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Is the king's ship; in the deep nook, where once
Thou ca!!'st me up at midnight to fetch dew
From the still-vex'd Bermoothes, there she's hid:
The mariners all under hatches stow'd;
Whom, with a charm join'd to their suffer'd labour,
I have left asleep and for the rest o' the fleet,
Which I disper3's, they all have met again;
And are upon the Mediterranean Hote,”
Bound sadly home for Naples;

Supposing that they saw the king's ship wreck'd,
And his great person perish.

Pro.

Ariel, thy charge Exactly is performed; but there's more work: What is the time o' the day?

Past the mid season.

Ari. Pro. 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 must give me pains,

Let me remember thee what thou hast promis'd, Which is not yet perform'd me.

Pro.

How now ? moody?

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O, was she so? I must,

Once in a month, recount what thou hast been,
Which thou forget'st. This damn'd witch, Sycorax,
For mischiefs manifold, and sorceries terrible
To enter human hearing, from Argier,
Thou know'st, was banish'd; for one thing she did,
They would not take her life: Is not this true?
Ari. Ay, sir.

Pro. This blue-ey'd hag was hither brought with child,

And here was left by the sailors: Thou, my slave,
As thou report'st thyself, was then her servant:
And, for thou wast a spirit too delicate
To act her earthly and abhorr'd commands,
Refusing her grand hests," she did confine thee,
By help of her more potent ministers,
And in her most unmitigable rage,
Into a cloven pine; within which rift
Imprison'd, thou didst painfully remain

A dozen years; within which space she died,
And left thee there; where thou didst vent tay

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 honoured with
A human shape.

Ari.

Yes; Caliban her son. Pro. Dull thing, I say so; he, that Caliban, Whom now I keep in service. Thou best know'st What torment I did find thee in: thy groans Did make wolves howl, and penetrate the breasts Of ever-angry bears: it was a torment To lay upon the damn'd, which Sycorax Could not again undo; it was mine art, When I arriv'd, and heard thee, that made gape The pine, and let thee out. Ari. I thank thee, master. Pro. If thou more murmur'st, I will rend an oak, And peg thee in his knotty entrails, till Thou hast howl'd away twelve winters. Ari.

Pardon, master:

I will be correspondent to command,
And do my sprighting gently.
Pro.

Do so; and after two days

I will discharge thee.
Ari.
That's my noble master!
What shall I do? say what? what shall I do?
Pro. Go, make thyself like a nymph o' the sea;

be subject

To no sight but thine and mine; invisible
To every eyeball else. Go, take this shape,
And hither come in't: go hence, with diligence.
[Exit ARIEL.
Awake, dear heart, awake! thou hast slept well;
Awake!

the sea over the rugged rocks by which they are surrounded, and which renders access to them so difficult. It was then the current opinion that Bermudas was inhabited by monsters and devils. Setebos, the god of Caliban's dam, was an American devil, worshipped by the giants of Patagonia.

a i. e. waves, or the sea. Flot, Fr. 6 The old English name of Algiers 7 Behests, commands

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1 i. e. we cannot do without him. The phrase is still common in the midland counties.

2 This is a common expression of impatience. Vide note on King Richard II. Act i. Scene 1.

3 Quaint here means brisk, spruce, dexterous, from the French cointe.

4 Urchins were fairies of a particular class. Hedgehogs were also called urchins; and it is probable that the sprites were so named, because they were of a mischievous kind, the urchin being anciently deemed a very noxious animal. Shakspeare again mentions these fairy beings in the Merry Wives of Windsor. "Like urchins, ouphes, and fairies green and white." In the phrase still current, "a little urchin," the idea of the fairy still remains.

5 That cust of night is that space of night. So, in Hamlet:

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Re-enter ARIFL invisible, playing and singing;
FERDINAND following him.
ARIEL'S SONG.

Come unto these yellow sands,
And then take hands:

Court'sied when you have, and kiss'd,

(The wild waves whist3)

Foot it featly here and there;

And, sweet sprites, the burden bear.
Hark, hark!

Bur. Bowgh, wowgh.

The watch-dogs bark:
Bur. Bowgh, wowgh.
Hark, hark! I hear

The strain of strutting chanticlere
Cry, Cock-a-doodle-doo.

[dispersedly.

[dispersedly.

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It sounds no more ;--and sure, it waits upon
Some god of the island. Sitting on a bank,
Weeping again the king my father's wreck,
This music crept by me upon the waters;
Allaying both their fury, and my passion,
With its sweet air: thence I have follow'd it,
Or it hath drawn me rather :-But 'tis gone.
No, it begins again.

had different allotments of time suitable to the variety and nature of their agency.

6 Destroy.

7 The word aches is evidently a dissyllable here and in two passages of Timon of Athens. The reader will remember the senseless clamour that was raised against Kemble for his adherence to the text of Shakspeare in thus pronouncing it as the measure requires. "Ake," says Baret in his Alvearie, "is the verb of this substan. tive Ache, ch being turned into k." And that ache was pronounced in the same way as the letter h is placed be yond doubt by the passage in Much Ado about Nothing, in which Margaret asks Beatrice for what she cries Heigh ho, and she answers for an h. i. e. ache. See the Epigram of Heywood adduced in illustration of that passage. This orthography and pronunciation continued even to the times of Butler and Swift. It would be easy to produce numerous instances.

"In the dead waste and middle of the night," nor rasta, midnight, when all things are quiet and still, making the world appear one great uninhabited waste.-Eden's Hist. of Travayle, 1577. p. 434 Lathe pneumatology of ancient times visionary beings 9 Still, silent

8" The giants when they found themselves fettered roared like bulls, and cried upon Setebos to help them "

40

ARIEL Sings.

Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Nothing of him that doth fade,
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell:
[Burden, ding-dong.
Hark! now I hear them,--ding-dong, bell.

Fer. The ditty does remember my drown'd fa

ther.

This is no mortal business, nor no sound
That the earth owes :'-I hear it now above me.

Pro. The fringed curtains of thine eye advance,
And say, what thou seest yond'.
Mira.
What is't? a spirit?
Lord, how it looks about! Believe me, sir,
It carries a brave form:--But 'us a spirit.
Pro. No, wench; it eats and sleeps, and hath

such senses

As we have, such: This gallant, which thou seest, Was in the wreck; and but he's something stain'd With grief, that's' beauty's canker, thou might'st

call him

A goodly person: he hath lost his fellows, And strays about to find them.

Mira.

I might call him

A thing divine; for nothing natural
I ever saw so noble.
Pro.

It goes on, I see,

[Aside. As my soul prompts it :--Spirit, fine Spirit! I'll free thee

Within two days for this.

Fer. Most sure, the goddess On whom these airs attend!-Vouchsafe, my prayer May know, if you remain upon this island; And that you will some good instruction give, How I may bear me here; My prime request, Which I do last pronounce, is, O you wonder! If you be maid,2 or no?

Mira.

But, certainly a maid. Fer.

No wonder, sir;

My language! heavens!I am the best of them that speak this speech, Were I but where 'tis spoken.

Pro.

How! the best?

What wert thou, if the king of Naples heard thee? Fer. A single thing, as I am now, that wonders To hear thee speak of Naples: he does hear me ; And, that he does, I weep: myself am Naples; Who with mine eyes, ne'er since at ebb, beheld The king my father wreck'd.

Mira.

Alack, for mercy! Fer. Yes, faith, and all his lords; the duke of Milan,

And his brave son, being twain.
Pro.

The duke of Milan,
And his more braver daughter, could control thee,
If now 'twere fit to do't:--At the first sight [Aside.
They have chang'd eyes;-Delicate Ariel,
I'll set thee free for this!--A word, good sir;
I fear, you have done yourself some wrong:

word.

a

Mira. Why speaks my father so ungently? This Is the third man that e'er I saw; the first That e'er I sighed for: pity move my father To be inclin'd my way!

1 i. e. owns. To owe was to possess or appertain to, in ancient language.

2 The folio of 1685 reads made, and many of the modern editors have laboured to persuade themselves that it was the true reading. It has been justly observed by M. Mason that the question is "whether our readers will adopt a natural and simple expression, which requires no comment, or one which the ingenuity of many cominentators has but imperfectly supported."

3 To control here signifies to confute, to contradict unanswerably. The ancient meaning of control was to check or exhibit a contrary account, from the old French 4"

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I must uneasy make, lest too light winning [Aside.
Make the prize light.-One word more; I charge
That thou attend me: thou dost here usurp
The name thou ow'st not; and hast put thyself
Upon this island, as a spy, to win it
From me, the lord on't."

Fer.
No, as I am a man.
Mira. There's nothing ill can dwell in such a
temple:
If the ill spirit have so fair an house,
Good things will strive to dwell with 't.

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Fer.

So they are:

My spirits, as in a dream, are all bound up.
My father's loss, the weakness which I feel,
The wreck of all my friends, or this man's threats,
To whom I am subdued, are but light to me,
Might I but through my prison once a day
Behold this maid: all corners else o' the earth
Let liberty make use of; space enough
Have I in such a prison.

Pro.

It works:-Come on.→ Thou hast done well, fine Ariel!—Follow me.— [To FERD. and MIRA. Hark, what thou else shalt do me. [Th ARIEL. Be of comfort;

Mira.

that is, spoken a falsehood. Thus in The Merry Wives of Windsor:

"This is not well, master Ford, this wrongs you." 5 Fearful was sometimes used in the sense of formi dable, terrible, dreadful, like the French épouvantable; as may be seen by consulting Cotgrave or any of our old dictionaries. Shakspeare almost always uses it in this sense. In K. Henry VI. Act iii. Scene 2, "A mighty and a fearful head they are." He has also fearful wars; fearful bravery; &c. &c. The verb to fear is most commonly used for to fright, to terrify, to make afraid. Mr. Gifford remarks, "as a proof how little our old dramatists were understood at the Restoration, that Dryden censures Jonson for an improper use of this word, the sense of which he altogether mistakes."

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