall be done.Exit.
+
+Pros. Thou poisonous slave, got by the devil himself
+
+320Upon thy wicked dam, come forth!
+
+18
+Enter Caliban.
+Cal. As wicked dew as e’er my mother brush’d
+
+With raven’s feather from unwholesome fen
+
+Drop on you both! a south-west blow on ye
+
+And blister you all o’er!
+
+I. 2. 325Pros. For this, be sure, to-night thou shalt have cramps,
+
+Side-stitches that shall pen thy breath up; urchins
+
+Shall, for that vast of night that they may work,
+
+All exercise on thee; thou shalt be pinch’d
+
+As thick as honeycomb, each pinch more stinging
+
+Than bees that made ’em.
+
+Cal.
+330I must eat my dinner.
+
+This island’s mine, by Sycorax my mother,
+
+Which thou takest from me. When thou camest first,
+
+Thou strokedst me, and madest much of me; wouldst give me
+
+Water with berries in’t; and teach me how
+
+335To name the bigger light, and how the less,
+
+That burn by day and night: and then I loved thee,
+
+And show’d thee all the qualities o’ th’ isle,
+
+The fresh springs, brine-pits, barren place and fertile:
+
+Curs’d be I that did so! All the charms
+
+340Of Sycorax, toads, beetles, bats, light on you!
+
+For I am all the subjects that you have,
+
+Which first was mine own king: and here you sty me
+
+In this hard rock, whiles you do keep from me
+
+The rest o’ th’ island.
+
+Pros.
+Thou most lying slave,
+
+345Whom stripes may move, not kindness! I have used thee,
+
+Filth as thou art, with human care; and lodged thee
+
+In mine own cell, till thou didst seek to violate
+
+The honour of my child.
+
+Cal. O ho, O ho! would ’t had been done!
+
+I. 2. 350Thou didst prevent me; I had peopled else
+
+19
+This isle with Calibans.
+
+Pros.
+Abhorred slave,
+
+Which any print of goodness wilt not take,
+
+Being capable of all ill! I pitied thee,
+
+Took pains to make thee speak, taught thee each hour
+
+355One thing or other: when thou didst not, savage,
+
+Know thine own meaning, but wouldst gabble like
+
+A thing most brutish, I endow’d thy purposes
+
+With words that made them known. But thy vile race,
+
+Though thou didst learn, had that in’t which good natures
+
+360Could not abide to be with; therefore wast thou
+
+Deservedly confined into this rock,
+
+Who hadst deserved more than a prison.
+
+Cal. You taught me language; and my profit on’t
+
+Is, I know how to curse. The red plague rid you
+
+For learning me your language!
+
+Pros.
+365Hag-seed, hence!
+
+Fetch us in fuel; and be quick, thou’rt best,
+
+To answer other business. Shrug’st thou, malice?
+
+If thou neglect’st, or dost unwillingly
+
+What I command, I’ll rack thee with old cramps,
+
+370Fill all thy bones with aches, make thee roar,
+
+That beasts shall tremble at thy din.
+
+Cal.
+No, pray thee.
+
+[Aside] I must obey: his art is of such power,
+
+It would control my dam’s god, Setebos,
+
+And make a vassal of him.
+
+Pros.
+So, slave; hence!Exit Caliban.
+
+20
+Re-enter Ariel, invisible, playing and singing; Ferdinand following.
+Ariel’s song.
+I. 2. 375Come unto these yellow sands,
+
+And then take hands:
+
+Courtsied when you have and kiss’d
+
+The wild waves whist:
+
+Foot it featly here and there;
+
+380And, sweet sprites, the burthen bear.
+
+Burthen [dispersedly]. Hark, hark!
+
+Bow-wow.
+
+The watch-dogs bark:
+
+Bow-wow.
+
+Ari. Hark, hark! I hear
+
+385The strain of strutting chanticleer
+
+Cry, Cock-a-diddle-dow.
+
+Fer. Where should this music be? i’ th’ air or th’ earth?
+
+It sounds no more: and, sure, it waits upon
+
+Some god o’ th’ island. Sitting on a bank,
+
+390Weeping 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 ’tis gone.
+
+395No, it begins again.
+
+Ariel sings.
+Full fathom five thy father lies;
+
+Of his bones are coral made;
+
+Those are pearls that were his eyes:
+
+Nothing of him that doth fade,
+
+I. 2. 400But doth suffer a sea-change
+
+Into something rich and strange.
+
+Sea-nymphs hourly ring his knell:
+
+Burthen: Ding-dong.
+
+Ari. Hark! now I hear them,—Ding-dong, bell.
+
+21
+405Fer. The ditty does remember my drown’d father.
+
+This is no mortal business, nor no sound
+
+That the earth owes:—I hear it now above me.
+
+Pros. The fringed curtains of thine eye advance,
+
+And say what thou seest yond.
+
+Mir.
+What is’t? a spirit?
+
+410Lord, how it looks about! Believe me, sir,
+
+It carries a brave form. But ’tis a spirit.
+
+Pros. No, wench; it eats and sleeps and hath such senses
+
+As we have, such. This gallant which thou seest
+
+Was in the wreck; and, but he’s something stain’d
+
+415With grief, that’s beauty’s canker, thou mightst call him
+
+A goodly person: he hath lost his fellows,
+
+And strays about to find ’em.
+
+Mir.
+I might call him
+
+A thing divine; for nothing natural
+
+I ever saw so noble.
+
+Pros. [Aside]
+It goes on, I see,
+
+420As my soul prompts it. Spirit, fine spirit! I’ll free thee
+
+Within two days for this.
+
+Fer.
+Most sure, the goddess
+
+On whom these airs attend! Vouchsafe my prayer
+
+May know if you remain upon this island;
+
+And that you will some good instruction give
+
+I. 2. 425How I may bear me here: my prime request,
+
+Which I do last pronounce, is, O you wonder!
+
+If you be maid or no?
+
+Mir.
+No wonder, sir;
+
+But certainly a maid.
+
+Fer.
+My language! heavens!
+
+I am the best of them that speak this speech,
+
+Were I but where ’tis spoken.
+
+Pros.
+430How? the best?
+
+What wert thou, if the King of Naples heard thee?
+
+22
+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,
+
+435Who with mine eyes, never since at ebb, beheld
+
+The king my father wreck’d.
+
+Mir.
+Alack, for mercy!
+
+Fer. Yes, faith, and all his lords; the Duke of Milan
+
+And his brave son being twain.
+
+Pros. [Aside]
+The Duke of Milan
+
+And his more braver daughter could control thee,
+
+440If now ’twere fit to do’t. At the first sight
+
+They have changed eyes. Delicate Ariel,
+
+I’ll set thee free for this. [To Fer.] A word, good sir;
+
+I fear you have done yourself some wrong: a word.
+
+Mir. Why speaks my father so ungently? This
+
+445Is the third man that e’er I saw; the first
+
+That e’er I sigh’d for: pity move my father
+
+To be inclined my way!
+
+Fer.
+O, if a virgin,
+
+And your affection not gone forth, I’ll make you
+
+The queen of Naples.
+
+Pros.
+Soft, sir! one word more.
+
+I. 2. 450[Aside] They are both in either’s powers: but this swift business
+
+I must uneasy make, lest too light winning
+
+Make the prize light. [To Fer.] One word more; I charge thee
+
+That thou attend me: thou dost here usurp
+
+The name thou owest not; and hast put thyself
+
+455Upon this island as a spy, to win it
+
+From me, the lord on’t.
+
+Fer.
+No, as I am a man.
+
+Mir. There’s nothing ill can dwell in such a temple:
+
+If the ill spirit have so fair a house,
+
+Good things will strive to dwell with’t.
+
+Pros.
+Follow me.
+
+23
+460Speak 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;
+
+465I will resist such entertainment till
+
+Mine enemy has more power.Draws, and is charmed from moving.
+
+Mir.
+O dear father,
+
+Make not too rash a trial of him, for
+
+He’s gentle, and not fearful.
+
+Pros.
+What! I say,
+
+My foot my tutor? Put thy sword up, traitor;
+
+470Who makest a show, but darest not strike, thy conscience
+
+Is so possess’d with guilt: come from thy ward;
+
+For I can here disarm thee with this stick
+
+And make thy weapon drop.
+
+Mir.
+Beseech you, father.
+
+Pros. Hence! hang not on my garments.
+
+Mir.
+Sir, have pity;
+
+I’ll be his surety.
+
+Pros.
+I. 2. 475Silence! one word more
+
+Shall make me chide thee, if not hate thee. What!
+
+An advocate for an impostor! hush!
+
+Thou think’st there is no more such shapes as he,
+
+Having seen but him and Caliban: foolish wench!
+
+480To the most of men this is a Caliban,
+
+And they to him are angels.
+
+Mir.
+My affections
+
+Are, then, most humble; I have no ambition
+
+To see a goodlier man.
+
+Pros.
+Come on; obey:
+
+Thy nerves are in their infancy again,
+
+And have no vigour in them.
+
+24
+Fer.
+485So they are:
+
+My spirits, as in a dream, are all bound up.
+
+My father’s loss, the weakness which I feel,
+
+The wreck of all my friends, nor this man’s threats,
+
+To whom I am subdued, are but light to me,
+
+490Might I but through my prison once a day
+
+Behold this maid: all corners else o’ th’ earth
+
+Let liberty make use of; space enough
+
+Have I in such a prison.
+
+Pros. [Aside]
+It works. [To Fer.] Come on.
+
+Thou hast done well, fine Ariel! [To Fer.] Follow me.
+
+[To Ari.] Hark what thou else shalt do me.
+
+Mir.
+495Be of comfort;
+
+My father’s of a better nature, sir,
+
+Than he appears by speech: this is unwonted
+
+Which now came from him.
+
+Pros.
+Thou shalt be as free
+
+As mountain winds: but then exactly do
+
+All points of my command.
+
+Ari.
+I. 2. 500To the syllable.
+
+Pros. Come, follow. Speak not for him.Exeunt.
+
+ACT II.
+II. 1Scene I. Another part 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. Our hint of woe
+
+Is common; every day, some sailor’s wife,
+
+5The masters of some merchant, and the merchant,
+
+Have just our theme of woe; but for the miracle,
+
+25
+I mean our preservation, few in millions
+
+Can speak like us: then wisely, good sir, weigh
+
+Our sorrow with our comfort.
+
+Alon.
+Prithee, peace.
+
+10Seb. He receives comfort like cold porridge.
+
+Ant. The visitor will not give him o’er so.
+
+Seb. Look, he’s winding up the watch of his wit; by and by it will strike.
+
+Gon. Sir,—
+
+15Seb. One: tell.
+
+Gon. When every grief is entertain’d that’s offer’d,
+
+Comes to the entertainer—
+
+Seb. A dollar.
+
+Gon. Dolour comes to him, indeed: you have spoken 20truer than you purposed.
+
+Seb. You have taken it wiselier than I meant you should.
+
+Gon. Therefore, my lord,—
+
+Ant. Fie, what a spendthrift is he of his tongue!
+
+Alon. I prithee, spare.
+
+II. 1. 25Gon. Well, I have done: but yet,—
+
+Seb. He will be talking.
+
+Ant. Which, of he or Adrian, for a good wager, first begins to crow?
+
+Seb. The old cock.
+
+30Ant. The cockerel.
+
+Seb. Done. The wager?
+
+Ant. A laughter.
+
+Seb. A match!
+
+Adr. Though this island seem to be desert,—
+
+35Seb. Ha, ha, ha!—So, you’re paid.
+
+Adr. Uninhabitable, and almost inaccessible,—
+
+Seb. Yet,—
+
+Adr. Yet,—
+
+26
+Ant. He could not miss’t.
+
+40Adr. It must needs be of subtle, tender and delicate temperance.
+
+Ant. Temperance was a delicate wench.
+
+Seb. Ay, and a subtle; as he most learnedly delivered.
+
+Adr. The air breathes upon us here most sweetly.
+
+45Seb. As if it had lungs, and rotten ones.
+
+Ant. Or as ’twere perfumed by a fen.
+
+Gon. Here is every thing advantageous to life.
+
+Ant. True; save means to live.
+
+Seb. Of that there’s none, or little.
+
+II. 1. 50Gon. How lush and lusty the grass looks! how green!
+
+Ant. The ground, indeed, is tawny.
+
+Seb. With an eye of green in’t.
+
+Ant. He misses not much.
+
+Seb. No; he doth but mistake the truth totally.
+
+55Gon. But the rarity of it is,—which is indeed almost beyond credit,—
+
+Seb. As many vouched rarities are.
+
+Gon. That our garments, being, as they were, drenched in the sea, hold, notwithstanding, their freshness and glosses, 60being rather new-dyed than stained with salt water.
+
+Ant. If but one of his pockets could speak, would it not say he lies?
+
+Seb. Ay, or very falsely pocket up his report.
+
+Gon. Methinks our garments are now as fresh as when 65we put them on first in Afric, at the marriage of the king’s fair daughter Claribel to the King of Tunis.
+
+Seb. ’Twas a sweet marriage, and we prosper well in our return.
+
+Adr. Tunis was never graced before with such a paragon 70to their queen.
+
+Gon. Not since widow Dido’s time.
+
+Ant. Widow! a pox o’ that! How came that widow in? widow Dido!
+
+Seb. What if he had said ‘widower Æneas’ too? Good II. 1. 75Lord, how you take it!
+
+Adr. ‘Widow Dido’ said you? you make me study of that: she was of Carthage, not of Tunis.
+
+27
+Gon. This Tunis, sir, was Carthage.
+
+Adr. Carthage?
+
+80Gon. I assure you, Carthage.
+
+Seb. His word is more than the miraculous harp; he hath raised the wall, and houses too.
+
+Ant. What impossible matter will he make easy next?
+
+Seb. I think he will carry this island home in his 85pocket, and give it his son for an apple.
+
+Ant. And, sowing the kernels of it in the sea, bring forth more islands.
+
+Gon. Ay.
+
+Ant. Why, in good time.
+
+90Gon. Sir, we were talking that our garments seem now as fresh as when we were at Tunis at the marriage of your daughter, who is now queen.
+
+Ant. And the rarest that e’er came there.
+
+Seb. Bate, I beseech you, widow Dido.
+
+95Ant. O, widow Dido! ay, widow Dido.
+
+Gon. Is not, sir, my doublet as fresh as the first day I wore it? I mean, in a sort.
+
+Ant. That sort was well fished for.
+
+Gon. When I wore it at your daughter’s marriage?
+
+II. 1. 100Alon. You cram these words into mine ears against
+
+The stomach of my sense. Would I had never
+
+Married my daughter there! for, coming thence,
+
+My son is lost, and, in my rate, she too.
+
+Who is so far from Italy removed
+
+105I ne’er again shall see her. O thou mine heir
+
+Of Naples and of Milan, what strange fish
+
+Hath made his meal on thee?
+
+Fran.
+Sir, he may live:
+
+I saw him beat the surges under him,
+
+And ride upon their backs; he trod the water.
+
+110Whose enmity he flung aside, and breasted
+
+The surge most swoln that met him; his bold head
+
+28
+’Bove the contentious waves he kept, and oar’d
+
+Himself with his good arms in lusty stroke
+
+To the shore, that o’er his wave-worn basis bow’d,
+
+115As stooping to relieve him: I not doubt
+
+He came alive to land.
+
+Alon.
+No, no, he’s gone.
+
+Seb. Sir, you may thank yourself for this great loss,
+
+That would not bless our Europe with your daughter,
+
+But rather lose her to an African;
+
+120Where she, at least, is banish’d from your eye,
+
+Who hath cause to wet the grief on’t.
+
+Alon.
+Prithee, peace.
+
+Seb. You were kneel’d to, and importuned otherwise,
+
+By all of us; and the fair soul herself
+
+Weigh’d between loathness and obedience, at
+
+II. 1. 125Which end o’ the beam should bow. We have lost your son,
+
+I fear, for ever: Milan and Naples have
+
+More widows in them of this business’ making
+
+Than we bring men to comfort them:
+
+The fault’s your own.
+
+Alon.
+So is the dear’st o’ the loss.
+
+130Gon. My lord Sebastian,
+
+The truth you speak doth lack some gentleness,
+
+And time to speak it in: you rub the sore,
+
+When you should bring the plaster.
+
+Seb.
+Very well.
+
+Ant. And most chirurgeonly.
+
+135Gon. It is foul weather in us all, good sir,
+
+When you are cloudy.
+
+Seb.
+Foul weather?
+
+Ant.
+Very foul.
+
+Gon. Had I plantation of this isle, my lord,—
+
+Ant. He’ld sow’t with nettle-seed.
+
+Seb.
+Or docks, or mallows.
+
+29
+Gon. And were the king on’t, what would I do?
+
+140Seb. ’Scape being drunk for want of wine.
+
+Gon. I’ the commonwealth I would by contraries
+
+Execute all things; for no kind of traffic
+
+Would I admit; no name of magistrate;
+
+Letters should not be known; riches, poverty,
+
+145And use of service, none; contract, succession,
+
+Bourn, bound of land, tilth, vineyard, none;
+
+No use of metal, corn, or wine, or oil;
+
+No occupation; all men idle, all;
+
+And women too, but innocent and pure;
+
+II. 1. 150No sovereignty;—
+
+Seb.
+Yet he would be king on’t.
+
+Ant. The latter end of his commonwealth forgets the beginning.
+
+Gon. All things in common nature should produce
+
+Without sweat or endeavour: treason, felony,
+
+155Sword, pike, knife, gun, or need of any engine,
+
+Would I not have; but nature should bring forth,
+
+Of its own kind, all foison, all abundance,
+
+To feed my innocent people.
+
+Seb. No marrying ’mong his subjects?
+
+160Ant. None, man; all idle; whores and knaves.
+
+Gon. I would with such perfection govern, sir,
+
+To excel the golden age.
+
+Seb.
+’Save his majesty!
+
+Ant. Long live Gonzalo!
+
+Gon.
+And,—do you mark me, sir?
+
+Alon. Prithee, no more: thou dost talk nothing to me.
+
+165Gon. I do well believe your highness; and did it to minister occasion to these gentlemen, who are of such sensible and nimble lungs that they always use to laugh at nothing.
+
+Ant. ’Twas you we laughed at.
+
+Gon. Who in this kind of merry fooling am nothing to 170you: so you may continue, and laugh at nothing still.
+
+30
+Ant. What a blow was there given!
+
+Seb. An it had not fallen flat-long.
+
+Gon. You are gentlemen of brave mettle; you would lift the moon out of her sphere, if she would continue in it II. 1. 175five weeks without changing.
+
+Enter Ariel (invisible) playing solemn music.
+Seb. We would so, and then go a bat-fowling.
+
+Ant. Nay, good my lord, be not angry.
+
+Gon. No, I warrant you; I will not adventure my discretion so weakly. Will you laugh me asleep, for I am very 180heavy?
+
+Ant. Go sleep, and hear us.
+
+ All sleep except Alon., Seb., and Ant.
+
+Alon. What, all so soon asleep! I wish mine eyes
+
+Would, with themselves, shut up my thoughts: I find
+
+They are inclined to do so.
+
+Seb.
+Please you, sir,
+
+185Do not omit the heavy offer of it:
+
+It seldom visits sorrow; when it doth,
+
+It is a comforter.
+
+Ant.
+We two, my lord,
+
+Will guard your person while you take your rest,
+
+And watch your safety.
+
+Alon.
+Thank you.—Wondrous heavy.
+
+ Alonso sleeps. Exit Ariel.
+
+190Seb. What a strange drowsiness possesses them!
+
+Ant. It is the quality o’ the climate.
+
+Seb.
+Why
+
+Doth it not then our eyelids sink? I find not
+
+Myself disposed to sleep.
+
+Ant.
+Nor I; my spirits are nimble.
+
+31
+They fell together all, as by consent;
+
+195They dropp’d, as by a thunder-stroke. What might,
+
+Worthy Sebastian?—O, what might?—No more:—
+
+And yet methinks I see it in thy face,
+
+What thou shouldst be: the occasion speaks thee; and
+
+My strong imagination sees a crown
+
+Dropping upon thy head.
+
+Seb.
+II. 1. 200What, art thou waking?
+
+Ant. Do you not hear me speak?
+
+Seb.
+I do; and surely
+
+It is a sleepy language, and thou speak’st
+
+Out of thy sleep. What is it thou didst say?
+
+This is a strange repose, to be asleep
+
+205With eyes wide open; standing, speaking, moving,
+
+And yet so fast asleep.
+
+Ant.
+Noble Sebastian,
+
+Thou let’st thy fortune sleep—die, rather; wink’st
+
+Whiles thou art waking.
+
+Seb.
+Thou dost snore distinctly;
+
+There’s meaning in thy snores.
+
+210Ant. I am more serious than my custom: you
+
+Must be so too, if heed me; which to do
+
+Trebles thee o’er.
+
+Seb.
+Well, I am standing water.
+
+Ant. I’ll teach you how to flow.
+
+Seb.
+Do so: to ebb
+
+Hereditary sloth instructs me.
+
+Ant.
+O,
+
+215If you but knew how you the purpose cherish
+
+Whiles thus you mock it! how, in stripping it,
+
+You more invest it! Ebbing men, indeed,
+
+Most often do so near the bottom run
+
+By their own fear or sloth.
+
+Seb.
+Prithee, say on:
+
+220The setting of thine eye and cheek proclaim
+
+A matter from thee; and a birth, indeed,
+
+32
+Which throes thee much to yield.
+
+Ant.
+Thus, sir:
+
+Although this lord of weak remembrance, this,
+
+Who shall be of as little memory
+
+II. 1. 225When he is earth’d, hath here almost persuaded,—
+
+For he’s a spirit of persuasion, only
+
+Professes to persuade,—the king his son’s alive,
+
+’Tis as impossible that he’s undrown’d
+
+As he that sleeps here swims.
+
+Seb.
+I have no hope
+
+That he’s undrown’d.
+
+Ant.
+230O, out of that ‘no hope’
+
+What great hope have you! no hope that way is
+
+Another way so high a hope that even
+
+Ambition cannot pierce a wink beyond,
+
+But doubt discovery there. Will you grant with me
+
+That Ferdinand is drown’d?
+
+Seb.
+He’s gone.
+
+Ant.
+235Then, tell me,
+
+Who’s the next heir of Naples?
+
+Seb.
+Claribel.
+
+Ant. She that is queen of Tunis; she that dwells
+
+Ten leagues beyond man’s life; she that from Naples
+
+Can have no note, unless the sun were post,—
+
+240The man i’ the moon’s too slow,—till new-born chins
+
+Be rough and razorable; she that from whom
+
+We all were sea-swallow’d, though some cast again,
+
+And by that destiny, to perform an act
+
+Whereof what’s past is prologue; what to come,
+
+In yours and my discharge.
+
+Seb.
+245What stuff is this! How say you?
+
+33
+’Tis true, my brother’s daughter’s queen of Tunis;
+
+So is she heir of Naples; ’twixt which regions
+
+There is some space.
+
+Ant.
+A space whose every cubit
+
+Seems to cry out, “How shall that Claribel
+
+II. 1. 250Measure us back to Naples? Keep in Tunis,
+
+And let Sebastian wake.” Say, this were death
+
+That now hath seized them; why, they were no worse
+
+Than now they are. There be that can rule Naples
+
+As well as he that sleeps; lords that can prate
+
+255As amply and unnecessarily
+
+As this Gonzalo; I myself could make
+
+A chough of as deep chat. O, that you bore
+
+The mind that I do! what a sleep were this
+
+For your advancement! Do you understand me?
+
+Seb. Methinks I do.
+
+Ant.
+260And 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
+
+265Were then my fellows; now they are my men.
+
+Seb. But for your conscience.
+
+Ant. Ay, sir; where lies that? if ’twere a kibe,
+
+’Twould put me to my slipper: but I feel not
+
+This deity in my bosom: twenty consciences,
+
+270That stand ’twixt me and Milan, candied be they,
+
+And melt, ere they molest! Here lies your brother,
+
+No better than the earth he lies upon,
+
+If he were that which now he’s like, that’s dead;
+
+34
+Whom I, with this obedient steel, three inches of it,
+
+II. 1. 275Can lay to bed for ever; whiles you, doing thus,
+
+To the perpetual wink for aye might put
+
+This ancient morsel, this Sir Prudence, who
+
+Should not upbraid our course. For all the rest,
+
+They’ll take suggestion as a cat laps milk;
+
+280They’ll tell the clock to any business that
+
+We say befits the hour.
+
+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 payest;
+
+And I the king shall love thee.
+
+Ant.
+285Draw together;
+
+And when I rear my hand, do you the like,
+
+To fall it on Gonzalo.
+
+Seb.
+O, but one word.They talk apart.
+
+Re-enter Ariel invisible.
+Ari. My master through his art foresees the danger
+
+That you, his friend, are in; and sends me forth,—
+
+290For else his project dies,—to keep them living.
+
+Sings in Gonzalo’s ear.
+
+While you here do snoring lie,
+
+Open-eyed conspiracy
+
+His time doth take.
+
+If of life you keep a care,
+
+295Shake off slumber, and beware:
+
+Awake, awake!
+
+Ant. Then let us both be sudden.
+
+Gon.
+Now, good angels
+
+Preserve the king!They wake.
+
+35
+Alon. Why, how now? ho, awake!—Why are you drawn?
+
+Wherefore this ghastly looking?
+
+Gon.
+II. 1. 300What’s the matter?
+
+Seb. Whiles we stood here securing your repose,
+
+Even now, we heard a hollow burst of bellowing
+
+Like bulls, or rather lions: did’t not wake you?
+
+It struck mine ear most terribly.
+
+Alon.
+I heard nothing.
+
+305Ant. O, ’twas a din to fright a monster’s ear,
+
+To make an earthquake! sure, it was the roar
+
+Of a whole herd of lions.
+
+Alon.
+Heard you this, Gonzalo?
+
+Gon. Upon mine honour, sir, I heard a humming,
+
+And that a strange one too, which did awake me:
+
+310I shaked you, sir, and cried: as mine eyes open’d,
+
+I saw their weapons drawn:—there was a noise,
+
+That’s verily. ’Tis best we stand upon our guard,
+
+Or that we quit this place: let’s draw our weapons.
+
+Alon. Lead off this ground; and let’s make further search
+
+For my poor son.
+
+Gon.
+315Heavens keep him from these beasts!
+
+For he is, sure, i’ th’ island.
+
+Alon.
+Lead away.
+
+Ari. Prospero my lord shall know what I have done:
+
+So, king, go safely on to seek thy son.Exeunt.
+
+II. 2Scene II. Another part of the island.
+Enter Caliban with a burden of wood. A noise of thunder heard.
+Cal. All the infections that the sun sucks up
+
+From bogs, fens, flats, on Prosper fall, and make him
+
+By inch-meal a disease! His spirits hear me,
+
+And yet I needs must curse. But they’ll nor pinch,
+
+5Fright me with urchin-shows, pitch me i’ the mire,
+
+Nor lead me, like a firebrand, in the dark
+
+36
+Out of my way, unless he bid ’em: but
+
+For every trifle are they set upon me;
+
+Sometime like apes, that mow and chatter at me,
+
+10And after bite me; then like hedgehogs, which
+
+Lie tumbling in my barefoot way, and mount
+
+Their pricks at my footfall; sometime am I
+
+All wound with adders, who with cloven tongues
+
+Do hiss me into madness.
+
+Enter Trinculo.
+Lo, now, lo!
+
+15Here comes a spirit of his, and to torment me
+
+For bringing wood in slowly. I’ll fall flat;
+
+Perchance he will not mind me.
+
+Trin. Here’s neither bush nor shrub, to bear off any weather at all, and another storm brewing; I hear it sing i’ 20the wind: yond same black cloud, yond huge one, looks like a foul bombard that would shed his liquor. If it should thunder as it did 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 II. 2. 25smells like a fish; a very ancient and fish-like smell; a kind of not of the newest Poor-John. A strange fish! Were I in England now, as once I was, and had but this fish painted, not a holiday fool there but would give a piece of silver: there would this monster make a man; any strange 30beast there makes a man: when they will not give a doit to relieve a lame beggar, they will lay out ten to see a dead Indian. Legged like a man! and his fins like arms! Warm o’ my troth! I do now let loose my opinion; hold it no longer: this is no fish, but an islander, that hath lately suffered 35by a thunderbolt. [Thunder.] Alas, the storm is come again! my best way is to creep under his gaberdine; there is no other shelter hereabout: misery acquaints a man with strange bed-fellows. I will here shroud till the dregs of the storm be past.
+
+37
+Enter Stephano, singing: a bottle in his hand.
+40Ste. 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.
+
+[Sings. The master, the swabber, the boatswain, and I,
+
+45The gunner, and his mate,
+
+Loved Mall, Meg, and Marian, and Margery,
+
+But none of us cared for Kate;
+
+For she had a tongue with a tang,
+
+Would cry to a sailor, Go hang!
+
+II. 2. 50She loved not the savour of tar nor of pitch;
+
+Yet a tailor might scratch her where’er she did itch.
+
+Then, to sea, boys, and let her go hang!
+
+This is a scurvy tune too: but here’s my comfort.Drinks.
+
+Cal. Do not torment me:—O!
+
+55Ste. What’s the matter? Have we devils here? Do you put tricks upon ’s with savages and men of Ind, ha? I have not scaped drowning, to be afeard now of your four legs; for it hath been said, As proper a man as ever went on four legs cannot make him give ground; and it shall be 60said so again, while Stephano breathes at’s nostrils.
+
+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 65but 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, prithee; I’ll bring my wood home faster.
+
+70Ste. He’s in his fit now, and does not talk after the wisest. He shall taste of my bottle: if he have never drunk wine afore, it will go near to remove his fit. If I can recover him, and keep him tame, I will not take too much for him; he shall pay for him that hath him, and that soundly.
+
+38
+II. 2. 75Cal. Thou dost me yet but little hurt; thou wilt anon, I know it by thy trembling: now Prosper works upon thee.
+
+Ste. Come on your ways; open your mouth; here is that which will give language to you, cat: open your mouth; this will shake your shaking, I can tell you, and that soundly: 80you cannot tell who’s your friend: open your chaps again.
+
+Trin. I should know that voice: it should be—but he is drowned; 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; 85his backward voice is to utter foul speeches and to detract. If all the wine in my bottle will recover him, I will help his ague. Come:—Amen! I will pour some in thy other mouth.
+
+Trin. Stephano!
+
+90Ste. Doth thy other mouth call me? Mercy, mercy! This is a devil, and no monster: I will leave him; I have no long spoon.
+
+Trin. Stephano! If thou beest Stephano, touch me, and speak to me; for I am Trinculo,—be not afeard,—thy 95good 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 earnest thou to be the siege of this moon-calf? can he vent Trinculos?
+
+II. 2. 100Trin. I took him to be killed with a thunder-stroke. But art thou not drowned, Stephano? I hope, now, thou art not drowned. Is the storm overblown? I hid me under the dead moon-calf’s gaberdine for fear of the storm. And art thou living, Stephano? O Stephano, two Neapolitans 105scaped!
+
+Ste. Prithee, do not turn me about; my stomach is not constant.
+
+Cal. [aside] These be fine things, an if they be not sprites.
+
+That’s a brave god, and bears celestial liquor:
+
+110I will kneel to him.
+
+39
+Ste. How didst thou ’scape? How camest thou hither? swear, by this bottle, how thou camest hither. I escaped upon a butt of sack, which the sailors heaved o’erboard, by this bottle! which I made of the bark of a tree with mine 115own hands, since I was cast ashore.
+
+Cal. I’ll swear, upon that bottle, to be thy true subject; for the liquor is not earthly.
+
+Ste. Here; swear, then, how thou escapedst.
+
+Trin. Swum ashore, man, like a duck: I can swim 120like a duck, I’ll be sworn.
+
+Ste. Here, kiss the book. Though thou canst swim like a duck, thou art made like a goose.
+
+Trin. O Stephano, hast any more of this?
+
+Ste. The whole butt, man: my cellar is in a rock by II. 2. 125the sea-side, where my wine is hid. How now, moon-calf! how does thine ague?
+
+Cal. Hast thou not dropp’d from heaven?
+
+Ste. Out o’ the moon, I do assure thee: I was the man i’ the moon when time was.
+
+130Cal. I have seen thee in her, and I do adore thee: My mistress show’d me thee, and thy dog, and thy bush.
+
+Ste. Come, swear to that; kiss the book: I will furnish it anon with new contents: swear.
+
+Trin. By this good light, this is a very shallow monster! 135I afeard of him! A very weak monster! The man i’ the moon! A most poor credulous monster! Well drawn, monster, in good sooth!
+
+Cal. I’ll show thee every fertile inch o’ th’ island;
+
+And I will kiss thy foot: I prithee, be my god.
+
+140Trin. By this light, a most perfidious and drunken monster! when’s god’s asleep, he’ll rob his bottle.
+
+Cal. I’ll kiss thy foot; I’ll swear myself thy subject.
+
+Ste. Come on, then; down, and swear.
+
+40
+Trin. I shall laugh myself to death at this puppy-headed monster. A most scurvy monster! I could find in 145my heart to beat him,—
+
+Ste. Come, kiss.
+
+Trin. But that the poor monster’s in drink: an abominable monster!
+
+II. 2. 150Cal. I’ll show thee the best springs; I’ll pluck thee berries;
+
+I’ll fish for thee, and get thee wood enough.
+
+A plague upon the tyrant that I serve!
+
+I’ll bear him no more sticks, but follow thee,
+
+Thou wondrous man.
+
+Trin. A most ridiculous monster, to make a wonder 155of a poor drunkard!
+
+Cal. I prithee, let me bring thee where crabs grow;
+
+And I with my long nails will dig thee pig-nuts;
+
+Show thee a jay’s nest, and instruct thee how
+
+160To snare the nimble marmoset; I’ll bring thee
+
+To clustering filberts, and sometimes I’ll get thee
+
+Young scamels from the rock. Wilt thou go with me?
+
+Ste. I prithee now, lead the way, without any more talking. Trinculo, the king and all our company else being drowned, 165we will inherit here: here; bear my bottle: fellow Trinculo, we’ll fill him by and by again.
+
+Cal. sings drunkenly.] Farewell, master; farewell, farewell!
+
+Trin. A howling monster; a drunken monster!
+
+Cal. No more dams I’ll make for fish;
+
+170Nor fetch in firing
+
+At requiring;
+
+Nor scrape trencher, nor wash dish:
+
+’Ban, ’Ban, Cacaliban
+
+Has a new master:—get a new man.
+
+II. 2. 175Freedom, hey-day! hey-day, freedom! freedom, hey-day, freedom!
+
+Ste. O brave monster! Lead the way.Exeunt.
+
+41
+ACT III.
+III. 1Scene I. Before Prospero’s cell.
+Enter Ferdinand, bearing a log.
+Fer. There be some sports are painful, and their labour
+
+Delight in them sets off: some kinds of baseness
+
+Are nobly undergone, and most poor matters
+
+Point to rich ends. This my mean task
+
+5Would be as heavy to me as odious, but
+
+The mistress which I serve quickens what’s dead,
+
+And makes my labours pleasures: O, she is
+
+Ten times more gentle than her father’s crabbed.
+
+And he’s composed of harshness. I must remove
+
+10Some thousands of these logs, and pile them up,
+
+Upon a sore injunction: my sweet mistress
+
+Weeps when she sees me work, and says, such baseness
+
+Had never like executor. I forget:
+
+But these sweet thoughts do even refresh my labours,
+
+Most busy lest, when I do it.
+
+Enter Miranda; and Prospero at a distance, unseen.
+Mir.
+15Alas, now, pray you,
+
+Work not so hard: I would the lightning had
+
+Burnt up those logs that you are enjoin’d to pile!
+
+Pray, set it down, and rest you: when this burns,
+
+’Twill weep for having wearied you. My father
+
+20Is hard at study; pray, now, rest yourself;
+
+42
+He’s safe for these three hours.
+
+Fer.
+O most dear mistress,
+
+The sun will set before I shall discharge
+
+What I must strive to do.
+
+Mir.
+If you’ll sit down,
+
+I’ll bear your logs the while: pray, give me that;
+
+I’ll carry it to the pile.
+
+Fer.
+III. 1. 25No, precious creature;
+
+I had rather crack my sinews, break my back,
+
+Than you should such dishonour undergo,
+
+While I sit lazy by.
+
+Mir.
+It would become me
+
+As well as it does you: and I should do it
+
+30With much more ease; for my good will is to it,
+
+And yours it is against.
+
+Pros.
+Poor worm, thou art infected!
+
+This visitation shows it.
+
+Mir.
+You look wearily.
+
+Fer. No, noble mistress; ’tis fresh morning with me
+
+When you are by at night. I do beseech you,—
+
+35Chiefly that I might set it in my prayers,—
+
+What is your name?
+
+Mir.
+Miranda.—O my father,
+
+I have broke your hest to say so!
+
+Fer.
+Admired Miranda!
+
+Indeed the top of admiration! worth
+
+What’s dearest to the world! Full many a lady
+
+40I have eyed with best regard, and many a time
+
+The harmony of their tongues hath into bondage
+
+Brought my too diligent ear: for several virtues
+
+Have I liked several women; never any
+
+With so full soul, but some defect in her
+
+45Did quarrel with the noblest grace she owed,
+
+And put it to the foil: but you, O you,
+
+So perfect and so peerless, are created
+
+Of every creature’s best!
+
+43
+Mir.
+I do not know
+
+One of my sex; no woman’s face remember,
+
+III. 1. 50Save, from my glass, mine own; nor have I seen
+
+More that I may call men than you, good friend,
+
+And my dear father: how features are abroad,
+
+I am skilless of; but, by my modesty,
+
+The jewel in my dower, I would not wish
+
+55Any companion in the world but you;
+
+Nor can imagination form a shape,
+
+Besides yourself, to like of. But I prattle
+
+Something too wildly, and my father’s precepts
+
+I therein do forget.
+
+Fer.
+I am, in my condition,
+
+60A prince, Miranda; I do think, a king;
+
+I would, not so!—and would no more endure
+
+This wooden slavery than to suffer
+
+The flesh-fly blow my mouth. Hear my soul speak:
+
+The very instant that I saw you, did
+
+65My heart fly to your service; there resides,
+
+To make me slave to it; and for your sake
+
+Am I this patient log-man.
+
+Mir.
+Do you love me?
+
+Fer. O heaven, O earth, bear witness to this sound,
+
+And crown what I profess with kind event,
+
+70If I speak true! if hollowly, invert
+
+What best is boded me to mischief! I,
+
+Beyond all limit of what else i’ the world,
+
+Do love, prize, honour you.
+
+Mir.
+I am a fool
+
+To weep at what I am glad of.
+
+Pros.
+Fair encounter
+
+III. 1. 75Of two most rare affections! Heavens rain grace
+
+On that which breeds between ’em!
+
+Fer.
+Wherefore weep you?
+
+Mir. At mine unworthiness, that dare not offer
+
+What I desire to give; and much less take
+
+44
+What I shall die to want. But this is trifling;
+
+80And all the more it seeks to hide itself,
+
+The bigger bulk it shows. Hence, bashful cunning!
+
+And prompt me, plain and holy innocence!
+
+I am your wife, if you will marry me;
+
+If not, I’ll die your maid: to be your fellow
+
+85You may deny me; but I’ll be your servant,
+
+Whether you will or no.
+
+Fer.
+My mistress, dearest;
+
+And I thus humble ever.
+
+Mir.
+My husband, then?
+
+Fer. Ay, with a heart as willing
+
+As bondage e’er of freedom: here’s my hand.
+
+90Mir. And mine, with my heart in’t: and now farewell
+
+Till half an hour hence.
+
+Fer.
+A thousand thousand!
+
+ Exeunt Fer. and Mir. severally.
+
+Pros. So glad of this as they I cannot be,
+
+Who are surprised withal; but my rejoicing
+
+At nothing can be more. I’ll to my book;
+
+95For yet, ere supper-time, must I perform
+
+Much business appertaining.Exit.
+
+III. 2Scene II. Another part of the island.
+Enter Caliban, Stephano, and Trinculo.
+Ste. Tell not me;—when the butt is out, we will drink water; not a drop before: therefore bear up, and board ’em. Servant-monster, drink to me.
+
+Trin. Servant-monster! the folly of this island! They 5say there’s but five upon this isle: we are three of them; if th’ other two be brained like us, the state totters.
+
+45
+Ste. Drink, servant-monster, when I bid thee: thy eyes are almost set in thy head.
+
+Trin. Where should they be set else? he were a brave 10monster indeed, if they were set in his tail.
+
+Ste. My man-monster hath drowned 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 15standard.
+
+Trin. Your lieutenant, if you list; he’s no standard.
+
+Ste. We’ll not run, Monsieur Monster.
+
+Trin. Nor go neither; but you’ll lie, like dogs, and yet say nothing neither.
+
+20Ste. 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.
+
+Trin. Thou liest, most ignorant monster: I am in case III. 2. 25to justle a constable. Why, thou debauched fish, thou, was there ever man a coward that hath drunk so much sack as I to-day? Wilt thou tell a monstrous lie, being but half a fish and half a monster?
+
+Cal. Lo, how he mocks me! wilt thou let him, my lord?
+
+30Trin. ‘Lord,’ quoth he! That a monster should be such a natural!
+
+Cal. Lo, lo, again! bite him to death, I prithee.
+
+Ste. Trinculo, keep a good tongue in your head: if you prove a mutineer,—the next tree! The poor monster’s my 35subject, and he shall not suffer indignity.
+
+Cal. I thank my noble lord. Wilt thou be pleased to hearken once again to the suit I made to thee?
+
+Ste. Marry, will I: kneel and repeat it; I will stand, and so shall Trinculo.
+
+46
+Enter Ariel, invisible.
+40Cal. 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.
+
+45Ste. Trinculo, if you trouble him any more in’s tale, by this hand, I will supplant some of your teeth.
+
+Trin. Why, I said nothing.
+
+Ste. Mum, then, and no more. Proceed.
+
+Cal. I say, by sorcery he got this isle;
+
+III. 2. 50From me he got it. If thy greatness will
+
+Revenge it on him,—for I know thou darest,
+
+But this thing dare not,—
+
+Ste. That’s most certain.
+
+Cal. Thou shalt be lord of it, and I’ll serve thee.
+
+55Ste. How now shall this be compassed? Canst thou bring me to the party?
+
+Cal. Yea, yea, my lord: I’ll yield him thee asleep,
+
+Where thou mayst knock a nail into his head.
+
+Ari. Thou liest; thou canst not.
+
+60Cal. What a pied ninny’s this! Thou scurvy patch!
+
+I do beseech thy Greatness, give him blows,
+
+And take his bottle from him: when that’s gone,
+
+He shall drink nought but brine; for I’ll not show him
+
+Where the quick freshes are.
+
+65Ste. Trinculo, run into no further danger: interrupt the monster one word further, and, by this hand, I’ll turn my mercy out o’ doors, and make a stock-fish of thee.
+
+Trin. Why, what did I? I did nothing. I’ll go farther off.
+
+70Ste. Didst thou not say he lied?
+
+Ari. Thou liest.
+
+Ste. Do I so? take thou that. [Beats him.] As you like this, give me the lie another time.
+
+47
+Trin. I did not give the lie. Out o’ your wits, and III. 2. 75hearing too? A pox o’ your bottle! this can sack and drinking do. A murrain on your monster, and the devil take your fingers!
+
+Cal. Ha, ha, ha!
+
+Ste. Now, forward with your tale.—Prithee, stand farther 80off.
+
+Cal. Beat him enough: after a little time, I’ll beat him too.
+
+Ste. Stand farther. Come, proceed.
+
+Cal. Why, as I told thee, ’tis a custom with him
+
+I’ th’ afternoon to sleep: there thou mayst brain him,
+
+85Having first seized his books; or with a log
+
+Batter his skull, or paunch him with a stake,
+
+Or cut his wezand with thy knife. Remember
+
+First to possess his books; for without them
+
+He’s but a sot, as I am, nor hath not
+
+90One spirit to command: they all do hate him
+
+As rootedly as I. Burn but his books.
+
+He has brave utensils,—for so he calls them,—
+
+Which, when he has a house, he’ll deck withal.
+
+And that most deeply to consider is
+
+95The beauty of his daughter; he himself
+
+Calls her a nonpareil: I never saw a woman,
+
+But only Sycorax my dam and she;
+
+But she as far surpasseth Sycorax
+
+As great’st does least.
+
+Ste.
+Is it so brave a lass?
+
+III. 2. 100Cal. Ay, lord; she will become thy bed, I warrant,
+
+And bring thee forth brave brood.
+
+Ste. Monster, I will kill this man: his daughter and I will be king and queen,—save our Graces!—and Trinculo and thyself shall be viceroys. Dost thou like the plot, 105Trinculo?
+
+Trin. Excellent.
+
+48
+Ste. Give me thy hand: I am sorry I beat thee; but, while thou livest, keep a good tongue in thy head.
+
+Cal. Within this half hour will he be asleep:
+
+Wilt thou destroy him then?
+
+Ste.
+110Ay, on mine honour.
+
+Ari. This will I tell my master.
+
+Cal. Thou makest me merry; I am full of pleasure:
+
+Let us be jocund: will you troll the catch
+
+You taught me but while-ere?
+
+115Ste. At thy request, monster, I will do reason, any reason. —Come on. Trinculo, let us sing.Sings.
+
+Flout ’em and scout ’em, and scout ’em and flout ’em;
+
+Thought is free.
+
+Cal. That’s not the tune.
+
+Ariel plays the tune on a tabor and pipe.
+
+120Ste. What is this same?
+
+Trin. This is the tune of our catch, played by the picture of Nobody.
+
+Ste. If thou beest a man, show thyself in thy likeness: if thou beest a devil, take’t as thou list.
+
+III. 2. 125Trin. O, forgive me my sins!
+
+Ste. He that dies pays all debts: I defy thee. Mercy upon us!
+
+Cal. Art thou afeard?
+
+Ste. No, monster, not I.
+
+130Cal. Be not afeard; the isle is full of noises,
+
+Sounds and sweet airs, that give delight, and hurt not.
+
+Sometimes a thousand twangling instruments
+
+Will hum about mine ears; and sometime voices,
+
+That, if I then had waked after long sleep,
+
+135Will make me sleep again: and then, in dreaming,
+
+The clouds methought would open, and show riches
+
+Ready to drop upon me; that, when I waked,
+
+I cried to dream again.
+
+49
+Ste. This will prove a brave kingdom to me, where I 140shall have my music for nothing.
+
+Cal. When Prospero is destroyed.
+
+Ste. That shall be by and by: I remember the story.
+
+Trin. The sound is going away; let’s follow it, and after do our work.
+
+145Ste. Lead, monster; we’ll follow. I would I could see this taborer; he lays it on.
+
+Trin. Wilt come? I’ll follow, Stephano.Exeunt.
+
+III. 3Scene III. Another part of the island.
+Enter Alonso, Sebastian, Antonio, Gonzalo, Adrian, Francisco, and others.
+Gon. By’r lakin, I can go no further, sir;
+
+My old bones ache: here’s a maze trod, indeed,
+
+Through forth-rights and meanders! By your patience,
+
+I needs must rest me.
+
+Alon.
+Old lord, I cannot blame thee,
+
+5Who 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
+
+10Our frustrate search on land. Well, let him go.
+
+Ant. [Aside to Seb.] I am right glad that he’s so out of hope.
+
+Do not, for one repulse, forego the purpose
+
+That you resolved to effect.
+
+Seb. [Aside to Ant.]
+The next advantage
+
+Will we take throughly.
+
+Ant. [Aside to Seb.]
+Let it be to-night;
+
+50
+15For, now they are oppress’d with travel, they
+
+Will not, nor cannot, use such vigilance
+
+As when they are fresh.
+
+Seb. [Aside to Ant.]
+I say, to-night: no more.
+
+Solemn and strange music.
+
+Alon. What harmony is this?—My good friends, hark!
+
+Gon. Marvellous sweet music!
+
+Enter Prospero above, invisible. Enter several strange Shapes, bringing in a banquet: they dance about it with gentle actions of salutation; and, inviting the King, &c. to eat, they depart.
+20Alon. Give us kind keepers, heavens!—What were these?
+
+Seb. A living drollery. Now I will believe
+
+That there are unicorns; that in Arabia
+
+There is one tree, the phœnix’ throne; one phœnix
+
+At this hour reigning there.
+
+Ant.
+I’ll believe both;
+
+III. 3. 25And what does else want credit, come to me,
+
+And I’ll be sworn ’tis true: travellers ne’er did lie,
+
+Though fools at home condemn ’em.
+
+Gon.
+If in Naples
+
+I should report this now, would they believe me?
+
+If I should say, I saw such islanders,—
+
+30For, certes, these are people of the island,—
+
+Who, though they are of monstrous shape, yet, note,
+
+Their manners are more gentle-kind than of
+
+Our human generation you shall find
+
+Many, nay, almost any.
+
+Pros. [Aside]
+Honest lord,
+
+35Thou hast said well; for some of you there present
+
+Are worse than devils.
+
+Alon.
+I cannot too much muse
+
+Such shapes, such gesture, and such sound, expressing—
+
+51
+Although they want the use of tongue—a kind
+
+Of excellent dumb discourse.
+
+Pros. [Aside]
+Praise in departing.
+
+Fran. They vanish’d strangely.
+
+Seb.
+40No matter, since
+
+They have left their viands behind; for we have stomachs.—
+
+Will’t please you taste of what is here?
+
+Alon.
+Not I.
+
+Gon. Faith, sir, you need not fear. When we were boys,
+
+Who would believe that there were mountaineers
+
+45Dew-lapp’d like bulls, whose throats had hanging at ’em
+
+Wallets of flesh? or that there were such men
+
+Whose heads stood in their breasts? which now we find
+
+Each putter-out of five for one will bring us
+
+Good warrant of.
+
+Alon.
+I will stand to, and feed,
+
+III. 3. 50Although my last: no matter, since I feel
+
+The best is past. Brother, my lord the duke,
+
+Stand to, and do as we.
+
+Thunder and lightning. Enter Ariel, like a harpy; claps his wings upon the table; and, with a quaint device, the banquet vanishes.
+Ari. You are three men of sin, whom Destiny,—
+
+That hath to instrument this lower world
+
+55And what is in’t,—the never-surfeited sea
+
+Hath caused to belch up you; and on this island,
+
+Where man doth not inhabit,—you ’mongst men
+
+Being most unfit to live. I have made you mad;
+
+And even with such-like valour men hang and drown
+
+Their proper selves.Alon., Seb. &c. draw their swords.
+
+60You fools! I and my fellows
+
+Are ministers of Fate: the elements,
+
+52
+Of whom your swords are temper’d, may as well
+
+Wound the loud winds, or with bemock’d-at stabs
+
+Kill the still-closing waters, as diminish
+
+65One dowle that’s in my plume: my fellow-ministers
+
+Are like invulnerable. If you could hurt,
+
+Your swords are now too massy for your strengths,
+
+And will not be uplifted. But remember,—
+
+For that’s my business to you,—that you three
+
+70From Milan did supplant good Prospero;
+
+Exposed unto the sea, which hath requit it,
+
+Him and his innocent child: for which foul deed
+
+The powers, delaying, not forgetting, have
+
+Incensed the seas and shores, yea, all the creatures,
+
+III. 3. 75Against your peace. Thee of thy son, Alonso,
+
+They have bereft; and do pronounce by me:
+
+Lingering perdition—worse than any death
+
+Can be at once—shall step by step attend
+
+You and your ways; whose wraths to guard you from,—
+
+80Which here, in this most desolate isle, else falls
+
+Upon your heads,—is nothing but heart-sorrow
+
+And a clear life ensuing.
+
+He vanishes in thunder; then, to soft music, enter the Shapes again, and dance, with mocks and mows, and carrying out the table.
+Pros. Bravely the figure of this harpy hast thou
+
+Perform’d, my Ariel; a grace it had, devouring:
+
+85Of my instruction hast thou nothing bated
+
+In what thou hadst to say: so, with good life
+
+And observation strange, my meaner ministers
+
+Their several kinds have done. My high charms work,
+
+And these mine enemies are all knit up
+
+90In their distractions: they now are in my power;
+
+And in these fits I leave them, while I visit
+
+53
+Young Ferdinand,—whom they suppose is drown’d,—
+
+And his and mine loved darling.Exit above.
+
+Gon. I’ the name of something holy, sir, why stand you
+
+In this strange stare?
+
+Alon.
+95O, it is monstrous, monstrous!
+
+Methought the billows spoke, and told me of it;
+
+The winds did sing it to me; and the thunder,
+
+That deep and dreadful organ-pipe, pronounced
+
+The name of Prosper: it did bass my trespass.
+
+III. 3. 100Therefore my son i’ th’ 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 Seb. and Ant.
+
+Gon. All three of them are desperate: their great guilt,
+
+105Like poison given to work a great time after,
+
+Now ’gins to bite the spirits. I do beseech you,
+
+That are of suppler joints, follow them swiftly,
+
+And hinder them from what this ecstasy
+
+May now provoke them to.
+
+Adr.
+Follow, I pray you.Exeunt.
+
+54
+ACT IV.
+IV. 1Scene I. Before Prospero’s cell.
+Enter Prospero, Ferdinand, and Miranda.
+Pros. If I have too austerely punish’d you,
+
+Your compensation makes amends; for I
+
+Have given you here a third of mine own life,
+
+Or that for which I live; who once again
+
+5I tender to thy hand: all thy vexations
+
+Were but my trials of thy love, and thou
+
+Hast strangely stood the test: here, afore Heaven,
+
+I ratify this my rich gift. O Ferdinand,
+
+Do not smile at me that I boast her off,
+
+10For thou shalt find she will outstrip all praise,
+
+And make it halt behind her.
+
+Fer.
+I do believe it
+
+Against an oracle.
+
+Pros. Then, as my gift, and thine own acquisition
+
+Worthily purchased, take my daughter: but
+
+15If thou dost break her virgin-knot before
+
+All sanctimonious ceremonies may
+
+With full and holy rite be minister’d,
+
+No sweet aspersion shall the heavens let fall
+
+To make this contract grow; but barren hate,
+
+20Sour-eyed disdain and discord shall bestrew
+
+The union of your bed with weeds so loathly
+
+That you shall hate it both: therefore take heed,
+
+As Hymen’s lamps shall light you.
+
+Fer.
+As I hope
+
+For quiet days, fair issue and long life,
+
+55
+IV. 1. 25With such love as ’tis now, the murkiest den,
+
+The most opportune place, the strong’st suggestion
+
+Our worser Genius can, shall never melt
+
+Mine honour into lust, to take away
+
+The edge of that day’s celebration
+
+30When I shall think, or Phœbus’ steeds are founder’d,
+
+Or Night kept chain’d below.
+
+Pros.
+Fairly spoke.
+
+Sit, then, and talk with her; she is thine own.
+
+What, Ariel! my industrious servant, Ariel!
+
+Enter Ariel.
+Ari. What would my potent master? here I am.
+
+35Pros. Thou and thy meaner fellows your last service
+
+Did worthily perform; and I must use you
+
+In such another trick. Go bring the rabble,
+
+O’er whom I give thee power, here to this place:
+
+Incite them to quick motion; for I must
+
+40Bestow upon the eyes of this young couple
+
+Some vanity of mine art: it is my promise,
+
+And they expect it from me.
+
+Ari.
+Presently?
+
+Pros. Ay, with a twink.
+
+Ari. Before you can say, ‘come,’ and ‘go,’
+
+45And breathe twice, and cry, ‘so, so,’
+
+Each one, tripping on his toe,
+
+Will be here with mop and mow.
+
+Do you love me, master? no?
+
+Pros. Dearly, my delicate Ariel. Do not approach
+
+Till thou dost hear me call.
+
+Ari.
+IV. 1. 50Well, I conceive.Exit.
+
+Pros. Look thou be true; do not give dalliance
+
+Too much the rein: the strongest oaths are straw
+
+To the fire i’ the blood: be more abstemious,
+
+56
+Or else, good night your vow!
+
+Fer.
+I warrant you, sir;
+
+55The white cold virgin snow upon my heart
+
+Abates the ardour of my liver.
+
+Pros.
+Well.
+
+Now come, my Ariel! bring a corollary,
+
+Rather than want a spirit: appear, and pertly!
+
+No tongue! all eyes! be silent.Soft music.
+
+Enter Iris.
+60Iris. Ceres, most bounteous lady, thy rich leas
+
+Of wheat, rye, barley, vetches, oats, and pease;
+
+Thy turfy mountains, where live nibbling sheep,
+
+And flat meads thatch’d with stover, them to keep;
+
+Thy banks with pioned and twilled brims,
+
+65Which spongy April at thy best betrims,
+
+To make cold nymphs chaste crowns; and thy broom-groves,
+
+Whose shadow the dismissed bachelor loves,
+
+Being lass-lorn; thy pole-clipt vineyard;
+
+And thy sea-marge, sterile and rocky-hard,
+
+70Where thou thyself dost air;—the queen o’ the sky,
+
+Whose watery arch and messenger am I,
+
+Bids thee leave these; and with her sovereign grace,
+
+Here on this grass-plot, in this very place,
+
+To come and sport:—her peacocks fly amain:
+
+IV. 1. 75Approach, rich Ceres, her to entertain.
+
+Enter Ceres.
+Cer. Hail, many-colour’d messenger, that ne’er
+
+Dost disobey the wife of Jupiter;
+
+Who, with thy saffron wings, upon my flowers
+
+Diffusest honey-drops, refreshing showers;
+
+80And with each end of thy blue bow dost crown
+
+My bosky acres and my unshrubb’d down,
+
+Rich scarf to my proud earth;—why hath thy queen
+
+Summon’d me hither, to this short-grass’d green?
+
+57
+Iris. A contract of true love to celebrate;
+
+85And some donation freely to estate
+
+On the blest lovers.
+
+Cer.
+Tell me, heavenly bow,
+
+If Venus or her son, as thou dost know,
+
+Do now attend the queen? Since they did plot
+
+The means that dusky Dis my daughter got,
+
+90Her and her blind boy’s scandal’d company
+
+I have forsworn.
+
+Iris.
+Of her society
+
+Be not afraid: I met her Deity
+
+Cutting the clouds towards Paphos, and her son
+
+Dove-drawn with her. Here thought they to have done
+
+95Some wanton charm upon this man and maid,
+
+Whose vows are, that no bed-right shall be paid
+
+Till Hymen’s torch be lighted: but in vain;
+
+Mars’s hot minion is returned again;
+
+Her waspish-headed son has broke his arrows,
+
+IV. 1. 100Swears he will shoot no more, but play with sparrows,
+
+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,
+
+105And honour’d in their issue.They sing:
+
+Juno. Honour, riches, marriage-blessing,
+
+Long continuance, and increasing,
+
+Hourly joys be still upon you!
+
+Juno sings her blessings on you.
+
+110Cer. Earth’s increase, foison plenty,
+
+Barns and garners never empty;
+
+Vines with clustering bunches growing;
+
+Plants with goodly burthen bowing;
+
+Spring come to you at the farthest
+
+115In the very end of harvest!
+
+Scarcity and want shall shun you;
+
+Ceres’ blessing so is on you.
+
+58
+Fer. This is a most majestic vision, and
+
+Harmonious charmingly. May I be bold
+
+To think these spirits?
+
+Pros.
+120Spirits, which by mine art
+
+I have from their confines call’d to enact
+
+My present fancies.
+
+Fer.
+Let me live here ever;
+
+So rare a wonder’d father and a wife
+
+Makes this place Paradise.
+
+ Juno and Ceres whisper, and send Iris on employment.
+
+Pros.
+Sweet, now, silence!
+
+IV. 1. 125Juno and Ceres whisper seriously;
+
+There’s something else to do: hush, and be mute,
+
+Or else our spell is marr’d.
+
+Iris. You nymphs, call’d Naiads, of the windring brooks,
+
+With your sedged crowns and ever-harmless looks,
+
+130Leave your crisp channels, and on this green land
+
+Answer your summons; Juno does command:
+
+Come, temperate nymphs, and help to celebrate
+
+A contract of true love; be not too late.
+
+Enter certain Nymphs.
+You sunburnt sicklemen, of August weary,
+
+135Come hither from the furrow, and be merry:
+
+Make holiday; your rye-straw hats put on,
+
+And these fresh nymphs encounter every one
+
+In country footing.
+
+Enter certain Reapers, properly habited: they join with the Nymphs in a graceful dance; towards the end whereof Prospero starts 59suddenly, and speaks; after which, to a strange, hollow, and confused noise, they heavily vanish.
+Pros. [Aside] I had forgot that foul conspiracy
+
+140Of the beast Caliban and his confederates
+
+Against my life: the minute of their plot
+
+Is almost come. [To the Spirits.] Well done! avoid; no more!
+
+Fer. This is strange: your father’s in some passion
+
+That works him strongly.
+
+Mir.
+Never till this day
+
+145Saw I him touch’d with anger so distemper’d.
+
+Pros. You do look, my son, in a moved sort,
+
+As if you were dismay’d: be cheerful, sir.
+
+Our revels now are ended. These our actors,
+
+As I foretold you, were all spirits, and
+
+IV. 1. 150Are melted into air, into thin air:
+
+And, like the baseless fabric of this vision,
+
+The cloud-capp’d towers, the gorgeous palaces,
+
+The solemn temples, the great globe itself,
+
+Yea, all which it inherit, shall dissolve,
+
+155And, like this insubstantial pageant faded,
+
+Leave not a rack behind. We are such stuff
+
+As dreams are made on; and our little life
+
+Is rounded with a sleep. Sir, I am vex’d;
+
+Bear with my weakness; my old brain is troubled:
+
+160Be not disturb’d with my infirmity:
+
+If you be pleased, retire into my cell,
+
+And there repose: a turn or two I’ll walk,
+
+To still my beating mind.
+
+Fer. Mir.
+We wish your peace.Exeunt.
+
+Pros. Come with a thought. I thank thee, Ariel: come.
+
+60
+Enter Ariel.
+165Ari. Thy thoughts I cleave to. What’s thy pleasure?
+
+Pros.
+Spirit,
+
+We must prepare to meet with Caliban.
+
+Ari. Ay, my commander: when I presented Ceres,
+
+I thought to have told thee of it; but I fear’d
+
+Lest I might anger thee.
+
+170Pros. Say again, where didst thou leave these varlets?
+
+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
+
+IV. 1. 175Towards their project. Then I beat my tabor;
+
+At which, like unback’d colts, they prick’d their ears,
+
+Advanced their eyelids, lifted up their noses
+
+As they smelt music: so I charm’d their ears,
+
+That, calf-like, they my lowing follow’d through
+
+180Tooth’d briers, sharp furzes, pricking goss, and thorns,
+
+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.
+
+185Thy shape invisible retain thou still:
+
+The trumpery in my house, go bring it hither,
+
+For stale to catch these thieves.
+
+Ari.
+I go, I go.Exit.
+
+Pros. A devil, a born devil, on whose nature
+
+Nurture can never stick; on whom my pains,
+
+190Humanely taken, all, all lost, quite lost;
+
+And as with age his body uglier grows,
+
+So his mind cankers. I will plague them all,
+
+Even to roaring.
+
+61
+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
+
+195Hear a foot fall: we now are near his cell.
+
+Ste. Monster, your fairy, which you say is a harmless fairy, has done little better than played the Jack with us.
+
+Trin. Monster, I do smell all horse-piss; at which my nose is in great indignation.
+
+IV. 1. 200Ste. So is mine. Do you hear, monster? If I should take a displeasure against you, look you,—
+
+Trin. Thou wert but a lost monster.
+
+Cal. Good my lord, give me thy favour still.
+
+Be patient, for the prize I’ll bring thee to
+
+205Shall hoodwink this mischance: therefore speak softly.
+
+All’s hush’d as midnight yet.
+
+Trin. Ay, but to lose our bottles in the pool,—
+
+Ste. There is not only disgrace and dishonour in that, monster, but an infinite loss.
+
+210Trin. That’s more to me than my wetting: yet this is your harmless fairy, monster.
+
+Ste. I will fetch off my bottle, though I be o’er ears for my labour.
+
+Cal. Prithee, my king, be quiet. See’st thou here,
+
+215This is the mouth o’ the cell: no noise, and enter.
+
+Do that good mischief which may make this island
+
+Thine own for ever, and I, thy Caliban,
+
+For aye thy foot-licker.
+
+Ste. Give me thy hand. I do begin to have bloody 220thoughts.
+
+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. IV. 1. 225O King Stephano!
+
+62
+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
+
+230To dote thus on such luggage? Let’s alone,
+
+And do the murder first: if he awake,
+
+From toe to crown he’ll fill our skins with pinches,
+
+Make us strange stuff.
+
+Ste. Be you quiet, monster. Mistress line, is not this 235my jerkin? Now is the jerkin under the line: now, jerkin, you are like to lose your hair, and prove a bald jerkin.
+
+Trin. Do, do: we steal by line and level, an’t like your Grace.
+
+Ste. I thank thee for that jest; here’s a garment for’t: 240wit shall not go unrewarded while I am king of this country. ‘Steal by line and level’ is an excellent pass of pate; there’s another garment for’t.
+
+Trin. Monster, come, put some lime upon your fingers, and away with the rest.
+
+245Cal. I will have none on’t: we shall lose our time,
+
+And all be turn’d to barnacles, or to apes
+
+With foreheads villanous low.
+
+Ste. Monster, lay-to your fingers: help to bear this away where my hogshead of wine is, or I’ll turn you out IV. 1. 250of my kingdom: go to, carry this.
+
+Trin. And this.
+
+Ste. Ay, and this.
+
+A noise of hunters heard. Enter divers Spirits, in shape of dogs and hounds, and hunt them about, Prospero and Ariel setting them on.
+Pros. Hey, Mountain, hey!
+
+Ari. Silver! there it goes, Silver!
+
+255Pros. Fury, fury! there, Tyrant, there! hark, hark!
+
+Cal., Ste., and Trin. are driven out.
+
+Go charge my goblins that they grind their joints
+
+63
+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!
+
+260Pros. 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.
+
+ACT V.
+V. 1Scene 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.
+5I did say so,
+
+When first I raised the tempest. Say, my spirit,
+
+How fares the king and’s followers?
+
+Ari.
+Confined together
+
+In the same fashion as you gave in charge,
+
+Just as you left them; all prisoners, sir,
+
+10In the line-grove which weather-fends your cell;
+
+They cannot budge till your release. The king,
+
+His brother, and yours, abide all three distracted,
+
+And the remainder mourning over them,
+
+Brimful of sorrow and dismay; but chiefly
+
+15Him that you term’d, sir, “The good old lord, Gonzalo;”
+
+64
+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.
+20And mine shall.
+
+Hast thou, which art but air, a touch, a feeling
+
+Of their afflictions, and shall not myself,
+
+One of their kind, that relish all as sharply,
+
+Passion as they, be kindlier moved than thou art?
+
+V. 1. 25Though 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
+
+30Not a frown further. Go release them, Ariel:
+
+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
+
+35Do chase the ebbing Neptune, and do fly him
+
+When he comes back; you demi-puppets that
+
+By moonshine do the green sour ringlets make,
+
+Whereof the ewe not bites; and you whose pastime
+
+Is to make midnight mushrooms, that rejoice
+
+40To hear the solemn curfew; by whose aid—
+
+Weak masters though ye be—I have bedimm’d
+
+The noontide sun, call’d forth the mutinous winds.
+
+And ’twixt the green sea and the azured vault
+
+Set roaring war: to the dread rattling thunder
+
+45Have I given fire, and rifted Jove’s stout oak
+
+65
+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
+
+V. 1. 50By my so potent art. But this rough magic
+
+I here abjure; and, when I have required
+
+Some heavenly music,—which even now I do,—
+
+To work mine end upon their senses, that
+
+This airy charm is for, I’ll break my staff,
+
+55Bury it certain fathoms in the earth,
+
+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,
+
+60Now useless, boil’d within thy skull! There stand,
+
+For you are spell-stopp’d.
+
+Holy Gonzalo, honourable man,
+
+Mine eyes, even sociable to the show of thine,
+
+Fall fellowly drops. The charm dissolves apace;
+
+65And as the morning steals upon the night,
+
+Melting the darkness, so their rising senses
+
+Begin to chase the ignorant fumes that mantle
+
+Their clearer reason. O good Gonzalo,
+
+My true preserver, and a loyal sir
+
+70To him thou follow’st! I will pay thy graces
+
+Home both in word and deed. Most cruelly
+
+66
+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,
+
+V. 1. 75You, brother mine, that entertain’d ambition,
+
+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
+
+80Begins to swell; and the approaching tide
+
+Will shortly fill the reasonable shore,
+
+That now lies foul and muddy. Not one of them
+
+That yet looks on me, or would know me: Ariel,
+
+Fetch me the hat and rapier in my cell:
+
+85I will discase me, and myself present
+
+As I was sometime Milan: quickly, spirit;
+
+Thou shalt ere long be free.
+
+Ariel sings and helps to attire him.
+Where the bee sucks, there suck I:
+
+In a cowslip’s bell I lie;
+
+90There I couch when owls do cry.
+
+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.
+
+95Pros. Why, that’s my dainty Ariel! I shall miss thee;
+
+But yet thou shalt have freedom: so, so, so.
+
+To the king’s ship, invisible as thou art:
+
+There shalt thou find the mariners asleep
+
+Under the hatches; the master and the boatswain
+
+V. 1. 100Being awake, enforce them to this place,
+
+67
+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
+
+105Inhabits here: some heavenly power guide us
+
+Out of this fearful country!
+
+Pros.
+Behold, sir king,
+
+The wronged Duke of Milan, Prospero:
+
+For more assurance that a living prince
+
+Does now speak to thee, I embrace thy body;
+
+110And to thee and thy company I bid
+
+A hearty welcome.
+
+Alon.
+Whether thou be’st he or no,
+
+Or some enchanted trifle to abuse me,
+
+As late I have been, I not know: thy pulse
+
+Beats, as of flesh and blood; and, since I saw thee,
+
+115The affliction of my mind amends, with which,
+
+I fear, a madness held me: this must crave—
+
+An if this be at all—a most strange story.
+
+Thy dukedom I resign, and do entreat
+
+Thou pardon me my wrongs.—But how should Prospero
+
+Be living and be here?
+
+Pros.
+120First, noble friend,
+
+Let me embrace thine age, whose honour cannot
+
+Be measured or confined.
+
+Gon.
+Whether this be
+
+Or be not, I’ll not swear.
+
+Pros.
+You do yet taste
+
+Some subtilties o’ the isle, that will not let you
+
+V. 1. 125Believe things certain. Welcome, my friends all!
+
+[Aside to Seb. and Ant.] But you, my brace of lords, were I so minded,
+
+I here could pluck his Highness’ frown upon you,
+
+And justify you traitors: at this time
+
+I will tell no tales.
+
+68Seb. [Aside]
+The devil speaks in him.
+
+Pros.
+No.
+
+130For you, most wicked sir, whom to call brother
+
+Would even infect my mouth, I do forgive
+
+Thy rankest fault,—all of them; and require
+
+My dukedom of thee, which perforce, I know,
+
+Thou must restore.
+
+Alon.
+If thou be’st Prospero,
+
+135Give us particulars of thy preservation;
+
+How thou hast met us here, who three hours since
+
+Were wreck’d upon this shore; where I have lost—
+
+How sharp the point of this remembrance is!—
+
+My dear son Ferdinand.
+
+Pros.
+I am woe for’t, sir.
+
+140Alon. Irreparable is the loss; and patience
+
+Says it is past her cure.
+
+Pros.
+I rather think
+
+You have not sought her help, of whose soft grace
+
+For the like loss I have her sovereign aid,
+
+And rest myself content.
+
+Alon.
+You the like loss!
+
+145Pros. As great to me as late; and, supportable
+
+To make the dear loss, have I means much weaker
+
+Than you may call to comfort you, for I
+
+Have lost my daughter.
+
+Alon.
+A daughter?
+
+O heavens, that they were living both in Naples,
+
+V. 1. 150The king and queen there! that they were, I wish
+
+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,
+
+155That they devour their reason, and scarce think
+
+Their eyes do offices of truth, their words
+
+Are natural breath: but, howsoe’er you have
+
+69
+Been justled from your senses, know for certain
+
+That I am Prospero, and that very duke
+
+160Which 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;
+
+For ’tis a chronicle of day by day,
+
+Not a relation for a breakfast, nor
+
+165Befitting this first meeting. Welcome, sir;
+
+This cell’s my court: here have I few attendants,
+
+And subjects none abroad: pray you, look in.
+
+My dukedom since you have given me again,
+
+I will requite you with as good a thing;
+
+170At least bring forth a wonder, to content ye
+
+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.
+V. 1. 175If this prove
+
+A vision of the island, one dear son
+
+Shall I twice lose.
+
+Seb.
+A most high miracle!
+
+Fer. Though the seas threaten, they are merciful;
+
+I have cursed them without cause.Kneels.
+
+Alon.
+Now all the blessings
+
+180Of a glad father compass thee about!
+
+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,
+
+70
+That has such people in’t!
+
+Pros.
+’Tis new to thee.
+
+185Alon. What is this maid with whom thou wast at play?
+
+Your eld’st acquaintance cannot be three hours:
+
+Is she the goddess that hath sever’d us,
+
+And brought us thus together?
+
+Fer.
+Sir, she is mortal;
+
+But by immortal Providence she’s mine:
+
+190I 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
+
+195Received a second life; and second father
+
+This lady makes him to me.
+
+Alon.
+I am hers:
+
+But, O, how oddly will it sound that I
+
+Must ask my child forgiveness!
+
+Pros.
+There, sir, stop:
+
+Let us not burthen our remembrances with
+
+A heaviness that’s gone.
+
+Gon.
+V. 1. 200I have inly wept,
+
+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!
+
+205Gon. Was Milan thrust from Milan, that his issue
+
+Should become kings of Naples? O, rejoice
+
+Beyond a common joy! and set it down
+
+With gold on lasting pillars: In one voyage
+
+Did Claribel her husband find at Tunis,
+
+210And Ferdinand, her brother, found a wife
+
+Where he himself was lost, Prospero his dukedom
+
+In a poor isle, and all of us ourselves
+
+When no man was his own.
+
+71
+Alon. [to Fer. and Mir.]
+Give me your hands:
+
+Let grief and sorrow still embrace his heart
+
+That doth not wish you joy!
+
+Gon.
+215Be it so! Amen!
+
+Re-enter Ariel, with the Master and Boatswain amazedly following.
+O, look, sir, look, sir! here is more of us:
+
+I prophesied, if a gallows were on land,
+
+This fellow could not drown. Now, blasphemy,
+
+That swear’st grace o’erboard, not an oath on shore?
+
+220Hast thou no mouth by land? What is the news?
+
+Boats. The best news is, that we have safely found
+
+Our king and company; the next, our ship—
+
+Which, but three glasses since, we gave out split—
+
+Is tight and yare and bravely rigg’d, as when
+
+We first put out to sea.
+
+V. 1. 225Ari. [Aside to Pros.]
+Sir, all this service
+
+Have I done since I went.
+
+Pros. [Aside to Ari.]
+My tricksy spirit!
+
+Alon. These are not natural events; they strengthen
+
+From strange to stranger. Say, how came you hither?
+
+Boats. If I did think, sir, I were well awake,
+
+230I’ld strive to tell you. We were dead of sleep,
+
+And—how we know not—all clapp’d under hatches;
+
+Where, but even now, with strange and several noises
+
+Of roaring, shrieking, howling, jingling chains,
+
+And more diversity of sounds, all horrible,
+
+235We were awaked; straightway, at liberty;
+
+Where we, in all her trim, freshly beheld
+
+Our royal, good, and gallant ship; our master
+
+Capering to eye her:—on a trice, so please you,
+
+Even in a dream, were we divided from them,
+
+And were brought moping hither.
+
+240Ari. [Aside to Pros.]
+Was’t well done?
+
+72
+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.
+245Sir, my liege,
+
+Do not infest your mind with beating on
+
+The strangeness of this business; at pick’d leisure
+
+Which shall be shortly, single I’ll resolve you,
+
+Which to you shall seem probable, of every
+
+V. 1. 250These happen’d accidents; till when, be cheerful,
+
+And think of each thing well. [Aside to Ari.] Come hither, spirit:
+
+Set Caliban and his companions free;
+
+Untie the spell. [Exit Ariel.] How fares my gracious sir?
+
+There are yet missing of your company
+
+255Some few odd lads that you remember not.
+
+Re-enter Ariel, driving in Caliban, Stephano, and Trinculo, in their stolen apparel.
+Ste. Every man shift for all the rest, and let no man take care for himself; for all is but fortune.—Coragio, bully-monster, coragio!
+
+Trin. If these be true spies which I wear in my head, 260here’s a goodly sight.
+
+Cal. O Setebos, these be brave spirits indeed!
+
+How fine my master is! I am afraid
+
+He will chastise me.
+
+Seb.
+Ha, ha!
+
+What things are these, my lord Antonio?
+
+Will money buy ’em?
+
+Ant.
+265Very like; one of them
+
+Is a plain fish, and, no doubt, marketable.
+
+73
+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
+
+270That could control the moon, make flows and ebbs,
+
+And deal in her command, without her power.
+
+These three have robb’d me; and this demi-devil—
+
+For he’s a bastard one—had plotted with them
+
+To take my life. Two of these fellows you
+
+V. 1. 275Must know and own; this thing of darkness I
+
+Acknowledge mine.
+
+Cal.
+I shall be pinch’d to death.
+
+Alon. Is not this Stephano, my drunken butler?
+
+Seb. He is drunk now: where had he wine?
+
+Alon. And Trinculo is reeling ripe: where should they280
+Find this grand liquor that hath gilded ’em?—
+
+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.
+
+285Seb. Why, how now, Stephano!
+
+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.
+
+290Pros. 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,
+
+295And seek for grace. What a thrice-double ass
+
+Was I, to take this drunkard for a god,
+
+And worship this dull fool!
+
+74Pros.
+Go to; away!
+
+Alon. Hence, and bestow your luggage where you found it.
+
+Seb. Or stole it, rather.Exeunt Cal., Ste., and Trin.
+
+V. 1. 300Pros. Sir, I invite your Highness and your train
+
+To my poor cell, where you shall take your rest
+
+For this one night; which, part of it, I’ll waste
+
+With such discourse as, I not doubt, shall make it
+
+Go quick away: the story of my life,
+
+305And 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 solemnized;
+
+310And thence retire me to my Milan, where
+
+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
+
+315Your royal fleet far off. [Aside to Ari.] My Ariel, chick,
+
+That is thy charge: then to the elements
+
+Be free, and fare thou well! Please you, draw near.
+
+Exeunt.
+
+75
+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,
+
+5Or 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
+
+10With the help of your good hands:
+
+Gentle breath of yours my sails
+
+Must fill, or else my project fails,
+
+Which was to please. Now I want
+
+Spirits to enforce, art to enchant;
+
+15And my ending is despair,
+
+Unless I be relieved by prayer,
+
+Which pierces so, that it assaults
+
+Mercy itself, and frees all faults.
+
+As you from crimes would pardon’d be,
+
+20Let your indulgence set me free.
+
+77
+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.
+
+78
+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.
+
+79
+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, ‘Aý, sir; whére lies thát?’ See Preface.
+
+80
+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 ‘sólemnized’ and once (Love’s Labour’s Lost, II. 1. 41) ‘solémnized.’
+
+CRITICAL APPARATUS
+(“Linenotes”).
+Act I: Scene 1
+Sc. I. On a ship at sea] Pope.
+
+Enter ... Boatswain] Collier MS. adds ‘shaking off wet.’
+
+3. Good,] Rowe. Good: Ff. Good. Collier.
+
+7. till thou burst thy wind] till thou burst, wind Johnson conj. till thou burst thee, wind Steevens conj.
+
+8. Capell adds stage direction [Exeunt Mariners aloft.
+
+11. boatswain] Pope. boson Ff.
+
+11-18. Verse. S. Walker conj.
+
+15. cares] care Rowe. See note (I).
+
+31. [Exeunt] Theobald. [Exit. Ff.
+
+33. Bring her to try] F4. Bring her to Try F1 F2 F3. Bring her to. Try Story conj.
+
+33-35. Text as in Capell. A plague—A cry within. Enter Sebastian, Anthonio, and Gonzalo. upon this howling. Ff.
+
+34-37. Verse. S. Walker conj.
+
+43. for] from Theobald.
+
+46. two courses off to sea] two courses; off to sea Steevens (Holt conj.).
+
+46. [Enter...] [Re-enter... Dyce.
+
+47. [Exeunt. Theobald.
+
+50. at] are at Rowe.
+
+50-54. Printed as prose in Ff.
+
+56. to glut] t’ englut Johnson conj.
+
+57. See note (II).
+
+59. Farewell, brother!] Brother, farewell! Theobald.
+
+60. with the] Rowe. with’ F1 F2. with F3 F4.
+
+61. [Exeunt A. and S.] [Exit. Ff.
+
+63. furze] Rowe. firrs F1 F2 F3. firs F4.
+
+long heath, brown furze] ling, heath, broom, furze Hanmer.
+
+65. [Exeunt] [Exit F1, om. F2 F3 F4.
+
+Act I: Scene 2
+3. stinking] flaming Singer conj. kindling S. Verges conj.
+
+4. cheek] heat Collier MS. crack Staunton conj.
+
+7. creature] creatures Theobald.
+
+13. fraughting] Ff. fraighted Pope. fraighting Theobald. freighting Steevens.
+
+15. Mir. O, woe the day! Pros. No harm.] Mir. O woe the day! no harm? Johnson conj.
+
+19. I am more better] I’m more or better Pope.
+
+24. [Lays ... mantle] Pope.
+
+28. provision] F1. compassion F2 F3 F4. prevision Hunter conj.
+
+29. soul] soul lost Rowe. foyle Theobald. soil Johnson conj. loss Capell. foul Wright conj.
+
+31. betid] F1. betide F2 F3 F4.
+
+35. a] F1. the F2 F3 F4.
+
+38. thou] om. Pope.
+
+41. Out] Full Pope (after Dryden). Quite Collier MS.
+
+44. with] in Pope (after Dryden).
+
+53. Twelve year ... year] Tis twelve years ... years Pope.
+
+58, 59. and his only heir And princess] and his only heir A princess Pope. thou his only heir And princess Steevens. and though his only heir A princess] Johnson conj.
+
+63. holp] help’d Pope.
+
+O, my heart] My heart Pope.
+
+78. me] om. F3 F4.
+
+80. whom ... whom] F2 F3 F4. who ... who F1.
+
+81. trash] plash Hanmer.
+
+82, 83. ’em ... ’em] them ... them Capell.
+
+84. i’ the state] i’th state F1. e’th state F2. o’th state F3 F4. om. Pope.
+
+88. O, good sir ... mark me.] Good sir ... mark me then. Pope. O yes, good sir ... mark me. Capell.
+
+Mir. O, ... do. Pros. I ... me] I ... me. Mir. O ... do. Steevens.
+
+89. dedicated] dedicate Steevens (Ritson conj.).
+
+91. so] F1. om. F2 F3 F4.
+
+97. lorded] loaded Collier MS.
+
+99. exact, like] exact. Like Ff.
+
+100. having into truth ... of it] loving an untruth, and telling ’t oft Hanmer. having unto truth ... oft Warburton. having to untruth ... of it Collier MS. having sinn’d to truth ... oft Musgrave conj.
+
+telling] quelling S. Verges conj.
+
+101. Made ... memory] Makes ... memory Hanmer. Makes ... memory too Musgrave conj.
+
+103. indeed the duke] the duke Steevens. indeed duke S. Walker conj.
+
+out o’ the] from Pope.
+
+105. his] is F2.
+
+105, 106. ambition growing] ambition Growing Steevens.
+
+106. hear?] hear, child? Hanmer.
+
+109. Milan] Millanie F1 (Capell’s copy).
+
+112. wi’ the] Capell. with Ff. wi’ th’ Rowe. with the Steevens.
+
+116. most] F1. much F2 F3 F4.
+
+119. but] not Pope.
+
+120. Good ... sons] Theobald suggested that these words should be given to Prospero. Hanmer prints them so.
+
+122. hearkens] hears Pope. hearks Theobald.
+
+129. Fated] Mated Dryden’s version.
+
+purpose] practise Collier MS.
+
+131. ministers] minister Rowe.
+
+133. out] on’t Steevens conj.
+
+135. to ’t] om. Steevens (Farmer conj.).
+
+Here and elsewhere in the volume, body text has “to’t” with no space, while the Notes have “to ’t” with space.
+
+138. Wherefore] Why Pope.
+
+141. me] om. Pope.
+
+146. boat] Rowe (after Dryden). butt F1 F2 F3. but F4. busse Black conj.
+
+147. sail] F1. nor sail F2 F3 F4.
+
+148. have] had Rowe (after Dryden).
+
+150. the winds] winds Pope.
+
+155. deck’d] brack’d Hanmer. mock’d Warburton. fleck’d Johnson conj. degg’d anon. ap. Reed conj.
+
+162. who] om. Pope. he Steevens conj.
+
+169. Now I arise] Continued to Miranda. Blackstone conj.
+
+[Resumes his mantle] om. Ff. [Put on robe again. Collier MS.
+
+173. princesses] princesse F1 F2 F3. princess F4. princes Rowe. princess’ Dyce (S. Walker conj.). See note (III).
+
+186. [M. sleeps] Theobald.
+
+189. Scene iii. Pope.
+
+190. be’t] F1. be it F2 F3 F4.
+
+193. quality] qualities Pope (after Dryden).
+
+198. sometime] F1. sometimes F2 F3 F4.
+
+200. bowsprit] bore-sprit Ff. bolt-sprit Rowe.
+
+201. lightnings] Theobald. lightning Ff.
+
+202. o’ the] of Pope.
+
+thunder-claps] thunder-clap Johnson.
+
+205. Seem] Seem’d Theobald.
+
+206. dread] F1. dead F2 F3 F4.
+
+My brave] My brave, brave Theobald. That’s my brave Hanmer.
+
+209. mad] mind Pope (after Dryden).
+
+211, 212. vessel, ... son] vessell; Then all a fire with me the King’s sonne Ff.
+
+218. sustaining] sea-stained Edwards conj. unstaining or sea-staining Spedding conj.
+
+229. Bermoothes] Bermudas Theobald.
+
+231. Who] Whom Hanmer.
+
+234. are] all Collier MS.
+
+upon] on Pope.
+
+239-240. Ari. Past the mid season. Pros. At least two glasses] Ari. Past the mid season at least two glasses. Warburton. Pros. ... Past the mid season? Ari. At least two glasses Johnson conj.
+
+244. How now? moody?] How now, moody! Dyce (so Dryden, ed. 1808).
+
+245. What] F1. Which F2 F3 F4.
+
+248. made thee] Ff. made Pope.
+
+249. didst] F3 F4. did F1 F2.
+
+264. and sorceries] sorceries too Hanmer.
+
+267. Is not this true?] Is this not true? Pope.
+
+271. wast then] Rowe (after Dryden). was then Ff.
+
+273. earthy] earthly Pope.
+
+282. son] F1. sunne F2. sun F3 F4.
+
+she] Rowe (after Dryden). he Ff.
+
+298. See note (IV).
+
+301. like] F1. like to F2 F3 F4.
+
+302. Be subject to] be subject To Malone.
+
+but thine and mine] but mine Pope.
+
+304. in’t] in it Pope.
+
+go, hence] goe: hence Ff. go hence Pope. hence Hanmer.
+
+307. Heaviness] Strange heaviness Edd. conj.
+
+312. serves in offices] F1. serves offices F2 F3 F4. serveth offices Collier MS.
+
+316. Come, thou tortoise! when?] om. Pope.
+
+Come] Come forth Steevens.
+
+320. come forth!] come forth, thou tortoise! Pope.
+
+321. Scene iv. Pope.
+
+332. camest] Rowe. cam’st Ff. cam’st here Ritson conj.
+
+333. madest] Rowe (after Dryden). made Ff.
+
+339. Curs’d be I that] F1. Curs’d be I that I F2 F3 F4. cursed be I that Steevens.
+
+342. Which] Who Pope, and at line 351.
+
+346. thee] om. F4.
+
+349. would ’t] Ff. I wou’d it Pope.
+
+351. Pros.] Theobald (after Dryden). Mira. Ff.
+
+352. wilt] F1. will F2 F3 F4.
+
+355, 356. didst not ... Know] couldst not ... Shew Hanmer.
+
+356. wouldst] didst Hanmer.
+
+361, 362. Deservedly ... deserved] Justly ... who hadst Deserv’d S. Walker conj. Confin’d ... deserv’d id. conj.
+
+362. Who ... prison] om. Pope (after Dryden).
+
+366. thou’rt] F1 F2 F3. thou art F4. thou wer’t Rowe.
+
+375. Scene v. Pope.
+
+following.] Malone.
+
+378. The wild waves whist] Printed as a parenthesis by Steevens. See note (V).
+
+380. the burthen bear] Pope. bear the burthen Ff.
+
+381-383. Steevens gives Hark, hark! The watch-dogs bark to Ariel.
+
+387. i’ th’ air or th’ earth?] in air or earth? Pope.
+
+390. again] against Rowe (after Dryden).
+
+407. owes] owns Pope (after Dryden), but leaves ow’st 454.
+
+408. Scene vi. Pope.
+
+419. It goes on, I see,] It goes, I see Capell. It goes on Steevens.
+
+420. fine spirit!] om. Hanmer.
+
+427. maid] F3. mayd F1 F2. made F4.
+
+443. See note (VI).
+
+444. ungently] F1. urgently F2 F3 F4.
+
+451. lest] F4. least F1 F2 F3.
+
+452. One] Sir, one Pope.
+
+I charge thee] I charge thee [to Ariel. Pope.
+
+460. Pros. prefixed again to this line in Ff.
+
+468. and] tho’ Hanmer.
+
+469. foot] fool S. Walker conj. child Dryden’s version.
+
+470. makest] mak’st F1. makes F2 F3 F4.
+
+471. so] F1. om. F2 F3 F4. all Pope.
+
+478. is] are Rowe.
+
+488. nor] and Rowe (after Dryden). or Capell.
+
+489. are] were Malone conj.
+
+Act II: Scene 1
+3. hint] stint Warburton.
+
+5. masters] master Johnson. mistress Steevens conj. master’s Edd. conj.
+
+6. of woe] om. Steevens conj.
+
+11-99. Marked as interpolated by Pope.
+
+11. visitor] ’viser Warburton.
+
+him] om. Rowe.
+
+15. one] F1. on F2 F3 F4.
+
+16. entertain’d ... Comes] Capell. entertain’d, That’s offer’d comes] Ff. Printed as prose by Pope.
+
+27. of he] Ff. of them, he Pope. or he Collier MS. See note (VII).
+
+35. Seb. Ha, ha, ha!—So you’re paid] Theobald. Seb. Ha, ha, ha! Ant. So you’r paid Ff. Ant. So you’ve paid Capell.
+
+81, 82. Seb. His ... too] Edd. Ant. His ... harp. Seb. He ... too Ff.
+
+88. Ay.] I. Ff. Ay? Pope.
+
+96. sir, my doublet] F1. my doublet, sir F2 F3 F4.
+
+113. stroke] F1 F2 F3. strokes F4.
+
+124. Weigh’d] Sway’d S. Verges conj.
+
+at] as Collier MS.
+
+125. o’ the] the Pope.
+
+should] she’d Malone.
+
+129. The fault’s your own] the fault’s your own (at the end of 128) Capell. the fault’s Your own Malone.
+
+137. plantation] the plantation Rowe. the planting Hanmer.
+
+139. on’t] of it Hanmer.
+
+144. riches, poverty] wealth, poverty Pope. poverty, riches Capell.
+
+145. contract, succession] succession, Contract Malone conj. succession, None id. conj.
+
+146. none] olives, none Hanmer.
+
+157. its] F3 F4. it F1 F2. See note (VIII).
+
+162. ’Save] F1 F2 F3. Save F4. God save Edd. conj.
+
+175. Enter ... invisible ... music.] Malone. Enter Ariel, playing solemn music. Ff. om. Pope. [Solemn music. Capell.
+
+181. [All sleep ... Ant.] Stage direction to the same effect, first inserted by Capell.
+
+182-189. Text as in Pope. In Ff. the lines begin Would ... I find ... Do not ... It seldom ... We two ... While ... Thank.
+
+189. [Exit Ariel] Malone.
+
+192. find not] Pope. find Not Ff.
+
+211. so too, if heed] so too, if you heed Rowe. so, if you heed Pope.
+
+212. Trebles thee o’er] Troubles thee o’er Pope. Troubles thee not Hanmer.
+
+222. throes] Pope. throwes F1 F2 F3. throws F4.
+
+Thus, sir] Why then thus Sir Hanmer.
+
+226. he’s] he’as Hanmer. he Johnson conj.
+
+227. Professes to persuade] om. Steevens.
+
+234. doubt] drops Hanmer. doubts Capell.
+
+241. she that from whom] Ff. she from whom Rowe. she for whom Pope. she from whom coming Singer. she that—from whom? Spedding conj. See note (IX).
+
+242. all] om. Pope.
+
+243. And ... to perform] May ... perform Pope. And by that destin’d to perform Musgrave conj. (And that by destiny) to perform Staunton conj.
+
+244. is] F1. in F2 F3 F4.
+
+245. In] Is Pope.
+
+250. to] F1. by F2 F3 F4.
+
+Keep] Sleep Johnson conj.
+
+251. See note (X).
+
+267. ’twere] it were Singer.
+
+267-271. Pope ends the lines with that? ... slipper ... bosom ... Milan ... molest ... brother.
+
+267. See note (XI).
+
+269. twenty] Ten Pope.
+
+270. stand] stood Hanmer.
+
+candied] Discandy’d Upton conj.
+
+271. And melt] Would melt Johnson conj. Or melt id. conj.
+
+273, 274. like, that’s dead; Whom I, with] like, whom I With Steevens (Farmer conj.).
+
+275. whiles] om. Pope.
+
+277. morsel] Moral Warburton.
+
+280, 281. business ... hour.] hour ... business. Farmer conj.
+
+282. precedent] Pope. president Ff.
+
+287. O] om. Pope.
+
+[They talk apart] Capell.
+
+Re-enter Ariel invisible.] Capell. Enter Ariel with music and song. Ff.
+
+289. you, his friend,] these, his friends Steevens (Johnson conj.).
+
+289, 290. friend ... project dies ... them] friend ... projects dies ... you Hanmer. friend ... projects die ... them Malone conj. friend ... project dies ... thee Dyce.
+
+298. [They wake.] Rowe.
+
+300. this] thus Collier MS.
+
+307. Gonzalo] om. Pope.
+
+312. verily] verity Pope.
+
+upon our guard] on guard Pope.
+
+Act II: Scene 2
+4. nor] F1 F2. not F3 F4.
+
+15. and] now Pope. sent Edd. conj. (so Dryden).
+
+21. foul] full Upton conj.
+
+35. [Thunder] Capell.
+
+38. dregs] drench Collier MS.
+
+40. Scene iii. Pope.
+
+[a bottle in his hand] Capell.
+
+46. and Marian] Mirian Pope.
+
+56. savages] salvages Ff.
+
+60. at’s nostrils] Edd. at ’nostrils F1. at nostrils F2 F3 F4. at his nostrils Pope.
+
+78. you, cat] you Cat Ff. a cat Hanmer. your cat Edd. conj.
+
+84. well] F1 om. F2 F3 F4.
+
+115, 116. Steevens prints as verse, I’ll ... thy True ... earthly.
+
+118. swear, then, how thou escapedst] swear then: how escapedst thou? Pope.
+
+119. Swum] Swom Ff.
+
+131. and thy dog, and thy bush] thy dog and bush Steevens.
+
+133. new] F1. the new F2 F3 F4.
+
+135. weak] F1. shallow F2 F3 F4.
+
+138. island] F1. isle F2 F3 F4.
+
+150-154, 157-162, printed as verse by Pope (after Dryden).
+
+162. scamels] shamois Theobald. seamalls, stannels id. conj.
+
+163. Ste.] F1. Cal. F2 F3 F4.
+
+165. Before here; bear my bottle Capell inserts [To Cal.]. See note (XII).
+
+172. trencher] Pope (after Dryden). trenchering Ff.
+
+175. hey-day] Rowe. high-day Ff.
+
+Act III: Scene 1
+1. and] but Pope.
+
+2. sets] Rowe. set Ff.
+
+4, 5. my ... odious] my mean task would be As heavy to me as ’tis odious Pope.
+
+9. remove] move Pope.
+
+14. labours] labour Hanmer.
+
+15. Most busy lest] F1. Most busy least F2 F3 F4. Least busy Pope. Most busie-less Theobald. Most busiest Holt White conj. Most busy felt Staunton. Most busy still Staunton conj. Most busy-blest Collier MS. Most busiliest Bullock conj.
+
+Most busy lest, when I do (doe F1 F2 F3) it] Most busy when least I do it Brae conj. Most busiest when idlest Spedding conj. Most busy left when idlest Edd. conj. See note (XIII).
+
+at a distance, unseen] Rowe.
+
+17. you are] F1. thou art F2 F3 F4.
+
+31. it is] is it Steevens conj. (ed. 1, 2, and 3). om. Steevens (ed. 4) (Farmer conj.).
+
+34, 35. I do beseech you,—Chiefly] I do beseech you Chiefly Ff.
+
+59. I therein do] I do Pope. Therein Steevens.
+
+62. wooden] wodden F1.
+
+than to] than I would Pope.
+
+72. what else] aught else Malone conj. (withdrawn).
+
+80. seeks] seekd F3 F4.
+
+88. as] F1. so F2 F3 F4.
+
+91. severally] Capell.
+
+93. withal] Theobald. with all Ff.
+
+Act III: Scene 2
+Scene ii. Another...] Theobald. The other... Pope.
+
+Enter ...] Enter S. and T. reeling, Caliban following with a bottle. Capell. Enter C. S. and T. with a bottle. Johnson.
+
+8. head] F1. heart F2 F3 F4.
+
+13, 14. on. By this light, thou] on, by this light thou Ff. on, by this light.—Thou Capell.
+
+25. debauched] debosh’d Ff.
+
+37. to the suit I made to thee] the suit I made thee Steevens, who prints all Caliban’s speeches as verse.
+
+60. Johnson conjectured that this line was spoken by Stephano.
+
+68. farther] F1 no further F2 F3 F4.
+
+72. [Beats him.] Rowe.
+
+84. there] then Collier MS.
+
+89. nor] and Pope.
+
+93. deck] deck’t Hanmer.
+
+96. I never saw a woman] I ne’er saw woman Pope.
+
+99. great’st does least] greatest does the least Rowe.
+
+115, 116] Printed as verse in Ff.
+
+115. any] F1. and F2 F3 F4.
+
+117. scout ’em, and scout ’em] Pope. cout ’em and skowt ’em Ff.
+
+125. sins] sin F4.
+
+132. twangling] twanging Pope.
+
+133. sometime] F1. sometimes F2 F3 F4.
+
+137. that] om. Pope.
+
+147. Trin. Will come? I’ll follow, Stephano] Trin. Wilt come? Ste. I’ll follow. Capell. Ste. ... Wilt come? Trin. I’ll follow, Stephano. Ritson conj.
+
+Act III: Scene 3
+2. ache] ake F2 F3 F4. akes F1.
+
+3. forth-rights] F2 F3 F4. fourth rights F1.
+
+8. flatterer] F1. flatterers F2 F3 F4.
+
+17. Prospero above] Malone. Prosper on the top Ff. See note (XIV).
+
+20. were] F1 F2 F3. are F4.
+
+26. ’tis true] to ’t Steevens conj.
+
+did lie] lied Hanmer.
+
+29. islanders] F2 F3 F4. islands F1.
+
+32. gentle-kind] Theobald. gentle, kind Ff. gentle kind Rowe.
+
+36. muse] F1 F2 F3. muse, F4. muse; Capell.
+
+48. of five for one] Ff. on five for one Theobald. of one for five Malone, (Thirlby conj.) See note (XV).
+
+49-51. I will ... past] Mason conjectured that these lines formed a rhyming couplet.
+
+53. Scene iv. Pope.
+
+54. instrument] instruments F4.
+
+56. belch up you] F1 F2 F3. belch you up F4. belch up Theobald.
+
+60. [... draw their swords] Hanmer.
+
+65. dowle] down Pope.
+
+plume] Rowe. plumbe F1 F2 F3. plumb F4.
+
+67. strengths] strength F4.
+
+79. wraths] wrath Theobald.
+
+81. heart-sorrow] Edd. hearts-sorrow Ff. heart’s-sorrow Rowe. heart’s sorrow Pope.
+
+82. mocks] mopps Theobald.
+
+86. life] list Johnson conj.
+
+90. now] om. Pope.
+
+92. whom] who Hanmer.
+
+93. mine] my Rowe.
+
+[Exit above] Theobald.
+
+94. something holy, sir,] something, holy Sir, F4.
+
+99. bass] Johnson. base Ff.
+
+106. do] om. Pope.
+
+Act IV: Scene 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. Phœbus’] Phœbus F1. Phœdus F2 F3. Phœduus 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 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.
+
+and] om. Capell.
+
+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.
+
+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.
+
+a strange] as strange a Capell.
+
+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
+Epilogue ... Prospero.] advancing, Capell.
+
+1. Now] Now, now F3 F4.
+
+3. now] and now Pope.
+
+13. Now] For now Pope.
+
+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.’”
+
+
+
+
+
+
+End of the Project Gutenberg EBook of The Tempest, by William Shakespeare
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE TEMPEST ***
+
+***** This file should be named 23042-h.htm or 23042-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/2/3/0/4/23042/
+
+Produced by Louise Hope, Jonathan Ingram and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/Canadian Libraries)
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+