Alon. I will stand to, and feed, Although my last: no matter, since I feel 50 The best is past. Brother, my lord the duke, Stand to, and do as we.

Thunder and lightning. Enter ARIEL, like a harpy; claps his wings upon the table; and, with a quaint device, the banquet vanishes.

Ari. You are three men of sin, whom Destiny,— That hath to instrument this lower world And what is in't,—the never-surfeited sea 55 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. You fools! I and my fellows 60 Are ministers of Fate: the elements, Of whom your swords are temper'd, may as well Wound the loud winds, or with bemock'd-at stabs Kill the still-closing waters, as diminish One dowle that's in my plume: my fellow-ministers 65 Are like invulnerable. If you could hurt, Your swords are now too massy for your strengths, And will not be uplifted. But remember,— For that's my business to you,—that you three From Milan did supplant good Prospero; 70 Exposed unto the sea, which hath requit it, Him and his innocent child: for which foul deed The powers, delaying, not forgetting, have Incensed the seas and shores, yea, all the creatures, Against your peace. Thee of thy son, Alonso, 75 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,— Which here, in this most desolate isle, else falls 80 Upon your heads,—is nothing but heart-sorrow And a clear life ensuing.

He vanishes in thunder; then, to soft music, enter the Shapes again, and dance, with mocks and mows, and carrying out the table.

Pros. Bravely the figure of this harpy hast thou Perform'd, my Ariel; a grace it had, devouring: Of my instruction hast thou nothing bated 85 In what thou hadst to say: so, with good life And observation strange, my meaner ministers Their several kinds have done. My high charms work, And these mine enemies are all knit up In their distractions: they now are in my power; 90 And in these fits I leave them, while I visit Young Ferdinand,—whom they suppose is drown'd,— And his and mine loved darling. [Exit above.

Gon. I' the name of something holy, sir, why stand you In this strange stare?

Alon. O, it is monstrous, monstrous! 95 Methought the billows spoke, and told me of it; The winds did sing it to me; and the thunder, That deep and dreadful organ-pipe, pronounced The name of Prosper: it did bass my trespass. Therefore my son i' th' ooze is bedded; and 100 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, Like poison given to work a great time after, 105 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.

Notes: III, 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 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 I tender to thy hand: all thy vexations 5 Were but my trials of thy love, and thou Hast strangely stood the test: here, afore Heaven, I ratify this my rich gift. O Ferdinand, Do not smile at me that I boast her off, For thou shalt find she will outstrip all praise, 10 And make it halt behind her.

Fer. I do believe it Against an oracle.

Pros. Then, as my gift, and thine own acquisition Worthily purchased, take my daughter: but If thou dost break her virgin-knot before 15 All sanctimonious ceremonies may With full and holy rite be minister'd, No sweet aspersion shall the heavens let fall To make this contract grow; but barren hate, Sour-eyed disdain and discord shall bestrew 20 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, With such love as 'tis now, the murkiest den, 25 The most opportune place, the strong'st suggestion Our worser Genius can, shall never melt Mine honour into lust, to take away The edge of that day's celebration When I shall think, or Phoebus' steeds are founder'd, 30 Or Night kept chain'd below.

Pros. Fairly spoke. Sit, then, and talk with her; she is thine own. What, Ariel! my industrious servant, Ariel!

Enter ARIEL.

Ari. What would my potent master? here I am.

Pros. Thou and thy meaner fellows your last service 35 Did worthily perform; and I must use you In such another trick. Go bring the rabble, O'er whom I give thee power, here to this place: Incite them to quick motion; for I must Bestow upon the eyes of this young couple 40 Some vanity of mine art: it is my promise, And they expect it from me.

Ari. Presently?

Pros. Ay, with a twink.

Ari. Before you can say, 'come,' and 'go,' And breathe twice, and cry, 'so, so,' 45 Each one, tripping on his toe, Will be here with mop and mow. Do you love me, master? no?

Pros. Dearly, my delicate Ariel. Do not approach Till thou dost hear me call.

Ari. Well, I conceive. [Exit. 50

Pros. Look thou be true; do not give dalliance Too much the rein: the strongest oaths are straw To the fire i' the blood: be more abstemious, Or else, good night your vow!

Fer. I warrant you, sir; The white cold virgin snow upon my heart 55 Abates the ardour of my liver.

Pros. Well. Now come, my Ariel! bring a corollary, Rather than want a spirit: appear, and pertly! No tongue! all eyes! be silent. [Soft music.

Enter IRIS.

Iris. Ceres, most bounteous lady, thy rich leas 60 Of wheat, rye, barley, vetches, oats, and pease; Thy turfy mountains, where live nibbling sheep, And flat meads thatch'd with stover, them to keep; Thy banks with pioned and twilled brims, Which spongy April at thy best betrims, 65 To make cold nymphs chaste crowns; and thy broom-groves, Whose shadow the dismissed bachelor loves, Being lass-lorn; thy pole-clipt vineyard; And thy sea-marge, sterile and rocky-hard, Where thou thyself dost air;—the queen o' the sky, 70 Whose watery arch and messenger am I, Bids thee leave these; and with her sovereign grace, Here on this grass-plot, in this very place, To come and sport:—her peacocks fly amain: Approach, rich Ceres, her to entertain. 75

Enter CERES.

Cer. Hail, many-colour'd messenger, that ne'er Dost disobey the wife of Jupiter; Who, with thy saffron wings, upon my flowers Diffusest honey-drops, refreshing showers; And with each end of thy blue bow dost crown 80 My bosky acres and my unshrubb'd down, Rich scarf to my proud earth;—why hath thy queen Summon'd me hither, to this short-grass'd green?

Iris. A contract of true love to celebrate; And some donation freely to estate 85 On the blest lovers.

Cer. Tell me, heavenly bow, If Venus or her son, as thou dost know, Do now attend the queen? Since they did plot The means that dusky Dis my daughter got, Her and her blind boy's scandal'd company 90 I have forsworn.

Iris. Of her society Be not afraid: I met her Deity Cutting the clouds towards Paphos, and her son Dove-drawn with her. Here thought they to have done Some wanton charm upon this man and maid, 95 Whose vows are, that no bed-right shall be paid Till Hymen's torch be lighted: but in vain; Mars's hot minion is returned again; Her waspish-headed son has broke his arrows, Swears he will shoot no more, but play with sparrows, 100 And be a boy right out.

Cer. High'st queen of state, Great Juno, comes; I know her by her gait.

Enter JUNO.

Juno. How does my bounteous sister? Go with me To bless this twain, that they may prosperous be, And honour'd in their issue. [They sing: 105

Juno. Honour, riches, marriage-blessing, Long continuance, and increasing, Hourly joys be still upon you! Juno sings her blessings on you.

Cer. Earth's increase, foison plenty, 110 Barns and garners never empty; Vines with clustering bunches growing; Plants with goodly burthen bowing; Spring come to you at the farthest In the very end of harvest! 115 Scarcity and want shall shun you; Ceres' blessing so is on you.

Fer. This is a most majestic vision, and Harmonious charmingly. May I be bold To think these spirits?

Pros. Spirits, which by mine art 120 I have from their confines call'd to enact My present fancies.

Fer. Let me live here ever; So rare a wonder'd father and a wife Makes this place Paradise.

[Juno and Ceres whisper, and send Iris on employment.

Pros. Sweet, now, silence! Juno and Ceres whisper seriously; 125 There's something else to do: hush, and be mute, Or else our spell is marr'd.

Iris. You nymphs, call'd Naiads, of the windring brooks, With your sedged crowns and ever-harmless looks, Leave your crisp channels, and on this green land 130 Answer your summons; Juno does command: Come, temperate nymphs, and help to celebrate A contract of true love; be not too late.

Enter certain Nymphs.

You sunburnt sicklemen, of August weary, Come hither from the furrow, and be merry: 135 Make holiday; your rye-straw hats put on, And these fresh nymphs encounter every one In country footing.

Enter certain Reapers, properly habited: they join with the Nymphs in a graceful dance; towards the end whereof PROSPERO starts suddenly, and speaks; after which, to a strange, hollow, and confused noise, they heavily vanish.

Pros. [Aside] I had forgot that foul conspiracy Of the beast Caliban and his confederates 140 Against my life: the minute of their plot Is almost come. [To the Spirits.] Well done! avoid; no more!

Fer. This is strange: your father's in some passion That works him strongly.

Mir. Never till this day Saw I him touch'd with anger so distemper'd. 145

Pros. You do look, my son, in a moved sort, As if you were dismay'd: be cheerful, sir. Our revels now are ended. These our actors, As I foretold you, were all spirits, and Are melted into air, into thin air: 150 And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve, And, like this insubstantial pageant faded, 155 Leave not a rack behind. We are such stuff As dreams are made on; and our little life Is rounded with a sleep. Sir, I am vex'd; Bear with my weakness; my old brain is troubled: Be not disturb'd with my infirmity: 160 If you be pleased, retire into my cell, And there repose: a turn or two I'll walk, To still my beating mind.

Fer. Mir. We wish your peace. [Exeunt.

Pros. Come with a thought. I thank thee, Ariel: come.

Enter ARIEL.

Ari. Thy thoughts I cleave to. What's thy pleasure? 165

Pros. Spirit, We must prepare to meet with Caliban.

Ari. Ay, my commander: when I presented Ceres, I thought to have told thee of it; but I fear'd Lest I might anger thee.

Pros. Say again, where didst thou leave these varlets? 170

Ari. I told you, sir, they were red-hot with drinking; So full of valour that they smote the air For breathing in their faces; beat the ground For kissing of their feet; yet always bending Towards their project. Then I beat my tabor; 175 At which, like unback'd colts, they prick'd their ears, Advanced their eyelids, lifted up their noses As they smelt music: so I charm'd their ears, That, calf-like, they my lowing follow'd through Tooth'd briers, sharp furzes, pricking goss, and thorns, 180 Which enter'd their frail shins: at last I left them I' the filthy-mantled pool beyond your cell, There dancing up to the chins, that the foul lake O'erstunk their feet.

Pros. This was well done, my bird. Thy shape invisible retain thou still: 185 The trumpery in my house, go bring it hither, For stale to catch these thieves.

Ari. I go, I go. [Exit.

Pros. A devil, a born devil, on whose nature Nurture can never stick; on whom my pains, Humanely taken, all, all lost, quite lost; 190 And as with age his body uglier grows, So his mind cankers. I will plague them all, Even to roaring.

Re-enter ARIEL, loaden with glistering apparel, &c.

Come, hang them on this line.

PROSPERO and ARIEL remain, invisible. Enter CALIBAN, STEPHANO, and TRINCULO, all wet.

Cal. Pray you, tread softly, that the blind mole may not Hear a foot fall: we now are near his cell. 195

Ste. Monster, your fairy, which you say is a harmless fairy, has done little better than played the Jack with us.

Trin. Monster, I do smell all horse-piss; at which my nose is in great indignation.

Ste. So is mine. Do you hear, monster? If I should 200 take a displeasure against you, look you,—

Trin. Thou wert but a lost monster.

Cal. Good my lord, give me thy favour still. Be patient, for the prize I'll bring thee to Shall hoodwink this mischance: therefore speak softly. 205 All's hush'd as midnight yet.

Trin. Ay, but to lose our bottles in the pool,—

Ste. There is not only disgrace and dishonour in that, monster, but an infinite loss.

Trin. That's more to me than my wetting: yet this is 210 your harmless fairy, monster.

Ste. I will fetch off my bottle, though I be o'er ears for my labour.

Cal. Prithee, my king, be quiet. See'st thou here, This is the mouth o' the cell: no noise, and enter. 215 Do that good mischief which may make this island Thine own for ever, and I, thy Caliban, For aye thy foot-licker.

Ste. Give me thy hand. I do begin to have bloody thoughts. 220

Trin. O King Stephano! O peer! O worthy Stephano! look what a wardrobe here is for thee!

Cal. Let it alone, thou fool; it is but trash.

Trin. O, ho, monster! we know what belongs to a frippery. O King Stephano! 225

Ste. Put off that gown, Trinculo; by this hand, I'll have that gown.

Trin. Thy Grace shall have it.

Cal. The dropsy drown this fool! what do you mean To dote thus on such luggage? Let's alone, 230 And do the murder first: if he awake, From toe to crown he'll fill our skins with pinches, Make us strange stuff.

Ste. Be you quiet, monster. Mistress line, is not this my jerkin? Now is the jerkin under the line: now, jerkin, 235 you are like to lose your hair, and prove a bald jerkin.

Trin. Do, do: we steal by line and level, an't like your Grace.

Ste. I thank thee for that jest; here's a garment for't: wit shall not go unrewarded while I am king of this country. 240 'Steal by line and level' is an excellent pass of pate; there's another garment for't.

Trin. Monster, come, put some lime upon your fingers, and away with the rest.

Cal. I will have none on't: we shall lose our time, 245 And all be turn'd to barnacles, or to apes With foreheads villanous low.

Ste. Monster, lay-to your fingers: help to bear this away where my hogshead of wine is, or I'll turn you out of my kingdom: go to, carry this. 250

Trin. And this.

Ste. Ay, and this.

A noise of hunters heard. Enter divers Spirits, in shape of dogs and hounds, and hunt them about, PROSPERO and ARIEL setting them on.

Pros. Hey, Mountain, hey!

Ari. Silver! there it goes, Silver!

Pros. Fury, fury! there, Tyrant, there! hark, hark! 255 [Cal., Ste., and Trin. are driven out.

Go charge my goblins that they grind their joints With dry convulsions; shorten up their sinews With aged cramps; and more pinch-spotted make them Then pard or cat o' mountain.

Ari. Hark, they roar!

Pros. Let them be hunted soundly. At this hour 260 Lie at my mercy all mine enemies: Shortly shall all my labours end, and thou Shalt have the air at freedom: for a little Follow, and do me service. [Exeunt.

Notes: IV, 1.

3: a third] a thread Theobald. the thread Williams conj. 4: who] whom Pope. 7: test] F1. rest F2 F3 F4. 9: off] F2 F3 F4. of F1. 11: do] om. Pope. 13: gift] Rowe. guest Ff. 14: but] F1. om. F2 F3 F4. 25: 'tis] is Capell. 30: Phoebus'] Phoebus F1. Phoedus F2 F3. Phoeduus F4. 34: SCENE II. Pope. 41: vanity] rarity S. Walker conj. 48: no?] no. Rowe. 53: abstemious] abstenious F1. 60: SCENE III. A MASQUE. Pope.] thy] F1. the F2 F3 F4. 64: pioned] pionied Warburton. peonied Steevens. twilled] tulip'd Rowe. tilled Capell (Holt conj.). lilied Steevens.] 66: broom-groves] brown groves Hanmer. 68: pole-clipt] pale-clipt Hanmer. 72: After this line Ff. have the stage direction, 'Juno descends.' 74: her] Rowe. here Ff. 83: short-grass'd] F3 F4. short gras'd F1 F2. short-grass Pope. 96: bed-right] bed-rite Singer. 101: High'st] High Pope. 102: Enter JUNO] om. Ff. 110: Cer.] Theobald. om. Ff. foison] F1 and foison F2 F3 F4. 114: Spring] Rain Collier MS. 119: charmingly] charming lay Hanmer. charming lays Warburton. Harmoniously charming Steevens conj. 121: from their] F1. from all their F2 F3 F4. 123: wife] F1 (var.). Rowe. wise F1 (var.) F2 F3 F4. 124: Makes] make Pope. sweet, now, silence] now, silence, sweet Hanmer. 124: In Ff. the stage direction [Juno, &c. follows line 127. Capell made the change. 128: windring] winding Rowe. wand'ring Steevens. 129: sedged] sedge Collier MS. 136: holiday] holly day F1 F2 F3. holy-day F4. 139: SCENE IV. Pope. 143: This is] This' (for This 's) S. Walker conj.] strange] most strange Hanmer. 145: Ff put a comma after anger. Warburton omitted it. 146: do] om. Pope. See note (XVI). 151: this] F1. their F2 F3 F4. th' air visions Warburton. 156: rack] F3 F4. racke F1 F2. track Hanmer. wreck Dyce (Malone conj.). 163: your] F1 F2 F3. you F4. 164: I thank thee, Ariel: come.] I thank you:—Ariel, come. Theobald. 169: Lest] F4. Least F1 F2 F3. 170: Say again] Well, say again Capell. 180: furzes] Rowe. firzes Ff. 181: shins] skins Warburton conj. (note, V. 1. p. 87). 182: filthy-mantled] filthy mantled Ff. filth-ymantled Steevens conj. 184: feet] fear Spedding conj. 190: all, all] are all Malone conj. 193: them on Rowe. on them Ff. Prospero ... invisible. Theobald, Capell. om. Ff. 194: SCENE V. Pope. 230: Let's alone] Let's along Theobald. Let it alone Hanmer. Let 't alone Collier. See note (XVII). 246: to apes] om. to Pope. 255: Stage direction added by Theobald. 256: they] F1 F3 F4. thou F2. 261: Lie] Rowe. lies Ff.



ACT V.

SCENE I. Before the cell of Prospero.

Enter PROSPERO in his magic robes, and ARIEL.

Pros. Now does my project gather to a head: My charms crack not; my spirits obey; and time Goes upright with his carriage. How's the day?

Ari. On the sixth hour; at which time, my lord, You said our work should cease.

Pros. I did say so, 5 When first I raised the tempest. Say, my spirit, How fares the king and's followers?

Ari. Confined together In the same fashion as you gave in charge, Just as you left them; all prisoners, sir, In the line-grove which weather-fends your cell; 10 They cannot budge till your release. The king, His brother, and yours, abide all three distracted, And the remainder mourning over them, Brimful of sorrow and dismay; but chiefly Him that you term'd, sir, "The good old lord, Gonzalo;" 15 His tears run down his beard, like winter's drops From eaves of reeds. Your charm so strongly works 'em, That if you now beheld them, your affections Would become tender.

Pros. Dost thou think so, spirit?

Ari. Mine would, sir, were I human.

Pros. And mine shall. 20 Hast thou, which art but air, a touch, a feeling Of their afflictions, and shall not myself, One of their kind, that relish all as sharply, Passion as they, be kindlier moved than thou art? Though with their high wrongs I am struck to the quick, 25 Yet with my nobler reason 'gainst my fury Do I take part: the rarer action is In virtue than in vengeance: they being penitent, The sole drift of my purpose doth extend Not a frown further. Go release them, Ariel: 30 My charms I'll break, their senses I'll restore, And they shall be themselves.

Ari. I'll fetch them, sir. [Exit.

Pros. Ye elves of hills, brooks, standing lakes, and groves; And ye that on the sands with printless foot Do chase the ebbing Neptune, and do fly him 35 When he comes back; you demi-puppets that By moonshine do the green sour ringlets make, Whereof the ewe not bites; and you whose pastime Is to make midnight mushrooms, that rejoice To hear the solemn curfew; by whose aid— 40 Weak masters though ye be—I have bedimm'd The noontide sun, call'd forth the mutinous winds. And 'twixt the green sea and the azured vault Set roaring war: to the dread rattling thunder Have I given fire, and rifted Jove's stout oak 45 With his own bolt; the strong-based promontory Have I made shake, and by the spurs pluck'd up The pine and cedar: graves at my command Have waked their sleepers, oped, and let 'em forth By my so potent art. But this rough magic 50 I here abjure; and, when I have required Some heavenly music,—which even now I do,— To work mine end upon their senses, that This airy charm is for, I'll break my staff, Bury it certain fathoms in the earth, 55 And deeper than did ever plummet sound I'll drown my book. [Solemn music.

Re-enter ARIEL before: then ALONSO, with a frantic gesture, attended by GONZALO; SEBASTIAN and ANTONIO in like manner, attended by ADRIAN and FRANCISCO: they all enter the circle which PROSPERO had made, and there stand charmed; which PROSPERO observing, speaks:

A solemn air, and the best comforter To an unsettled fancy, cure thy brains, Now useless, boil'd within thy skull! There stand, 60 For you are spell-stopp'd. Holy Gonzalo, honourable man, Mine eyes, even sociable to the show of thine, Fall fellowly drops. The charm dissolves apace; And as the morning steals upon the night, 65 Melting the darkness, so their rising senses Begin to chase the ignorant fumes that mantle Their clearer reason. O good Gonzalo, My true preserver, and a loyal sir To him thou follow'st! I will pay thy graces 70 Home both in word and deed. Most cruelly Didst thou, Alonso, use me and my daughter: Thy brother was a furtherer in the act. Thou art pinch'd for't now, Sebastian. Flesh and blood, You, brother mine, that entertain'd ambition, 75 Expell'd remorse and nature; who, with Sebastian,— Whose inward pinches therefore are most strong,— Would here have kill'd your king; I do forgive thee, Unnatural though thou art. Their understanding Begins to swell; and the approaching tide 80 Will shortly fill the reasonable shore, That now lies foul and muddy. Not one of them That yet looks on me, or would know me: Ariel, Fetch me the hat and rapier in my cell: I will discase me, and myself present 85 As I was sometime Milan: quickly, spirit; Thou shalt ere long be free.

ARIEL sings and helps to attire him.

Where the bee sucks, there suck I: In a cowslip's bell I lie; There I couch when owls do cry. 90 On the bat's back I do fly After summer merrily. Merrily, merrily shall I live now Under the blossom that hangs on the bough.

Pros. Why, that's my dainty Ariel! I shall miss thee; 95 But yet thou shalt have freedom: so, so, so. To the king's ship, invisible as thou art: There shalt thou find the mariners asleep Under the hatches; the master and the boatswain Being awake, enforce them to this place, 100 And presently, I prithee.

Ari. I drink the air before me, and return Or ere your pulse twice beat. [Exit.

Gon. All torment, trouble, wonder and amazement Inhabits here: some heavenly power guide us 105 Out of this fearful country!

Pros. Behold, sir king, The wronged Duke of Milan, Prospero: For more assurance that a living prince Does now speak to thee, I embrace thy body; And to thee and thy company I bid 110 A hearty welcome.

Alon. Whether thou be'st he or no, Or some enchanted trifle to abuse me, As late I have been, I not know: thy pulse Beats, as of flesh and blood; and, since I saw thee, The affliction of my mind amends, with which, 115 I fear, a madness held me: this must crave— An if this be at all—a most strange story. Thy dukedom I resign, and do entreat Thou pardon me my wrongs. —But how should Prospero Be living and be here?

Pros. First, noble friend, 120 Let me embrace thine age, whose honour cannot Be measured or confined.

Gon. Whether this be Or be not, I'll not swear.

Pros. You do yet taste Some subtilties o' the isle, that will not let you Believe things certain. Welcome, my friends all! 125 [Aside to Seb. and Ant.] But you, my brace of lords, were I so minded, I here could pluck his Highness' frown upon you, And justify you traitors: at this time I will tell no tales.

Seb. [Aside] The devil speaks in him.

Pros. No. For you, most wicked sir, whom to call brother 130 Would even infect my mouth, I do forgive Thy rankest fault,—all of them; and require My dukedom of thee, which perforce, I know, Thou must restore.

Alon. If thou be'st Prospero, Give us particulars of thy preservation; 135 How thou hast met us here, who three hours since Were wreck'd upon this shore; where I have lost— How sharp the point of this remembrance is!— My dear son Ferdinand.

Pros. I am woe for't, sir.

Alon. Irreparable is the loss; and patience 140 Says it is past her cure.

Pros. I rather think You have not sought her help, of whose soft grace For the like loss I have her sovereign aid, And rest myself content.

Alon. You the like loss!

Pros. As great to me as late; and, supportable 145 To make the dear loss, have I means much weaker Than you may call to comfort you, for I Have lost my daughter.

Alon. A daughter? O heavens, that they were living both in Naples, The king and queen there! that they were, I wish 150 Myself were mudded in that oozy bed Where my son lies. When did you lose you daughter?

Pros. In this last tempest. I perceive, these lords At this encounter do so much admire, That they devour their reason, and scarce think 155 Their eyes do offices of truth, their words Are natural breath: but, howsoe'er you have Been justled from your senses, know for certain That I am Prospero, and that very duke Which was thrust forth of Milan; who most strangely 160 Upon this shore, where you were wreck'd, was landed, To be the Lord on't. No more yet of this; For 'tis a chronicle of day by day, Not a relation for a breakfast, nor Befitting this first meeting. Welcome, sir; 165 This cell's my court: here have I few attendants, And subjects none abroad: pray you, look in. My dukedom since you have given me again, I will requite you with as good a thing; At least bring forth a wonder, to content ye 170 As much as me my dukedom.

Here Prospero discovers FERDINAND and MIRANDA playing at chess.

Mir. Sweet lord, you play me false.

Fer. No, my dear'st love, I would not for the world.

Mir. Yes, for a score of kingdoms you should wrangle, And I would call it fair play.

Alon. If this prove 175 A vision of the island, one dear son Shall I twice lose.

Seb. A most high miracle!

Fer. Though the seas threaten, they are merciful; I have cursed them without cause. [Kneels.

Alon. Now all the blessings Of a glad father compass thee about! 180 Arise, and say how thou camest here.

Mir. O, wonder! How many goodly creatures are there here! How beauteous mankind is! O brave new world, That has such people in't!

Pros. 'Tis new to thee.

Alon. What is this maid with whom thou wast at play? 185 Your eld'st acquaintance cannot be three hours: Is she the goddess that hath sever'd us, And brought us thus together?

Fer. Sir, she is mortal; But by immortal Providence she's mine: I chose her when I could not ask my father 190 For his advice, nor thought I had one. She Is daughter to this famous Duke of Milan, Of whom so often I have heard renown, But never saw before; of whom I have Received a second life; and second father 195 This lady makes him to me.

Alon. I am hers: But, O, how oddly will it sound that I Must ask my child forgiveness!

Pros. There, sir, stop: Let us not burthen our remembrances with A heaviness that's gone.

Gon. I have inly wept, 200 Or should have spoke ere this. Look down, you gods, And on this couple drop a blessed crown! For it is you that have chalk'd forth the way Which brought us hither.

Alon. I say, Amen, Gonzalo!

Gon. Was Milan thrust from Milan, that his issue 205 Should become kings of Naples? O, rejoice Beyond a common joy! and set it down With gold on lasting pillars: In one voyage Did Claribel her husband find at Tunis, And Ferdinand, her brother, found a wife 210 Where he himself was lost, Prospero his dukedom In a poor isle, and all of us ourselves When no man was his own.

Alon. [to Fer. and Mir.] Give me your hands: Let grief and sorrow still embrace his heart That doth not wish you joy!

Gon. Be it so! Amen! 215

Re-enter ARIEL, with the Master and Boatswain amazedly following.

O, look, sir, look, sir! here is more of us: I prophesied, if a gallows were on land, This fellow could not drown. Now, blasphemy, That swear'st grace o'erboard, not an oath on shore? Hast thou no mouth by land? What is the news? 220

Boats. The best news is, that we have safely found Our king and company; the next, our ship— Which, but three glasses since, we gave out split— Is tight and yare and bravely rigg'd, as when We first put out to sea.

Ari. [Aside to Pros.] Sir, all this service 225 Have I done since I went.

Pros. [Aside to Ari.] My tricksy spirit!

Alon. These are not natural events; they strengthen From strange to stranger. Say, how came you hither?

Boats. If I did think, sir, I were well awake, I'ld strive to tell you. We were dead of sleep, 230 And—how we know not—all clapp'd under hatches; Where, but even now, with strange and several noises Of roaring, shrieking, howling, jingling chains, And more diversity of sounds, all horrible, We were awaked; straightway, at liberty; 235 Where we, in all her trim, freshly beheld Our royal, good, and gallant ship; our master Capering to eye her:—on a trice, so please you, Even in a dream, were we divided from them, And were brought moping hither.

Ari. [Aside to Pros.] Was't well done? 240

Pros. [Aside to Ari.] Bravely, my diligence. Thou shalt be free.

Alon. This is as strange a maze as e'er men trod; And there is in this business more than nature Was ever conduct of: some oracle Must rectify our knowledge.

Pros. Sir, my liege, 245 Do not infest your mind with beating on The strangeness of this business; at pick'd leisure Which shall be shortly, single I'll resolve you, Which to you shall seem probable, of every These happen'd accidents; till when, be cheerful, 250 And think of each thing well. [Aside to Ari.] Come hither, spirit: Set Caliban and his companions free; Untie the spell. [Exit Ariel.] How fares my gracious sir? There are yet missing of your company Some few odd lads that you remember not. 255

Re-enter ARIEL, driving in CALIBAN, STEPHANO, and TRINCULO, in their stolen apparel.

Ste. Every man shift for all the rest, and let no man take care for himself; for all is but fortune. —Coragio, bully-monster, coragio!

Trin. If these be true spies which I wear in my head, here's a goodly sight. 260

Cal. O Setebos, these be brave spirits indeed! How fine my master is! I am afraid He will chastise me.

Seb. Ha, ha! What things are these, my lord Antonio? Will money buy 'em?

Ant. Very like; one of them 265 Is a plain fish, and, no doubt, marketable.

Pros. Mark but the badges of these men, my lords, Then say if they be true. This mis-shapen knave, His mother was a witch; and one so strong That could control the moon, make flows and ebbs, 270 And deal in her command, without her power. These three have robb'd me; and this demi-devil— For he's a bastard one—had plotted with them To take my life. Two of these fellows you Must know and own; this thing of darkness I 275 Acknowledge mine.

Cal. I shall be pinch'd to death.

Alon. Is not this Stephano, my drunken butler?

Seb. He is drunk now: where had he wine?

Alon. And Trinculo is reeling ripe: where should they Find this grand liquor that hath gilded 'em?— 280 How camest thou in this pickle?

Trin. I have been in such a pickle, since I saw you last, that, I fear me, will never out of my bones: I shall not fear fly-blowing.

Seb. Why, how now, Stephano! 285

Ste. O, touch me not;—I am not Stephano, but a cramp.

Pros. You'ld be king o' the isle, sirrah?

Ste. I should have been a sore one, then.

Alon. This is a strange thing as e'er I look'd on. [Pointing to Caliban.

Pros. He is as disproportion'd in his manners 290 As in his shape. Go, sirrah, to my cell; Take with you your companions; as you look To have my pardon, trim it handsomely.

Cal. Ay, that I will; and I'll be wise hereafter, And seek for grace. What a thrice-double ass 295 Was I, to take this drunkard for a god, And worship this dull fool!

Pros. Go to; away!

Alon. Hence, and bestow your luggage where you found it.

Seb. Or stole it, rather. [Exeunt Cal., Ste., and Trin.

Pros. Sir, I invite your Highness and your train 300 To my poor cell, where you shall take your rest For this one night; which, part of it, I'll waste With such discourse as, I not doubt, shall make it Go quick away: the story of my life, And the particular accidents gone by 305 Since I came to this isle: and in the morn I'll bring you to your ship, and so to Naples, Where I have hope to see the nuptial Of these our dear-beloved solemnized; And thence retire me to my Milan, where 310 Every third thought shall be my grave.

Alon. I long To hear the story of your life, which must Take the ear strangely.

Pros. I'll deliver all; And promise you calm seas, auspicious gales, And sail so expeditious, that shall catch Your royal fleet far off. [Aside to Ari.] My Ariel, chick, 315 That is thy charge: then to the elements Be free, and fare thou well! Please you, draw near. [Exeunt.

Notes: V, 1.

7: together] om. Pope. 9: all] all your Pope. 10: line-grove] lime-grove Rowe. 11: your] F1 F2. you F3 F4. 15: sir] om. Pope. 16: run] runs F1. winter's] winter F4.] 23: F1 F2 put a comma after sharply. F3 F4 omit it. 24: Passion] Passion'd Pope. 26: 'gainst] Pope. gainst F1 F2. against F3 F4. 33: SCENE II. Pope. 37: green sour] green-sward Douce conj. 46: strong-based] Rowe. strong-bass'd Ff. 58: SCENE III. Pope. 60: boil'd] Pope. boile F1 F2. boil F3 F4. 62: Holy] Noble Collier MS. 63: show] shew Ff. flow Collier MS. 64: fellowly] fellow Pope. 68: O] O my Pope. O thou S. Walker conj. 69: sir] servant Collier MS. 72: Didst] F3 F4. Did F1 F2. 74: Sebastian. Flesh and blood,] Sebastian, flesh and blood. Theobald. 75: entertain'd] entertaine F1. 76: who] Rowe. whom Ff. 82: lies] F3 F4. ly F1 F2. 83: or] e'er Collier MS. 84: Theobald gives as stage direction "Exit Ariel and returns immediately." 88: suck] lurk Theobald. 90: couch] crowch F3 F4. [Capell punctuates There I couch: when owls do cry,] 92: summer] sun-set Theobald. 106: Behold,] lo! Pope. 111: Whether thou be'st] Where thou beest Ff. Be'st thou Pope. Whe'r thou be'st Capell. 112: trifle] devil Collier MS. 119: my] thy Collier MS. 124: not] F3 F4. nor F1 F2. 132: fault] faults F4. 136: who] F2 F3 F4. whom F1. 145: and,] sir, and Capell. supportable] F1 F2. insupportable F3 F4. portable Steevens. 148: my] my only Hanmer. A daughter] Only daughter Hanmer. Daughter Capell. 156: eyes] F1. eye F2 F3 F4. their] these Capell.] 172: SCENE IV. Pope. Here Prospero discovers...] Ff. SCENE opens to the entrance of the cell. Here Prospero discovers... Theobald. Cell opens and discovers... Capell.] 172: dear'st] dearest Ff. 179: [Kneels] Theobald. 191: advice] F4. advise F1 F2 F3. 199, 200: remembrances with] remembrance with Pope. remembrances With Malone. 213: When] Where Johnson conj.] and] om. Capell. 216: SCENE V. Pope. sir, look, sir] sir, look F3 F4.] is] are Pope.] 221: safely] safe F3 F4. 230: of sleep] a-sleep Pope. 234: more] Rowe. mo F1 F2. moe F3 F4. 236: her] Theobald (Thirlby conj.). our Ff. 242-245: Given to Ariel in F2 F3 F4. 247: leisure] F1. seisure F2. seizure F3 F4. 248: Which shall be shortly, single] Pope. (which shall be shortly single) Ff. 253: [Exit Ariel] Capell. 256: SCENE VI. Pope. 258: Coragio] corasio F1. 268: mis-shapen] mis-shap'd Pope. 271: command, without her power.] command. Without her power, anon. conj. without] with all Collier MS. 280: liquor] 'lixir Theobald. 282-284: Printed as verse in Ff. 289: This is] F1 F2. 'Tis F3 F4.] e'er I] I ever Hanmer. [Pointing to Caliban.] Steevens.] 299: [Exeunt... Trin.] Capell. 308: nuptial] nuptiall F1. nuptials F2 F3 F4. 309: See note (XVIII).



EPILOGUE.

SPOKEN BY PROSPERO.

Now my charms are all o'erthrown, And what strength I have's mine own, Which is most faint: now, 'tis true, I must be here confined by you, Or sent to Naples. Let me not, 5 Since I have my dukedom got, And pardon'd the deceiver, dwell In this bare island by your spell; But release me from my bands With the help of your good hands: 10 Gentle breath of yours my sails Must fill, or else my project fails, Which was to please. Now I want Spirits to enforce, art to enchant; And my ending is despair, 15 Unless I be relieved by prayer, Which pierces so, that it assaults Mercy itself, and frees all faults. As you from crimes would pardon'd be, Let your indulgence set me free. 20

Notes: Epilogue.

EPILOGUE ... PROSPERO.] advancing, Capell.] 1: Now] Now, now F3 F4. 3: now] and now Pope. 13: Now] For now Pope.



NOTES.

NOTE I.

I. 1. 15. What cares these roarers. This grammatical inaccuracy, which escaped correction in the later folios, probably came from Shakespeare's pen. Similar cases occur frequently, especially when the verb precedes its nominative. For example, Tempest, IV. 1. 262, 'Lies at my mercy all mine enemies,' and Measure for Measure, II. 1. 22, 'What knows the laws, &c.' We correct it in those passages where the occurrence of a vulgarism would be likely to annoy the reader. In the mouth of a Boatswain it can offend no one. We therefore leave it.

NOTE II.

I. 1. 57-59. Mercy on us!—we split, &c. It may be doubtful whether the printer of the first folio intended these broken speeches to express 'a confused noise within.' Without question such was the author's meaning. Rowe, however, and subsequent editors, printed them as part of Gonzalo's speech. Capell was the first editor who gave the true arrangement.

NOTE III.

I. 2. 173. princesses. See Mr Sidney Walker's Shakespeare's Versification, p. 243 sqq. 'The plurals of substantives ending in s, in certain instances, in se, ss, ce, and sometimes ge, ... are found without the usual addition of s or es, in pronunciation at least, although in many instances the plural affix is added in printing, where the metre shows that it is not to be pronounced.'

In this and other instances, we have thought it better to trust to the ear of the reader for the rhythm than to introduce an innovation in orthography which might perplex him as to the sense. The form 'princesses,' the use of which in Shakespeare's time was doubted by one of our correspondents, is found in the History of King Leir.

Rowe's reading 'princes' might be defended on the ground that the sentiment is general, and applicable to royal children of both sexes; or that Sir Philip Sidney, in the first book of the Arcadia, calls Pamela and Philoclea 'princes.'

NOTE IV.

I. 2. 298. The metre of this line, as well as of lines 301, 302, is defective, but as no mode of correction can be regarded as completely satisfactory we have in accordance with our custom left the lines as they are printed in the Folio. The defect, indeed, in the metre of line 298 has not been noticed except by Hanmer, who makes a line thus:

'Do so, and after two days I'll discharge thee.'

Possibly it ought to be printed thus:

'Do so; and After two days I will discharge thee.'

There is a broken line, also of four syllables, 253 of the same scene, another of seven, 235.

There is no reason to doubt that the words are as Shakespeare wrote them, for, although the action of the play terminates in less than four hours (I. 2. 240 and V. 1. 186), yet Ariel's ministry is not to end till the voyage to Naples shall be over. Prospero, too, repeats his promise, and marks his contentment by further shortening the time of servitude, 'within two days,' I. 2. 420. Possibly 'Invisible' (301) should have a line to itself. Words thus occupying a broken line acquire a marked emphasis.

But the truth is that in dialogue Shakespeare's language passes so rapidly from verse to prose and from prose to verse, sometimes even hovering, as it were, over the confines, being rhythmical rather than metrical, that all attempts to give regularity to the metre must be made with diffidence and received with doubt.

NOTE V.

I. 2. 377, 378:

Courtsied when you have and kiss'd The wild waves whist.

This punctuation seems to be supported by what Ferdinand says (391, 392):

'The music crept by me upon the waters, Allaying both their fury and my passion, &c.'

At the end of the stanza we have printed Hark, hark! ... The watch-dogs bark as that part of the burthen which 'sweet sprites bear.' The other part is borne by distant watch-dogs.

NOTE VI.

I. 2. 443. I fear you have done yourself some wrong. See this phrase used in a similar sense, Measure for Measure, I. 11. 39.

NOTE VII.

II. 1. 27. Which, of he or Adrian. 'Of' is found in the same construction, Midsummer Night's Dream, III. 2. 336,

'Now follow if thou darest to try whose right, Of thine or mine, is most in Helena.'

NOTE VIII.

II. 1. 157. Of its own kind. There is no doubt, as Dr Guest has shewn, that 'it,' which is the reading of the 1st and 2nd folios, was commonly used as a genitive in Shakespeare's time, as it is still in some provincial dialects. 'Its,' however, was coming into use. One instance occurs in this play, I. 11. 95, 'in its contrary.'

NOTE IX.

II. 1. 241. she that from whom. Mr Spedding writes: 'The received emendation is not satisfactory to me. I would rather read, "She that—From whom? All were sea-swallow'd &c., i.e. from whom should she have note? The report from Naples will be that all were drowned. We shall be the only survivors." The break in the construction seems to me characteristic of the speaker. But you must read the whole speech to feel the effect.'

NOTE X.

II. 1. 249-251. All editors except Mr Staunton have printed in italics (or between inverted commas) only as far as 'Naples?', but as 'keep' is printed with a small k in the folios, they seem to sanction the arrangement given in our text.

NOTE XI.

II. 1. 267. Ay, sir; where lies that? if 'twere a kibe. Mr Singer and Mr Dyce have changed ''twere' to 'it were' for the sake of the metre. But then the first part of the line must be read with a wrong emphasis. The proper emphasis clearly falls on the first, third, and fifth syllables, 'AY, sir; WHERE lies THAT?' See Preface.

NOTE XII.

II. 2. 165. Before 'here; bear my bottle' Capell inserts a stage direction [To Cal.], but it appears from III. 2. 62, that Trinculo was entrusted with the office of bottle-bearer.

NOTE XIII.

III. 1. 15. Most busy lest, when I do it. As none of the proposed emendations can be regarded as certain, we have left the reading of F1, though it is manifestly corrupt. The spelling 'doe' makes Mr Spedding's conjecture 'idlest' for 'I doe it' more probable.

NOTE XIV.

III. 3. 17. The stage direction, which we have divided into two parts, is placed all at once in the folios after 'as when they are fresh' [Solemne and strange Musicke; and Prosper on the top (invisible:) Enter ... depart].

Pope transferred it to follow Sebastian's words, 'I say, to night: no more.'

NOTE XV.

III. 3. 48. Each putter out of five for one. See Beaumont and Fletcher, The Noble Gentleman, I. 1. (Vol. II. p. 261, ed. Moxon): 'The return will give you five for one.' MARINE is about to travel.

NOTE XVI.

IV. 1. 146. You do look, my son, in a moved sort. Seymour suggests a transposition: 'you do, my son, look in a moved sort.' This line however can scarcely have come from Shakespeare's pen. Perhaps the writer who composed the Masque was allowed to join it, as best he might, to Shakespeare's words, which re-commence at 'Our revels now are ended,' &c.

NOTE XVII.

IV. 1. 230. Let's alone. See Staunton's "Shakespeare," Vol. I. p. 81, note (b).

NOTE XVIII.

V. 1. 309. Of these our dear-beloved solemnized. The Folios have 'belov'd'; a mode of spelling, which in this case is convenient as indicating the probable rhythm of the verse. We have written 'beloved,' in accordance with the general rule mentioned in the Preface.

'Solemnized' occurs in four other verse passages of Shakespeare. It is three times to be accented 'SOlemnized' and once (Love's Labour's Lost, II. 1. 41) 'soLEMnized.'

* * * * * * * * * * * * * *

Sources:

The editors' Preface (e-text 23041) discusses the 17th- and 18th-century editions in detail; the newer (19th-century) editions are simply listed by name. The following editions may appear in the Notes. All inset text is quoted from the Preface.

Folios: F1 1623; F2 (no date given); F3 1663; F4 1685. "The five plays contained in this volume occur in the first Folio in the same order, and ... were there printed for the first time."

Early editions: Rowe 1709 Pope 1715 "Pope was the first to indicate the place of each new scene; as, for instance, Tempest, I. 1. 'On a ship at sea.' He also subdivided the scenes as given by the Folios and Rowe, making a fresh scene whenever a new character entered—an arrangement followed by Hanmer, Warburton, and Johnson. For convenience of reference to these editions, we have always recorded the commencement of Pope's scenes." Theobald 1733 Hanmer ("Oxford edition") 1744 Warburton 1747 Johnson 1765 Capell 1768; also Capell's annotated copy of F2 Steevens 1773 Malone 1790 Reed 1803

Later editions: Singer, Knight, Cornwall, Collier, Phelps, Halliwell, Dyce, Staunton

Dryden: "The Tempest was altered by Dryden and D'Avenant, and published as The Tempest; or the Enchanted Island, in 1669. We mark the emendations derived from it: 'Dryden's version.'"

Errors and inconsistencies:

Re-enter Boatswain. [printed BOATSWAIN in small capitals] Enter Ariel. [printed "Ariel" in lower case] Where my son lies. When did you lose you daughter? [Text unchanged: error for "your"?]

[Text-critical notes]

I. 2. 135: to 't] om. Steevens (Farmer conj.). [Here and elsewhere in the volume, body text has unspaced "to't" while line notes have spaced "to 't".] I. 2. 202: o' the] of Pope. [Text unchanged: body text is capitalized "O' the"] II. 1. 88: Ay.] I. Ff. Ay? Pope. [Text unchanged: apparent error for italic I.] III. 3. 17: Prospero above] [Text unchanged: stage direction is after l. 19]

[Endnotes]

I: I. 1. 15. [I. 1. 16] V: 377, 378. [376-377] XVI: IV. 1. 146 [IV. 1. 147]

THE END