The Tempest was almost certainly Shakespeare’s last solo-authored play. We do not know whether he anticipated that this would be the case. It was also the first play to be printed in the First Folio. Again, we do not know whether it was given pride of place because the editors of the Folio regarded it as a showpiece—the summation of the master’s art—or for the more mundane reason that they had a clean copy in the clear hand of the scribe Ralph Crane, which would have given the compositors a relatively easy start as they set to work on the mammoth task of typesetting nearly a million words of Shakespeare. Whether it found its position by chance or design, The Tempest’s place at the end of Shakespeare’s career and the beginning of his collected works has profoundly shaped responses to the play ever since the early nineteenth century. It has come to be regarded as the touchstone of Shakespearean interpretation.
The narrative is concentrated on questions of mastery and rule. During the tempest in the opening scene, the normal social order is out of joint: the boatswain commands the courtiers in the knowledge that the roaring waves care nothing for “the name of king.” Then the back story, unfolded at length in Act 1 scene 2, tells of conspirators who do not respect the title of duke: we learn of Prospero’s loss of power in Milan and the compensatory command he has gained over Ariel and Caliban on the island. The Ferdinand and Miranda love knot is directed toward the future government of Milan and Naples. There is further politic plotting: Sebastian and Antonio’s plan to murder King Alonso and good Gonzalo, the madcap scheme of the base born characters to overthrow Prospero and make drunken butler Stephano king of the island. The theatrical coups performed by Prospero, assisted by Ariel and the other spirits of the island—the freezing of the conspirators, the harpy and the vanishing banquet, the masque of goddesses and agricultural workers, the revelation of the lovers playing at chess—all serve the purpose of requiting the sins of the past, restoring order in the present, and preparing for a harmonious future. Once the work is done, Ariel is released (with a pang) and Prospero is ready to prepare his own spirit for death. Even Caliban will “seek for grace.”
But Shakespeare never keeps it simple. Prospero’s main aim in conjuring up the storm and bringing the court to the island is to force his usurping brother Antonio into repentance. Yet when the climactic confrontation comes, Antonio does not say a word in reply to Prospero’s combination of forgiveness and demand. He wholly fails to follow the good example set by Alonso a few lines before. As for Antonio’s sidekick Sebastian, he has the temerity to ascribe Prospero’s magical foresight to demonic influence. For all the powers at Prospero’s command, there is no way of predicting or controlling human nature. A conscience cannot be created where there is none.
Samuel Taylor Coleridge described Prospero as “the very Shakespeare, as it were, of the tempest.” In other words, the leading character’s conjuring up of the storm in the opening scene corresponds to the dramatist’s conjuring up of the whole world of the play. The art of Prospero harnesses the power of nature in order to bring the other Italian characters to join him in his exile; by the same account, the art of Shakespeare transforms the platform of the stage into a ship at sea and then “an uninhabited island.” “Art” is the play’s key word. Caliban is Prospero’s “other” because he represents the state of nature. In the Darwinian nineteenth century, he was recast as the “missing link” between humankind and our animal ancestors.
Prospero’s backstory tells of a progression from the “liberal arts” that offered a training for governors to the more dangerous “art” of magic. Magical thinking was universal in the age of Shakespeare. Everyone was brought up to believe that there was another realm beyond that of nature, a realm of the spirit and of spirits. “Natural” and “demonic” magic were the two branches of the study and manipulation of preternatural phenomena. Magic meant the knowledge of hidden things and the art of working wonders. For some, it was the highest form of natural philosophy: the word came from magia, the ancient Persian term for wisdom. The “occult philosophy,” as it was known, postulated a hierarchy of powers, with influence descending from disembodied (“intellectual”) angelic spirits to the stellar and planetary world of the heavens to earthly things and their physical changes. The magician ascends to knowledge of higher powers and draws them down artificially to produce wonderful effects. Cornelius Agrippa, author of the influential De occulta philosophia, argued that “ceremonial magic” was needed in order to reach the angelic intelligences above the stars. This was the highest and most dangerous level of activity, since it was all too easy—as Christopher Marlowe’s Dr. Faustus found—to conjure up a devil instead of an angel. The more common form of “natural magic” involved “marrying” heaven to earth, working with the occult correspondences between the stars and the elements of the material world. The enduring conception of astrological influences is a vestige of this mode of thought. For a Renaissance mage such as Girolamo Cardano, who practiced in Milan, medicine, natural philosophy, mathematics, astrology, and dream interpretation were all intimately connected.
But natural magic could never escape its demonic shadow. For every learned mage such as Agrippa or Cardano, there were a thousand village “wise women” practicing folk medicine and fortune-telling. All too often, the latter found themselves demonized as witches, blamed for crop failure, livestock disease, and the other ills of life in the premodern era. Prospero is keen to contrast his own white magic with the black arts of Sycorax, Caliban’s mother, but the play establishes strong parallels between them. He was exiled from Milan to the island because his devotion to his secret studies gave Antonio the opportunity to usurp the dukedom, whilst Sycorax was exiled from Algiers to the island because she was accused of witchcraft; he arrived with his young daughter, whilst she arrived pregnant with the child she had supposedly conceived by sleeping with the devil. Each of them can command the tides and manipulate the spirit world that is embodied by Ariel. When Prospero comes to renounce his magic, he describes his powers in words borrowed from the incantation of another witch, Medea in Ovid’s great storehouse of ancient mythological tales, the Metamorphoses. Prospero at some level registers his own kinship with Sycorax when he says of Caliban “this thing of darkness I / Acknowledge mine.” The splitting of subject and verb across the line ending here, ensuring a moment’s hesitation in the acknowledgment, is an extreme instance of the suppleness with which late Shakespeare handles his iambic pentameter verse.
Shakespeare loved to set up oppositions, then shade his black and white into gray areas of moral complexity. In Milan, Prospero’s inward-looking study of the liberal arts had led to the loss of power and the establishment of tyranny. On the island he seeks to make amends by applying what he has learned, by using active magic to bring repentance, restore his dukedom, and set up a dynastic marriage. Yet at the beginning of the fifth act he sees that to be truly human is a matter not of exercising wisdom for the purposes of rule, but of practicing a more strictly Christian version of virtue. For sixteenth-century humanists, education in princely virtue meant the cultivation for political ends of wisdom, magnanimity, temperance, and integrity. For Prospero what finally matters is kindness. And this is something that the master learns from his pupil: it is Ariel who teaches Prospero about “feeling,” not vice versa.
Ariel represents fire and air, concord and music, loyal service. Caliban is of the earth, associated with discord, drunkenness, and rebellion. Ariel’s medium of expression is delicate verse, whilst Caliban’s is for the most part a robust, often ribald, prose like that of the jester Trinculo and drunken butler Stephano. But, astonishingly, it is Caliban who speaks the play’s most beautiful verse when he hears the music of Ariel. Even in prose, Caliban has a wonderful attunement to the natural environment: he knows every corner, every species of the island. Prospero calls him “A devil, a born devil, on whose nature / Nurture can never stick,” yet in the very next speech Caliban enters with the line “Pray you tread softly, that the blind mole may not hear a footfall,” words of such strong imagination that Prospero’s claim is instantly belied.
Caliban’s purported sexual assault on Miranda shows that Prospero failed in his attempt to tame the animal instincts of the “man-monster” and educate him into humanity. But who bears responsibility for the failure? Could it be that the problem arises from what Prospero has imprinted on Caliban’s memory, not from the latter’s nature? Caliban initially welcomed Prospero to the island and offered to share its fruits, every bit in the manner of the “noble savages” in Michel de Montaigne’s essay “Of the Cannibals,” which was another source from which Shakespeare quoted in the play (Gonzalo’s Utopian “golden age” vision of how he would govern the isle is borrowed from the English translation of Montaigne). Caliban only acts basely after Prospero has printed that baseness on him; what makes Caliban “filth” may be the lessons in which Prospero has taught him that he is “filth.”
Caliban understands the power of the book: as fashioners of modern coups d’état begin by seizing the television station, so he stresses that the rebellion against Prospero must begin by taking possession of his books. But Stephano has another book. “Here is that which will give language to you,” he says to Caliban, replicating Prospero’s gaining of control through language—but in a different mode. Textual inculcation is replaced by intoxication: the book that is kissed is the bottle. The dialogic spirit that is fostered by Shakespeare’s technique of scenic counterpoint thus calls into question Prospero’s use of books. If Stephano and Trinculo achieve through their alcohol what Prospero achieves through his teaching (in each case Caliban is persuaded to serve and to share the fruits of the isle), is not that teaching exposed as potentially nothing more than a means of social control? Prospero often seems more interested in the power structure that is established by his schoolmastering than in the substance of what he teaches. It is hard to see how making Ferdinand carry logs is intended to inculcate virtue; its purpose is to elicit submission.
Arrival on an island uninhabited by Europeans, talk of “plantation,” an encounter with a “savage” in which alcohol is exchanged for survival skills, a process of language learning in which it is made clear who is master and who is slave, fear that the slave will impregnate the master’s daughter, the desire to make the savage seek for Christian “grace” (though also a proposal that he should be shipped to England and exhibited for profit), references to the dangerous weather of the Bermudas and to a “brave new world”: in all these respects, The Tempest conjures up the spirit of European colonialism. Shakespeare had contacts with members of the Virginia Company, which had been established by royal charter in 1606 and was instrumental in the foundation of the Jamestown colony in America the following year. Some time in the autumn of 1610, a letter reached England describing how a fleet sent to reinforce the colony had been broken up by a storm in the Caribbean; the ship carrying the new governor had been driven to Bermuda, where the crew and passengers had wintered. Though the letter was not published at the time, it circulated in manuscript and inspired at least two pamphlets about these events. Scholars debate the extent to which Shakespeare made direct use of these materials, but certain details of the storm and the island seem to be derived from them. There is no doubt that the seemingly miraculous survival of the governor’s party and the fertile environment they discovered in the Bahamas were topics of great public interest at the time of the play.
The British Empire, the slave trade, and the riches of the spice routes lay in the future. Shakespeare’s play is set in the Mediterranean, not the Caribbean. Caliban cannot strictly be described as a native of the island. And yet the play intuits the dynamic of colonial possession and dispossession with such uncanny power that in 1950 a book by Octave Mannoni called The Psychology of Colonisation could argue that the process functioned by means of a pair of reciprocal neuroses: the “Prospero complex” on the part of the colonizer and the “Caliban complex” on that of the colonized. It was in response to Mannoni that Frantz Fanon wrote Black Skin, White Masks, a book that did much to shape the intellectual terrain of the “postcolonial” era. For many Anglophone Caribbean writers of the late twentieth century, The Tempest, and the figure of Caliban in particular, became a focal point for discovery of their own literary voices. The play is less a reflection of imperial history—after all, Prospero is an exile, not a venturer—than an anticipation of it.
As regular players at royal command performances in the Whitehall Palace, the King’s Men knew that from the end of 1608 onward, the teenage Princess Elizabeth was resident at court. A cultured young woman who enjoyed music and dancing, she participated in court festivals and in 1610 danced in a masque called Tethys. Masques—performed by a mixed cast of royalty, courtiers, and professional actors, staged with spectacular scenery and elaborate music—were the height of fashion at court in these years. Shakespeare’s friend and rival Ben Jonson, working in conjunction with the designer Inigo Jones, was carving out a role for himself as the age’s leading masque-wright. In 1608 he introduced the “antimasque” (or “antemasque”), a convention whereby grotesque figures known as “antics” danced boisterously prior to the graceful and harmonious masque itself. Shakespeare nods to contemporary fashion by including a betrothal masque within the action of The Tempest, together with the antimasque farce of Caliban, Stephano, and Trinculo smelling of horse-piss, stealing clothes from a line, and being chased away by dogs. One almost wonders whether the figure of Prospero is a gentle parody of Ben Jonson: his theatrical imagination is bound by the classical unities of time and place (as Jonson’s was) and he stages a court masque (as Jonson did). Perhaps this is why a few years later, in his Bartholomew Fair, Jonson parodied The Tempest in return.
Prospero’s Christian language reaches its most sustained pitch in the epilogue, but his final request is for the indulgence not of God but of the audience. At the last moment, humanist learning is replaced not by Christian but by theatrical faith. Because of this it has been possible for the play to be read, as it so often has been since the Romantic period, as Shakespeare’s defense of his own dramatic art. Ironically, though, the play itself is profoundly skeptical of the power of the book and even of the theater. The book of art is drowned, whilst the masque and its players dissolve into vacancy like a “baseless fabric” or a dream.
PLOT: Twelve years ago Prospero, the Duke of Milan, was usurped by his brother, Antonio, with the help of Alonso, King of Naples, and the King’s brother Sebastian. Prospero and his baby daughter Miranda were put to sea and landed on a distant island where ever since, by the use of his magic art, he has ruled over the spirit Ariel and the savage Caliban. He uses his powers to raise a storm that shipwrecks his enemies on the island. Alonso searches for his son, Ferdinand, although fearing him to be drowned. Sebastian plots to kill Alonso and seize the crown. The drunken butler, Stephano, and the jester, Trinculo, encounter Caliban and are persuaded by him to kill Prospero so that they can rule the island. Ferdinand meets Miranda and they fall instantly in love. Prospero sets heavy tasks to test Ferdinand and, when satisfied, presents the young couple with a betrothal masque. As Prospero’s plan draws to its climax, he confronts his enemies and forgives them. Prospero grants Ariel his freedom and prepares to leave the island for Milan.
MAJOR PARTS: (with percentage of lines/number of speeches/scenes on stage) Prospero (30%/115/5), Ariel (9%/45/6), Caliban (8%/50/5), Stephano (7%/60/4), Gonzalo (7%/52/4), Sebastian (5%/67/4), Antonio (6%/57/4), Miranda (6%/49/4), Ferdinand (6%/31/4), Alonso (5%/40/4), Trinculo (4%/39/4).
LINGUISTIC MEDIUM: 80% verse, 20% prose.
DATE: 1611. Performed at court, November 1, 1611; uses source material not available before autumn 1610.
SOURCES: No known source for main plot, but some details of the tempest and the island seem to derive from William Strachey, A True Reportory of the Wreck and Redemption of Sir Thomas Gates, Knight (written 1610, published in Purchas his Pilgrims, 1625) and perhaps Sylvester Jourdain, A Discovery of the Bermudas (1610) and the Virginia Company’s pamphlet A True Declaration of the Estate of the Colony in Virginia (1610); several allusions to Virgil’s Aeneid and Ovid’s Metamorphoses (most notably the imitation in Act 5 scene 1 of Arthur Golding’s 1567 translation of Medea’s incantation in Ovid’s 7th book); Gonzalo’s “golden age” oration in Act 2 scene 1 based closely on Michel de Montaigne’s essay “Of the Cannibals,” translated by John Florio (1603).
TEXT: First Folio of 1623 is the only early printed text. Based on a transcript by Ralph Crane, professional scribe working for the King’s Men. Generally good quality of printing.
PROSPERO, the right Duke of Milan
MIRANDA, his daughter
ALONSO, King of Naples
SEBASTIAN, his brother
ANTONIO, Prospero’s brother, the usurping Duke of Milan
FERDINAND, son to the King of Naples
GONZALO, an honest old councillor
ADRIAN and FRANCISCO, lords
TRINCULO, a jester
STEPHANO, a drunken butler
MASTER of a ship
BOATSWAIN
MARINERS
CALIBAN, a savage and deformed slave
ARIEL, an airy spirit
The Scene: an uninhabited island
A tempestuous noise of thunder and lightning heard. Enter a Shipmaster and a Boatswain
Exit
Enter Mariners
Enter Alonso, Sebastian, Antonio, Ferdinand, Gonzalo and others
Out of our way, I say.
Exeunt [Boatswain with Mariners, followed by Alonso, Sebastian, Antonio, and Ferdinand]
Exit
Enter Boatswain
Enter Sebastian, Antonio and Gonzalo
Yet again? What do you here? Shall we give o’er30 and drown? Have you a mind to sink?
Enter Mariners, wet
Though every drop of water swear against it
And gape at wid’st47 to glut him.
[Exeunt Boatswain and Mariners]
A confused noise within
Exeunt [Antonio and Sebastian]
Exit
Enter Prospero and Miranda
Put the wild waters in this roar, allay2 them.
The sky, it seems, would pour down stinking pitch,3
But that the sea, mounting to th’welkin’s4 cheek,
5 Dashes the fire5 out. O, I have suffered
With those that I saw suffer: a brave6 vessel —
Who had, no doubt, some noble creature in her —
Dashed all to pieces. O, the cry did knock
Against my very heart. Poor souls, they perished.
10 Had I been any god of power, I would
Have sunk the sea within the earth, or ere11
It should the good ship so have swallowed, and
The fraughting souls13 within her.
15 No more amazement.15 Tell your piteous heart
There’s no harm done.
I have done nothing but in care of thee —
20 Of thee, my dear one, thee, my daughter — who
Art ignorant of what thou art: nought knowing
Of whence I am,22 nor that I am more better
Than Prospero, master of a full poor cell,23
And thy no greater father.24
Did never meddle with26 my thoughts.
I should inform thee further. Lend thy hand
And pluck my magic garment from me. So: Lays down his magic cloak
30 Lie there, my art. Wipe thou thine eyes, have comfort.
The direful spectacle of the wreck, which touched
The very virtue of compassion in thee,
I have with such provision33 in mine art
So safely ordered that there is no soul —
35 No, not so much perdition35 as an hair
Betid36 to any creature in the vessel
Which thou heard’st cry, which thou saw’st sink. Sit down, Miranda sits
For thou must now know further.
40 Begun to tell me what I am, but stopped
And left me to a bootless inquisition,41
Concluding ‘Stay: not yet.’
The very minute bids thee ope44 thine ear:
45 Obey, and be attentive. Canst thou remember
A time before we came unto this cell?
I do not think thou canst, for then thou wast not
Out48 three years old.
Of any thing the image, tell me, that
Hath52 kept with thy remembrance.
And rather like a dream than an assurance54
55 That my remembrance warrants.55 Had I not
Four or five women once that tended56 me?
That this lives in thy mind? What see’st thou else
In the dark backward59 and abysm of time?
60 If thou rememb’rest aught60 ere thou cam’st here,
How thou cam’st here thou mayst.
Thy father was the Duke of Milan and
65 A prince of power.
She said thou wast my daughter; and thy father
Was Duke of Milan, and his only heir
70 And princess, no worse issued.70
What foul play had we, that we came from thence?
Or blessèd73 wast we did?
75 By foul play — as thou say’st — were we heaved thence,
But blessedly holp76 hither.
To think o’th’teen78 that I have turned you to,
Which is from79 my remembrance. Please you, further.
I pray thee, mark81 me — that a brother should
Be so perfidious82 — he whom next thyself
Of all the world I loved, and to him put
The manage84 of my state, as at that time
85 Through all the signories85 it was the first,
And Prospero the prime86 duke, being so reputed
In dignity, and for the liberal arts87
Without a parallel; those being all my study,
The government I cast upon my brother
90 And to my state90 grew stranger, being transported
And rapt in secret studies. Thy false uncle —
Dost thou attend me?
95 How to deny them, who t’advance and who
To trash for over-topping,96 new created
The creatures that were mine, I say, or changed ’em,97
Or else new formed98 ’em; having both the key
Of officer and office, set all hearts i’th’state
100 To what tune pleased his ear, that100 now he was
The ivy101 which had hid my princely trunk
And sucked my verdure102 out on’t.— Thou attend’st not.
105 I, thus neglecting worldly ends,105 all dedicated
To closeness106 and the bettering of my mind
With that, which but107 by being so retired,
O’er-prized108 all popular rate, in my false brother
Awaked an evil nature, and my trust,
110 Like a good parent,110 did beget of him
A falsehood111 in its contrary, as great
As my trust was, which had indeed no limit,
A confidence sans113 bound. He being thus lorded,
Not only with what my revenue yielded,
115 But what my power might else exact:115 like one
Who having into116 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’th’substitution119
120 And executing th’outward face120 of royalty
With all prerogative: hence his ambition growing —
Dost thou hear?
125 And him125 he played it for, he needs will be
Absolute Milan.126 Me — poor man — my library
Was dukedom large enough: of temporal royalties127
He thinks me now incapable. Confederates128 —
So dry129 he was for sway — wi’th’King of Naples
130 To give him annual tribute,130 do him homage,
Subject131 his coronet to his crown, and bend
The dukedom yet132 unbowed — alas, poor Milan —
To most ignoble stooping.
If136 this might be a brother.
To think but138 nobly of my grandmother:
Good wombs have borne bad sons.
This King of Naples, being an enemy
To me inveterate,142 hearkens my brother’s suit,
Which was, that he,143 in lieu o’th’premises
Of homage, and I know not how much tribute,144
145 Should presently extirpate145 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 th’purpose, did Antonio open
150 The gates of Milan, and i’th’dead of darkness
The ministers151 for th’purpose hurried thence
Me and thy crying self.
I, not rememb’ring how I cried out then,
155 Will cry it o’er again: it is a hint155
That wrings mine eyes to’t.
And then I’ll bring thee to the present business
Which now’s upon’s: without the which, this story
160 Were most impertinent.160
That hour destroy us?
My tale provokes that question. Dear, they durst164 not,
165 So dear the love my people bore me: nor set
A mark so bloody on the business: but
With colours fairer, painted167 their foul ends.
In few,168 they hurried us aboard a barque,
Bore us some leagues to sea, where they prepared
170 A rotten carcass of a butt,170 not rigged,
Nor tackle, sail, nor mast: the very rats
Instinctively have quit it. There they hoist172 us,
To cry to th’sea that roared to us; to sigh
To th’winds, whose pity sighing back again,
175 Did us but loving wrong.175
Was I then to you!
Thou wast that did preserve me. Thou didst smile,
180 Infused with a fortitude from heaven,
When I have decked181 the sea with drops full salt,
Under my burden groaned, which182 raised in me
An undergoing stomach,183 to bear up
Against what should ensue.
Some food we had, and some fresh water, that
A noble Neapolitan, Gonzalo,
Out of his charity — who being then appointed
190 Master of this design190 — did give us, with
Rich garments, linens, stuffs191 and necessaries,
Which since have steaded much.192 So, of his gentleness,
Knowing I loved my books, he furnished me
From mine own library with volumes that
195 I prize above my dukedom.
But ever see that man.
Sit still,199 and hear the last of our sea-sorrow.
200 Here in this island we arrived, and here
Have I, thy schoolmaster, made thee more profit201
Than other princes can that have more time
For vainer203 hours, and tutors not so careful.
205 For still ’tis beating in my mind: your reason
For raising this sea-storm?
By accident most strange, bountiful Fortune —
Now my dear lady209 — hath mine enemies
210 Brought to this shore: and by my prescience210
I find my zenith211 doth depend upon
A most auspicious star, whose influence212
If now I court not, but omit,213 my fortunes
Will ever after droop. Here cease more questions:
215 Thou art inclined to sleep. ’Tis a good dullness,215
And give it way:216 I know thou canst not choose.— Miranda sleeps
Come away, servant, come. I am ready now.
Approach, my Ariel,218 come.
Enter Ariel
220 To answer thy best pleasure; be’t to fly,
To swim, to dive into the fire, to ride
On the curled clouds: to thy strong bidding task222
Ariel and all his quality.223
225 Performed to point225 the tempest that I bade thee?
I boarded the king’s ship: now on the beak,227
Now in the waist,228 the deck, in every cabin,
I flamed amazement:229 sometime I’d divide
230 And burn in many places; on the topmast,
The yards231 and bowsprit would I flame distinctly,
Then meet and join. Jove’s232 lightning, the precursors
O’th’dreadful thunderclaps, more momentary
And sight-outrunning234 were not; the fire and cracks
235 Of sulphurous roaring, the most mighty Neptune235
Seem to besiege and make his bold waves tremble,
Yea, his dread trident237 shake.
Who was so firm, so constant, that this coil239
240 Would not infect his reason?
But felt a fever of the mad242 and played
Some tricks of desperation. All but mariners
Plunged in the foaming brine and quit the vessel,
245 Then all afire245 with me: the king’s son, Ferdinand,
With hair up-staring246 — then like reeds, not hair —
Was the first man that leaped; cried ‘Hell is empty
And all the devils are here.’
250 But was not this nigh250 shore?
On their sustaining254 garments not a blemish,
255 But fresher than before: and, as thou bad’st me,
In troops256 I have dispersed them ’bout the isle.
The king’s son have I landed by himself,
Whom I left cooling of258 the air with sighs
In an odd angle259 of the isle, and sitting,
260 His arms in this sad knot.260 Folds his arms
The mariners, say how thou hast disposed,
And all the rest o’th’fleet?
265 Is the king’s ship: in the deep nook where once
Thou call’dst me up at midnight to fetch dew266
From the still-vexed Bermudas,267 there she’s hid;
The mariners all under hatches268 stowed,
Who, with a charm269 joined to their suffered labour,
270 I have left asleep: and for the rest o’th’fleet —
Which I dispersed — they all have met again,
And are upon the Mediterranean float272
Bound sadly home for Naples,
Supposing that they saw the king’s ship wrecked
275 And his great person perish.
Exactly is performed; but there’s more work:
What is the time o’th’day?
Must by us both be spent most preciously.281
Let me remember283 thee what thou hast promised,
Which is not yet performed me.
What is’t thou canst demand?
290 Remember I have done thee worthy service,
Told thee no lies, made thee no mistakings, served
Without or292 grudge or grumblings: thou did promise
To bate293 me a full year.
295 From what a torment I did free thee?
Of the salt deep,
To run upon the sharp wind of the north,
300 To do me business in the veins o’th’earth
When it is baked with frost.
The foul witch Sycorax,304 who with age and envy
305 Was grown into a hoop?305 Hast thou forgot her?
310 Once in a month recount what thou hast been,
Which thou forget’st. This damned witch Sycorax,
For mischiefs manifold, and sorceries terrible
To enter human hearing, from Algiers,
Thou know’st, was banished: for314 one thing she did
315 They would not take her life. Is not this true?
And here was left by th’sailors. Thou, my slave,
As thou report’st thyself, was then her servant:
320 And, for320 thou wast a spirit too delicate
To act her earthy321 and abhorred commands,
Refusing her grand hests,322 she did confine thee
By help of her more potent ministers,323
And in her most unmitigable324 rage,
325 Into a cloven325 pine, within which rift
Imprisoned thou didst painfully remain
A dozen years: within which space she died,
And left thee there, where thou didst vent thy groans
As329 fast as mill-wheels strike. Then was this island —
330 Save for the son that she did litter330 here,
A freckled whelp,331 hag-born — not honoured with
A human shape.
335 Whom now I keep in service.335 Thou best know’st
What torment I did find thee in: thy groans
Did make wolves337 howl and penetrate the breasts
Of ever-angry bears; it was a torment
To lay upon the damned, which Sycorax
340 Could not again undo. It was mine art,
When I arrived and heard thee, that made gape341
The pine and let thee out.
345 And peg345 thee in his knotty entrails till
Thou hast howled away twelve winters.
I will be correspondent348 to command
And do my spriting349 gently.
I will discharge351 thee.
What shall I do? Say what? What shall I do?
355 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. To Miranda
360 Heaviness360 in me.
We’ll visit Caliban, my slave, who never
Yields us kind answer.
We cannot miss366 him: he does make our fire,
Fetch in our wood and serves in offices367
That profit us. What, ho! Slave! Caliban!
Thou earth,369 thou! Speak!
Within
Come, thou tortoise! When?
Enter Ariel like a water-nymph
Fine apparition: my quaint373 Ariel,
Hark in thine ear.
Exit
Upon thy wicked dam:377 come forth!
Enter Caliban
With raven’s feather from unwholesome fen379
380 Drop on you both! A southwest380 blow on ye
And blister you all o’er!
Side-stitches that shall pen thy breath up: urchins383
Shall, for that vast384 of night that they may work,
385 All exercise385 on thee: thou shalt be pinched
As386 thick as honeycomb, each pinch more stinging
Than387 bees that made ’em.
This island’s mine by Sycorax my mother,
390 Which thou tak’st from me. When thou cam’st first,
Thou strok’st me and made much of me: wouldst give me
Water with berries392 in’t, and teach me how
To name the bigger393 light, and how the less,
That burn by day and night: and then I loved thee
395 And showed thee all the qualities o’th’isle,
The fresh springs, brine-pits,396 barren place and fertile.
Cursed be I that did so! All the charms397
Of Sycorax — toads, beetles, bats — light398 on you!
For I am all the subjects that you have,
400 Which first was mine own king: and here you sty400 me
In this hard rock,401 whiles you do keep from me
The rest o’th’island.
Whom stripes404 may move, not kindness! I have used thee —
405 Filth as thou art — with humane405 care, and lodged thee
In mine own cell, till thou didst seek to violate406
The honour of my child.
Thou didst prevent me: I409 had peopled else
410 This isle with Calibans.
Which any print412 of goodness wilt not take,
Being capable413 of all ill. I pitied thee,
Took pains to make thee speak, taught thee each hour
415 One thing or other: when thou didst not, savage,
Know thine own meaning, but wouldst gabble like
A thing most brutish, I endowed thy purposes
With words that made them known. But thy vile race418 —
Though thou didst learn — had that in’t which good natures
420 Could not abide to be with: therefore wast thou
Deservedly confined into this rock, who hadst
Deserved more422 than a prison.
Is, I know how to curse. The red-plague424 rid you
425 For learning425 me your language.
Fetch us in fuel, and be quick: thou’rt best427
To answer other business. Shrug’st thou, malice?
If thou neglect’st or dost unwillingly
430 What I command, I’ll rack430 thee with old cramps,
Fill all thy bones with aches, make thee roar,
That beasts shall tremble at thy din.
I must obey: his art is of such power, Aside
435 It would control my dam’s god, Setebos,435
And make a vassal436 of him.
Exit Caliban
Enter Ferdinand, and Ariel, invisible, playing and singing
Song
And then take hands:
440 Curtsied when you have, and kissed
The wild waves whist:441
Foot it featly442 here and there,
And, sweet sprites, bear
The burden.
Hark, hark! Bow-wow!
The watch-dogs bark: bow-wow.
The strain449 of strutting chanticleer
450 Cry, cock-a-diddle-dow.
It sounds no more: and sure it waits upon452
Some god o’th’island. Sitting on a bank,
Weeping again the454 king my father’s wreck,
455 This music crept by me upon the waters,
Allaying both their fury and my passion456
With its sweet air: thence I have followed it —
Or it hath drawn me rather — but ’tis gone.
No, it begins again.
Song
Of his bones are coral made:
Those are pearls that were his eyes:
Nothing of him that doth fade,463
But doth suffer464 a sea-change
465 Into something rich and strange.
Sea-nymphs hourly ring his knell:466
470 This is no mortal470 business, nor no sound
That the earth owes.471 I hear it now above me.
And say what thou see’st yond.473
475 Lord, how it looks about! Believe me, sir,
It carries a brave476 form. But ’tis a spirit.
As we have, such. This gallant478 which thou see’st
Was in the wreck: and, but479 he’s something stained
480 With grief — that’s beauty’s canker480 — thou mightst call him
A goodly481 person: he hath lost his fellows
And strays about to find ’em.
A thing divine, for nothing natural484
485 I ever saw so noble.
As my soul prompts487 it.— Spirit, fine spirit: I’ll free thee To Ariel
Within two days for this.
490 On whom these airs490 attend! Vouchsafe my prayer
May know if you remain491 upon this island,
And that you will some good instruction give
How I may bear me493 here: my prime request,
Which I do last pronounce, is — O you wonder!494 —
495 If you be maid495 or no?
But certainly a maid.
I am the best499 of them that speak this speech,
500 Were I but where500 ’tis spoken.
What wert thou if the King of Naples heard thee?
To hear thee speak of Naples. He504 does hear me:
505 And that he does, I weep. Myself am Naples,
Who with mine eyes, never since at ebb,506 beheld
The king my father wrecked.
510 And his brave son510 being twain.
And his more braver daughter could control512 thee
If now ’twere fit to do’t. At the first sight
They have changed eyes.514— Delicate Ariel, To Ariel
515 I’ll set thee free for this.— A word, good sir, To Ferdinand
I fear you have done516 yourself some wrong: a word.
Is the third man that e’er I saw: the first
That e’er I sighed for. Pity move my father
520 To be inclined my way.
And your522 affection not gone forth, I’ll make you
The Queen of Naples.
525 They are both in either’s525 powers: but this swift business Aside
I must uneasy526 make, lest too light winning
Make the prize light.— One word more: I charge527 thee To Ferdinand
That thou attend528 me: thou dost here usurp
The name thou ow’st not,529 and hast put thyself
530 Upon this island as a spy, to win it
From me, the lord on’t.531
If the ill-spirit have so fair a house,
535 Good things will strive to dwell with’t.
Speak not you for him: he’s a traitor.— Come: To Miranda/To Ferdinand
I’ll manacle thy neck and feet together:
Seawater shalt thou drink: thy food shall be
540 The fresh-brook mussels,540 withered roots and husks
Wherein the acorn cradled. Follow.
I will resist such entertainment543 till
Mine enemy has more power.
He draws, and is charmed from moving
Make not too rash a trial of him, for
He’s gentle,547 and not fearful.
My foot549 my tutor?— Put thy sword up, traitor: To Ferdinand
550 Who mak’st a show but dar’st not strike, thy conscience
Is so possessed with guilt. Come from thy ward,551
For I can here disarm thee with this stick, Brandishes his staff
And make thy weapon drop.
I’ll be his surety.557
Shall make me chide559 thee, if not hate thee. What,
560 An advocate for an impostor? Hush!
Thou think’st there is no more such shapes561 as he,
Having seen but him and Caliban. Foolish wench,
To563 th’most of men this is a Caliban,
And they to him are angels.
Are then most humble: I have no ambition
To see a goodlier man.
Thy nerves569 are in their infancy again
570 And have no vigour570 in them.
My spirits,572 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,
575 To whom I am subdued, are but light to me,
Might I but through576 my prison once a day
Behold this maid: all corners else577 o’th’earth
Let liberty make use of: space enough
Have I in such a prison.
Thou hast done well, fine Ariel!— Follow me.— To Ariel/To Ferdinand
Hark what thou else shalt do me.582 To Ariel
My father’s of a better nature, sir,
585 Than he appears by speech: this is unwonted585
Which now came from him.
As mountain winds; but then588 exactly do
All points of my command.
Exeunt
Enter Alonso, Sebastian, Antonio, Gonzalo, Adrian, Francisco and others
So have we all — of joy, for our escape
Is much beyond3 our loss. Our hint of woe
Is common: every day some sailor’s wife,
5 The masters5 of some merchant, and the merchant
Have just our theme of woe. But for the miracle —
I mean our preservation — few in millions
Can speak like us: then wisely, good sir, weigh8
Our sorrow with our comfort.
The stomach88 of my sense. Would I had never
Married my daughter there: for, coming thence,
90 My son is lost and — in my rate90 — she too,
Who is so far from Italy removed
I ne’er again shall see her. O thou mine heir
Of Naples and of Milan, what strange fish
Hath made his meal on thee?
I saw him beat the surges96 under him,
And ride upon their backs; he trod the water,
Whose enmity he flung aside, and breasted
The surge most swoll’n that met him: his bold head
100 ’Bove the contentious waves he kept, and oared100
Himself with his good arms in lusty101 stroke
To th’shore, that o’er his wave-worn basis102 bowed,
As103 stooping to relieve him: I not doubt
He came alive to land.
That would not bless our Europe with your daughter,
But rather loose108 her to an African,
Where she, at least, is banished from your eye,
110 Who110 hath cause to wet the grief on’t.
By all of us: and the fair soul herself
Weighed between loathness114 and obedience at
115 Which115 end o’th’beam should bow. We have lost your son,
I fear, forever: Milan and Naples have
More widows in them of this business’ making
Than we bring men to comfort them.
The fault’s your own.
The truth you speak doth lack some gentleness,
And time123 to speak it in: you rub the sore,
When you should bring the plaster.
When you are cloudy.
Execute all things: for no kind of traffic137
Would I admit: no name of magistrate:
Letters139 should not be known: riches, poverty,
140 And use of service,140 none: contract, succession,
Bourn,141 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:
145 No sovereignty.
Without sweat or endeavour: treason, felony,
150 Sword, pike,150 knife, gun, or need of any engine,
Would I not have: but nature should bring forth,
Of it own kind, all foison,152 all abundance,
To feed my innocent people.
T’excel the golden age.157
Enter Ariel [invisible] playing solemn music
Would, with themselves, shut up my thoughts.
I find they are inclined to do so.
Do not omit181 the heavy offer of it.
It seldom visits sorrow: when it doth, it is a comforter.
While you take your rest, and watch your safety.
[Exit Ariel]
Doth it not then our eyelids sink? I find
190 Not myself disposed to sleep.
They fell together all, as192 by consent
They dropped, as by a thunder-stroke. What might,
Worthy Sebastian? O, what might? — No more.—
195 And yet, methinks I see it in thy face,
What thou shouldst be: th’occasion speaks196 thee, and
My strong imagination sees a crown
Dropping upon thy head.
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
205 With eyes wide open: standing, speaking, moving,
And yet so fast asleep.
Thou let’st thy fortune sleep — die, rather: wink’st208
Whiles thou art waking.
There’s meaning in thy snores.
Must be so too, if heed213 me: which to do
Trebles thee o’er.214
Hereditary sloth218 instructs me.
220 If220 you but knew how you the purpose cherish
Whiles thus you mock it: how in stripping it
You more invest222 it. Ebbing men, indeed,
Most often, do so near the bottom run
By their own fear, or sloth.
The setting226 of thine eye and cheek proclaim
A matter227 from thee; and a birth, indeed,
Which throes228 thee much to yield.
230 Although this lord230 of weak remembrance, this,
Who shall be of231 as little memory
When he is earthed,232 hath here almost persuaded —
For he’s a spirit of233 persuasion, only
Professes to persuade — the king his son’s alive:
235 ’Tis as impossible that he’s undrowned
As he that sleeps here swims.
That he’s undrowned.
240 What great hope have you! No hope that way is
Another way so high a hope,241 that even
Ambition242 cannot pierce a wink beyond,
But doubt discovery there. Will you grant with me
That Ferdinand is drowned?
Ten leagues249 beyond man’s life: she that from Naples
250 Can have no note,250 unless the sun were post —
The man i’th’moon’s too slow — till new-born chins
Be rough and razorable: she that from whom252
We all were sea-swallowed, though some cast253 again —
And by that destiny — to perform an act
255 Whereof255 what’s past is prologue, what to come
In yours and my discharge.256
’Tis true, my brother’s daughter’s Queen of Tunis:
So is she heir of Naples, ’twixt which regions
260 There is some space.260
Seems to cry out, ‘How shall that Claribel
Measure us back263 to Naples? Keep in Tunis,
And let Sebastian wake.264’ Say this were death
265 That now hath seized them: why, they were no worse
Than now they are. There be that can rule Naples
As well as he267 that sleeps: lords that can prate
As amply and unnecessarily
As this Gonzalo: I myself could make269
270 A chough of as deep chat. O, that you bore270
The mind that I do! What a sleep were this
For your advancement! Do you understand me?
275 Tender275 your own good fortune?
You did supplant277 your brother Prospero.
And look how well my garments279 sit upon me,
280 Much feater280 than before. My brother’s servants
Were then my fellows:281 now they are my men.
’Twould put me to284 my slipper: but I feel not
285 This deity285 in my bosom: twenty consciences
That stand ’twixt me and Milan, candied286 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 —
290 Whom I with this obedient steel — three inches of it — Touching sword or dagger
Can lay to bed forever: whiles you, doing thus,
To the perpetual wink292 for aye might put
This ancient morsel,293 this Sir Prudence, who
Should not294 upbraid our course. For all the rest,
295 They’ll take suggestion as a cat laps milk:
They’ll tell296 the clock to any business that
We say befits the hour.
Shall be my precedent. As thou got’st Milan,
300 I’ll come by Naples. Draw thy sword: one stroke
Shall free thee from the tribute301 which thou payest,
And I the king shall love thee.
And when I rear304 my hand, do you the like,
305 To fall it on Gonzalo.
Enter Ariel [invisible] with music and song
That you, his friend, are in, and sends me forth —
For else his project309 dies — to keep them living.
310 While you here do snoring lie,
Sings in Gonzalo’s ear
Open-eyed conspiracy
His time312 doth take.
If of life you keep a care,
Shake off slumber, and beware:
315 Awake, awake!
Wherefore this ghastly319 looking?
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.
To make an earthquake! Sure it was the roar
Of a whole herd of lions.
And that a strange one too, which did awake me:
I shaked you, sir, and cried: as mine eyes opened,
I saw their weapons drawn: there was a noise,
That’s verily.334 ’Tis best we stand upon our guard,
335 Or that we quit this place: let’s draw our weapons.
For my poor son.
For he is sure i’th’island.
So, king, go safely on to seek thy son.
Exeunt [separately]
Enter Caliban with a burden of wood. A noise of thunder heard
From bogs, fens, flats,2 on Prosper fall, and make him
By inch-meal3 a disease. His spirits hear me,
And yet I needs must curse. But they’ll nor4 pinch,
5 Fright me with urchin-shows,5 pitch me i’th’mire,
Nor lead me like a firebrand6 in the dark
Out of my way, unless he bid ’em: but
For every trifle are they set upon me,
Sometime like apes, that mow9 and chatter at me,
10 And after bite me: then like hedgehogs, which
Lie tumbling in my barefoot way and mount
Their pricks at my footfall: sometime am I
All wound13 with adders, who with cloven tongues
Do hiss me into madness.
Enter Trinculo
Lo,14 now, lo!
15 Here comes a spirit of his, and to torment me
For bringing wood in slowly. I’ll fall flat:
Perchance he will not mind17 me. Lies down and covers himself with his cloak
Enter Stephano, singing With a bottle in his hand
35 Here shall I die ashore—
This is a very scurvy36 tune to sing at a man’s funeral: well, here’s my comfort.
Drinks
The master, the swabber,38 the boatswain and I,
Sings
The gunner and his mate,
40 Loved Mall, Meg and Marian and Margery,
But none of us cared for Kate.
For she had a tongue with a tang,42
Would cry to a sailor, ‘Go hang!’
She loved not the savour44 of tar nor of pitch,
45 Yet a tailor45 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
Sings drunkenly
Nor fetch in firing138 at requiring,
Nor scrape trencher,139 nor wash dish,
140 ’Ban, ’Ban, Cacaliban
Has a new master: get a new man.
Freedom, high-day!142 High-day, freedom! Freedom, high-day, freedom!
Exeunt
Enter Ferdinand, bearing a log
Delight in them sets off: some kinds of baseness2
Are nobly undergone, and most poor matters
Point to rich ends. This my mean4 task
5 Would be as heavy to me as odious, but
The mistress which I serve quickens6 what’s dead
And makes my labours pleasures: O, she is
Ten times more gentle than her father’s crabbed;8
And he’s composed of harshness. I must remove
10 Some thousands of these logs and pile them up,
Upon a sore injunction.11 My sweet mistress
Weeps when she sees me work and says such baseness12
Had never like executor. I forget:13
But these sweet thoughts do even refresh my labours, Picks up the log
15 Most busy least,15 when I do it.
Enter Miranda and Prospero Prospero at a distance, unseen
Work not so hard. I would the lightning had
Burnt up those logs that you are enjoined18 to pile.
Pray, set it down and rest you: when this burns
20 ’Twill weep20 for having wearied you. My father
Is hard at study: pray now, rest yourself,
He’s safe for these three hours.
The sun will set before I shall discharge24
25 What I must strive to do.
I’ll bear your logs the while: pray give me that,
I’ll carry it to the pile.
30 I had rather crack my sinews, break my back,
Than you should such dishonour undergo,
While I sit lazy by.
As well as it does you; and I should do it
35 With much more ease, for my good will is to it,
And yours it is against.
This visitation38 shows it.
When you are by41 at night. I do beseech you,
Chiefly that I might set it in my prayers,
What is your name?
45 I have broke your hest45 to say so.
Indeed the top47 of admiration, worth
What’s dearest to the world! Full many a lady
I have eyed with best regard, and many a time
50 Th’harmony of their tongues hath into bondage50
Brought my too diligent51 ear. For several virtues
Have I liked several women, never any
With so full soul but some defect in her
Did quarrel with the noblest grace she owed,54
55 And put55 it to the foil. But you, O you,
So perfect and so peerless, are created
Of every creature’s best.
One of my sex; no woman’s face remember,
60 Save from my glass,60 mine own: nor have I seen
More that I may call men than you, good friend,61
And my dear father: how62 features are abroad,
I am skilless63 of; but by my modesty —
The jewel in my dower64 — I would not wish
65 Any companion in the world but you:
Nor can imagination form a shape
Besides yourself to like of. But I prattle
Something too wildly, and my father’s precepts68
I therein do forget.
A prince, Miranda: I do think, a king —
I would not so — and would no more endure
This wooden slavery than to suffer
The flesh-fly74 blow my mouth. Hear my soul speak:
75 The very instant that I saw you, did
My heart fly to your service, there resides
To make me slave to it, and for your sake
Am I this patient log-man.
And crown what I profess with kind event81
If I speak true: if hollowly,82 invert
What best is boded83 me to mischief: I,
Beyond all limit of what84 else i’th’world,
85 Do love, prize, honour you.
To weep at what I am glad of.
Of two most rare89 affections! Heavens rain grace
90 On that which breeds90 between ’em.
What I desire to give; and much less take
What I shall die to want.94 But this is trifling,
95 And all the more it seeks to hide itself
The bigger bulk it shows. Hence, bashful cunning,96
And prompt me, plain and holy innocence.
I am your wife, if you will marry me:
If not, I’ll die your maid:99 to be your fellow
100 You may deny me, but I’ll be your servant
Whether you will or no.
And I thus humble ever.
As106 bondage e’er of freedom: here’s my hand.
Till half an hour hence.
Exeunt [Ferdinand and Miranda, separately]
Who are surprised111 withal: but my rejoicing
At nothing can be more. I’ll to my book,
For yet ere supper-time must I perform
Much business appertaining.114
Exit
Enter Caliban, Stephano and Trinculo
Enter Ariel, invisible
From me he got it. If thy greatness will
Revenge it on him — for I know thou dar’st,
But this thing43 dare not —
Canst thou bring me to the party?47
Where thou mayst knock a nail into his head.
I do beseech thy greatness give him blows, To Stephano
And take his bottle from him: when that’s gone
He shall drink nought but brine, for I’ll not show him
55 Where the quick freshes55 are.
I’ll beat him too.
I’th’afternoon to sleep: there thou mayst brain72 him,
Having first seized his books: or with a log
Batter his skull, or paunch74 him with a stake,
75 Or cut his weasand75 with thy knife. Remember
First to possess his books; for without them
He’s but a sot,77 as I am, nor hath not
One spirit to command: they all do hate him
As rootedly79 as I. Burn but his books.
80 He has brave utensils80 — for so he calls them —
Which when he has a house, he’ll deck81 withal.
And that most deeply to consider is
The beauty of his daughter: he himself
Calls her a nonpareil:84 I never saw a woman,
85 But only Sycorax my dam, and she:
But she as far surpasseth Sycorax
As great’st does least.
90 And bring thee forth brave brood.90
Wilt thou destroy him then?
Let us be jocund.102 Will you troll the catch
You taught me but while-ere?103
Flout106 ’em and scout ’em
Sings
And scout ’em and flout ’em,
Thought is free.
Ariel plays the tune on a tabor and pipe
Sounds and sweet airs, that give delight and hurt not:
120 Sometimes a thousand twangling120 instruments
Will hum about mine ears; and sometime voices,
That if I then had waked after long sleep,
Will make me sleep again, and then in dreaming,
The clouds methought would open and show riches
125 Ready to drop upon me, that when I waked
I cried to dream again.
[Exit Ariel, playing music]
Exeunt
Enter Alonso, Sebastian, Antonio, Gonzalo, Adrian, Francisco and others
My old bones ache. Here’s a maze2 trod indeed
Through forth-rights3 and meanders. By your patience,
I needs must rest me.
Who am myself attached6 with weariness
To th’dulling of my spirits: sit down and rest.
Even here I will put off8 my hope, and keep it
No longer for my flatterer:9 he is drowned
10 Whom thus we stray to find, and the sea mocks
Our frustrate11 search on land. Well, let him go.
Do not for13 one repulse forgo the purpose
That you resolved t’effect.
For now they are oppressed17 with travail, they
Will not, nor cannot use such vigilance
As when they are fresh.
Solemn and strange music: and [enter] Prospero on the top, invisible. Enter several strange shapes, bringing in a banquet, and dance about it with gentle actions of salutations, and inviting the king and others to eat, they depart
25 That there are unicorns: that in Arabia
There is one tree, the phoenix’26 throne, one phoenix
At this hour reigning there.
And what does else want credit,29 come to me,
30 And I’ll be sworn ’tis true: travellers ne’er did lie,
Though fools at home condemn ’em.
I should report this now, would they believe me?
If I should say I saw such islanders —
35 For certes35 these are people of the island —
Who though they are of monstrous36 shape, yet note
Their manners are more gentle, kind, than of
Our human generation38 you shall find
Many, nay almost any.
Thou hast said well: for some of you there present
Are worse than devils.
Such shapes, such gesture, and such sound, expressing —
45 Although they want the use of tongue — a kind
Of excellent dumb discourse.
50 They have left their viands50 behind: for we have stomachs.
Will’t please you taste of what is here?
Who would believe that there were mountaineers,54
55 Dewlapped55 like bulls, whose throats had hanging at ’em
Wallets56 of flesh? Or that there were such men
Whose heads stood in their breasts? Which now we find
Each putter-out58 of five for one will bring us
Good warrant of.
Although61 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
65 That hath to instrument65 this lower world
And what is in’t, the never-surfeited66 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;
70 And even with suchlike valour70 men hang and drown
Their proper selves.71 You fools: I and my fellows Alonso, Sebastian, and Antonio draw their swords
Are ministers of Fate: the elements72
Of whom your swords are tempered may as well
Wound the loud winds, or with bemocked-at74 stabs
75 Kill the still-closing waters,75 as diminish
One dowl76 that’s in my plume. My fellow ministers
Are like77 invulnerable. If you could hurt,
Your swords are now too massy78 for your strengths,
And will not be uplifted. But remember —
80 For that’s my business80 to you — that you three
From Milan did supplant good Prospero,
Exposed unto the sea — which hath requit82 it —
Him and his innocent child: for which foul deed,
The powers, delaying — not forgetting — have
85 Incensed the seas and shores, yea, all the creatures
Against your peace. Thee of thy son, Alonso,
They have bereft: and do pronounce by me
Ling’ring perdition88 — worse than any death
Can be at once — shall step by step attend
90 You and your ways: whose90 wraths to guard you from,
Which here in this most desolate isle else falls
Upon your heads, is nothing but heart’s sorrow
And a clear life ensuing.
He vanishes in thunder: then, to soft music, enter the shapes again, and dance, with mocks and mows, and carrying out the table [depart]
95 Performed, my Ariel: a grace it had, devouring:95
Of my instruction hast thou nothing bated96
In what thou hadst to say. So,97 with good life
And observation strange,98 my meaner ministers
Their several kinds99 have done. My high charms work,
100 And these, mine enemies, are all knit up100
In their distractions:101 they now are in my power,
And in these fits102 I leave them, while I visit
Young Ferdinand — whom they suppose is drowned —
And his and mine loved darling.
[Exit above]
In this strange stare?
Methought the billows108 spoke and told me of it,
The winds did sing it to me, and the thunder —
110 That deep and dreadful organ-pipe — pronounced
The name of Prosper: it did bass111 my trespass.
Therefore my son i’th’ooze112 is bedded: and
I’ll seek him deeper than e’er plummet113 sounded
And with him there lie mudded.114
Exit
I’ll fight their legions o’er.
Exeunt [Sebastian and Antonio]
Like poison given to work a great time after,
120 Now ’gins to bite the spirits.120 I do beseech you —
That are of suppler joints — follow them swiftly
And hinder them from what this ecstasy122
May now provoke them to.
Exeunt omnes
Enter Prospero, Ferdinand and Miranda
Your compensation2 makes amends, for I
Have given you here a third3 of mine own life,
Or that for which I live: who once again
5 I tender5 to thy hand. All thy vexations
Were but my trials of thy love, and thou
Hast strangely7 stood the test: here, afore heaven,
I ratify8 this my rich gift. O Ferdinand,
Do not smile at me that I boast her9 of,
10 For thou shalt find she will outstrip all praise
And make it halt11 behind her.
Worthily purchased,14 take my daughter: but
15 If thou dost break her virgin-knot before
All sanctimonious16 ceremonies may
With full and holy rite be ministered,
No sweet aspersion18 shall the heavens let fall
To make this contract grow; but barren hate,
20 Sour-eyed disdain and discord shall bestrew20
The union of your bed, with weeds so loathly21
That you shall hate it both. Therefore take heed,
As Hymen’s23 lamps shall light you.
25 For quiet days, fair issue25 and long life,
With such love as ’tis now, the murkiest den,
The most opportune place, the strong’st27 suggestion
Our worser genius can, shall never melt
Mine honour into lust, to take away
30 The edge of that day’s celebration
When I shall think or31 Phoebus’ steeds are foundered,
Or night kept chained below.
Sit then and talk with her: she is thine own. Ferdinand and Miranda sit and talk
35 What, Ariel! My industrious servant, Ariel!
Enter Ariel
Did worthily perform, and I must use you
In such another trick. Go bring the rabble,39
40 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
Some vanity43 of mine art: it is my promise,
And they expect it from me.
And breathe twice and cry ‘so, so’,
Each one, tripping on his toe,
50 Will be here with mop and mow.50
Do you love me, master? No?
Till thou dost hear me call.
Exit
Too much the rein: the strongest oaths are straw
To th’fire i’th’blood:57 be more abstemious,
Or else goodnight58 your vow.
60 The white cold virgin snow upon my heart
Abates the ardour of my liver.61
Now come, my Ariel! Bring a corollary,63
Rather than want a spirit: appear, and pertly.64
65 No tongue! All eyes! Be silent.
Soft music. Enter Iris
Of wheat, rye, barley, vetches,67 oats and peas;
Thy turfy68 mountains, where live nibbling sheep,
And flat meads69 thatched with stover, them to keep:
70 Thy banks with pionèd70 and twillèd brims,
Which spongy71 April at thy hest betrims
To make cold72 nymphs chaste crowns; and thy broom-groves,
Whose shadow the dismissèd73 bachelor loves,
Being lass-lorn:74 thy poll-clipped vineyard,
75 And thy sea-marge75 sterile and rocky-hard,
Where thou thyself dost air:76 the queen o’th’sky,
Whose wat’ry arch77 and messenger am I,
Bids thee leave these,78 and with her sovereign grace,
Juno descends In her chariot
Here on this grass-plot, in this very place,
80 To come and sport.80 Her peacocks fly amain:
Approach, rich Ceres, her to entertain.
Enter Ceres
Dost disobey the wife of Jupiter:83
Who, with thy saffron84 wings, upon my flowers
85 Diffusest honey drops,85 refreshing showers,
And with each end of thy blue bow86 dost crown
My bosky87 acres and my unshrubbed down,
Rich scarf to my proud88 earth: why hath thy queen
Summoned me hither to this short-grassed green?
And some donation91 freely to estate
On the blest lovers.
If Venus94 or her son, as thou dost know,
95 Do now attend the queen? Since they did plot
The means that96 dusky Dis my daughter got,
Her and her blind boy’s97 scandaled company
I have forsworn.98
100 Be not afraid: I met her deity
Cutting the clouds towards Paphos,101 and her son
Dove-drawn102 with her. Here thought they to have done
Some wanton103 charm upon this man and maid,
Whose vows are that no bed-right104 shall be paid
105 Till Hymen’s105 torch be lighted — but in vain.
Mars’ hot minion106 is returned again:
Her waspish-headed107 son has broke his arrows,
Swears he will shoot no more, but play with sparrows,108
And be109 a boy right out.
Great Juno, comes: I know her by her gait.111 Juno alights
To bless this twain,113 that they may prosperous be,
And honoured in their issue.
They sing
Long continuance, and increasing,116
Hourly joys be still117 upon you,
Juno sings her blessings on you.
120 Barns and garners120 never empty,
Vines with clust’ring bunches growing,
Plants with goodly burden bowing:
Spring123 come to you at the farthest,
In the very end of harvest.
125 Scarcity and want shall shun you,
Ceres’ blessing so is on you.
Harmonious charmingly.128 May I be bold
To think these spirits?
I have from their confines called to enact
My present fancies.132
So rare a wondered134 father, and a wise,
135 Makes this place paradise.
Juno and Ceres whisper seriously:137
There’s something else to do. Hush, and be mute,
Or else our spell is marred.
Juno and Ceres whisper, and send Iris on employment
With your sedged141 crowns and ever-harmless looks,
Leave your crisp channels,142 and on this green land
Answer your summons: Juno does command.
Come, temperate144 nymphs, and help to celebrate
145 A contract of true love: be145 not too late.
Enter certain nymphs
You sunburned sicklemen146 of August weary,
Come hither from the furrow147 and be merry:
Make holiday: your rye-straw hats put on,
And these fresh nymphs encounter every one
150 In country footing.150
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
Of the beast Caliban and his confederates
Against my life: the minute of their plot
Is almost come.— Well done. Avoid:154 no more! To the spirits
That works him strongly.
Saw I him touched with anger, so distempered.158
160 As if you were dismayed: be cheerful, sir.
Our revels161 now are ended. These our actors,
As I foretold162 you, were all spirits and
Are melted into air, into thin air,
And, like the baseless164 fabric of this vision,
165 The cloud-capped towers, the gorgeous palaces,
The solemn temples, the great globe166 itself,
Yea, all167 which it inherit, shall dissolve,
And, like this insubstantial pageant168 faded,
Leave not a rack169 behind. We are such stuff
170 As dreams are made on; and our little life
Is rounded171 with a sleep. Sir, I am vexed,
Bear with my weakness, my old brain is troubled:
Be not disturbed with my infirmity.
If you be pleased, retire into my cell174
175 And there repose. A turn or two I’ll walk
To still my beating mind.
Exeunt [Ferdinand and Miranda]
Enter Ariel
I thought to have told thee of it, but I feared
Lest I might anger thee.
So full of valour that they smote186 the air
For breathing in their faces, beat the ground
For kissing of their feet: yet always bending188
Towards their project. Then I beat my tabor,
190 At which, like unbacked colts,190 they pricked their ears,
Advanced191 their eyelids, lifted up their noses
As192 they smelt music: so I charmed their ears,
That calf-like they my lowing193 followed through
Toothed194 briars, sharp furzes, pricking gorse and thorns,
195 Which entered their frail shins: at last I left them
I’th’filthy-mantled196 pool beyond your cell,
There dancing up to th’chins, that197 the foul lake
O’erstunk their feet.
200 Thy200 shape invisible retain thou still:
The trumpery201 in my house, go bring it hither,
For stale202 to catch these thieves.
Exit
205 Nurture can never stick: on whom my pains,
Humanely206 taken, all, all lost, quite lost.
And as with age his body uglier grows,
So his mind cankers.208 I will plague them all,
Even to roaring.209 Come, hang them on this line.
Enter Ariel, loaden with glistering apparel etc. Ariel hangs up the finery
Enter Caliban, Stephano and Trinculo, all wet Prospero and Ariel stand apart
220 Be patient, for the prize I’ll bring thee to
Shall hoodwink this mischance:221 therefore speak softly,
All’s hushed as midnight yet.
230 This is the mouth o’th’cell: no noise, and enter.
Do that good mischief231 which may make this island
Thine own forever, and I thy Caliban
For aye233 thy foot-licker.
To dote thus on such luggage?242 Let’s alone
And do the murder first: if he awake,
From toe to crown he’ll fill our skins with pinches,
245 Make245 us strange stuff.
255 And all be turned to barnacles,255 or to apes
With foreheads villainous256 low.
A noise of hunters heard. Enter diverse spirits, in shape of dogs and hounds, hunting them about, Prospero and Ariel setting them on
Go, charge my goblins that they grind264 their joints
265 With dry convulsions,265 shorten up their sinews To Ariel
With agèd cramps,266 and more pinch-spotted make them
Than pard267 or cat o’mountain.
270 Lies at my mercy all mine enemies:
Shortly shall all my labours end, and thou
Shalt have the air at freedom:272 for a little,
Follow, and do me service.
Exeunt
Enter Prospero in his magic robes, and Ariel
My charms crack not,2 my spirits obey, and Time
Goes upright with his carriage. How’s the day?3
5 You said our work should cease.
When first I raised the tempest. Say, my spirit,
How fares the king and’s followers?
10 In the same fashion as you gave in charge,10
Just as you left them; all prisoners, sir,
In the line-grove12 which weather-fends your cell:
They cannot budge till your release. The king,
His brother, and yours abide14 all three distracted,
15 And the remainder mourning over them,
Brimful of sorrow and dismay: but chiefly
Him that you termed,17 sir, the good old lord Gonzalo:
His tears run down his beard, like winter’s18 drops
From eaves of reeds. Your charm so strongly works ’em
20 That if you now beheld them, your affections20
Would become tender.
25 Hast thou, which art but air, a touch, a feeling
Of their afflictions, and shall not myself,
One of their kind, that relish27 all as sharply
Passion as they, be kindlier moved28 than thou art?
Though with their high29 wrongs I am struck to th’quick,
30 Yet with my nobler reason gainst my fury
Do I take part:31 the rarer action is
In virtue than32 in vengeance. They being penitent,
The sole drift33 of my purpose doth extend
Not a frown further. Go, release them, Ariel:
35 My charms I’ll break, their senses I’ll restore,
And they shall be themselves.
Exit
And ye that on the sands with printless foot39
40 Do chase the ebbing Neptune, and do fly40 him
When he comes back: you demi-puppets41 that
By moonshine do the green sour ringlets42 make,
Whereof the ewe not bites:43 and you whose pastime
Is to make midnight mushrooms,44 that rejoice
45 To hear the solemn curfew,45 by whose aid —
Weak masters46 though ye be — I have bedimmed
The noontide sun, called forth the mutinous winds,
And ’twixt the green sea and the azured vault48
Set roaring war:49 to the dread rattling thunder
50 Have I given fire,50 and rifted Jove’s stout oak
With his own bolt: the strong-based51 promontory
Have I made shake and by the spurs52 plucked up
The pine and cedar. Graves at my command
Have waked their sleepers, oped,54 and let ’em forth
55 By my so potent art. But this rough55 magic Prospero traces a circle with his staff
I here abjure:56 and when I have required
Some heavenly music — which even now I do —
To work mine end58 upon their senses that
This airy charm is for, I’ll break my staff,
60 Bury it certain60 fathoms in the earth,
And deeper than did ever plummet61 sound
I’ll drown my book.
Solemn music. Here enters 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,63 and the best comforter To Alonso
To an unsettled fancy,64 cure thy brains,
65 Now useless, boil65 within thy skull!— There stand, To Sebastian and Antonio
For you are spell-stopped.66
Holy Gonzalo, honourable man, To Gonzalo
Mine eyes, ev’n sociable68 to the show of thine,
Fall fellowly69 drops.— The charm dissolves apace, Aside
70 And as the morning steals upon the night,
Melting the darkness, so their rising71 senses
Begin to chase the ignorant72 fumes that mantle
Their clearer reason.— O good Gonzalo,
My true74 preserver, and a loyal sir
75 To him thou follow’st,75 I will pay thy graces
Home both in word and deed.— Most cruelly
Didst thou, Alonso, use me and my daughter:
Thy brother was a furtherer78 in the act.—
Thou art pinched for’t now, Sebastian.— Flesh and blood, To Antonio
80 You, brother mine, that entertain80 ambition,
Expelled remorse and nature:81 whom, with Sebastian —
Whose inward pinches82 therefore are most strong —
Would here have killed your king: I do forgive thee,
Unnatural though thou art. Their understanding
85 Begins to swell, and the85 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 hat89 and rapier in my cell:
90 I will discase90 me, and myself present
As91 I was sometime Milan. Quickly, spirit:
Thou shalt ere long be free. Ariel gets hat and rapier, returns immediately
Ariel sings and helps to attire him:
In a cowslip’s bell94 I lie:
95 There I couch95 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.
Thee: but yet thou shalt have freedom. So, so, so. Arranges his attire
To the king’s ship, invisible as thou art:
There shalt thou find the mariners asleep
Under the hatches: the master and the boatswain
105 Being awake, enforce105 them to this place;
And presently,106 I prithee.
Or ere108 your pulse twice beat.
110 Inhabits here: some heavenly power guide us
Out of this fearful111 country!
The wrongèd Duke of Milan, Prospero:
For more assurance that a living prince
115 Does now speak to thee, I embrace thy body,
And to thee and thy company, I bid Embraces him
A hearty welcome.
Or some enchanted trifle119 to abuse me —
120 As late I have been — I not know: thy pulse
Beats as of flesh and blood: and since I saw thee
Th’affliction of my mind amends,122 with which
I fear a madness held me: this must crave —
An if this be at all124 — a most strange story.
125 Thy125 dukedom I resign, and do entreat
Thou pardon me my wrongs. But how should Prospero
Be living and be here?
Let me embrace thine age, whose honour cannot
130 Be measured or confined.
Or be not, I’ll not swear.
Some subtleties134 o’th’isle, that will not let you
135 Believe things certain. Welcome, my friends all.—
But you, my brace136 of lords, were I so minded, Aside to Sebastian and Antonio
I here could pluck his highness’ frown upon you,
And justify you138 traitors: at this time,
I will tell no tales.
For you, most wicked sir, whom to call brother To Antonio
Would even infect my mouth, I do forgive
Thy rankest144 fault — all of them — and require
145 My dukedom of thee, which perforce145 I know
Thou must restore.
Give us particulars of thy preservation:
How thou hast met us here, whom three hours since
150 Were wrecked upon this shore? Where I have lost —
How sharp the point of this remembrance is —
My dear son Ferdinand.
155 Says it is past her cure.
You have not sought her help, of whose soft grace
For the like158 loss, I have her sovereign aid,
And rest myself content.159
To make the dear loss have I means much weaker
Than you may call to comfort you: for I
Have lost my daughter.
O heavens, that they were living both in Naples,
The king and queen there! That167 they were, I wish
Myself were mudded in that oozy bed
Where my son lies. When did you lose your daughter?
At this encounter do171 so much admire
That they devour their reason172 and scarce think
Their173 eyes do offices of truth: their words
Are natural breath. But, howsoe’er you have
175 Been justled175 from your senses, know for certain
That I am Prospero, and that very duke
Which was thrust forth of Milan, who most strangely
Upon this shore, where you were wrecked, was landed
To be the lord on’t.179 No more yet of this,
180 For ’tis a chronicle180 of day by day,
Not a relation181 for a breakfast, nor
Befitting this first meeting. Welcome, sir:
This cell’s my court: here have I few attendants,
And subjects none abroad:184 pray you look in.
185 My dukedom since you have given me again,
I will requite186 you with as good a thing,
At least bring forth a wonder,187 to content ye
As much as me my dukedom.
Here Prospero discovers Ferdinand and Miranda playing at chess
I would not for the world.
And I would call it fair play.
195 A vision of the island, one dear son
Shall I twice lose.
I have cursed them without cause. Kneels
Of a glad father compass201 thee about.
Arise, and say how thou cam’st here.
How many goodly204 creatures are there here!
205 How beauteous mankind is! O brave new world,
That has such people in’t.
Your eld’st209 acquaintance cannot be three hours:
210 Is she the goddess that hath severed us,
And brought us thus together?
But by immortal providence, she’s mine:
I chose her when I could not ask my father
215 For his advice, nor thought I had one.215 She
Is daughter to this famous Duke of Milan,
Of whom so often I have heard renown,217
But never saw before: of whom I have
Received a second life: and second father
220 This lady makes him to me.
But, O, how oddly will it sound that I
Must ask my child forgiveness.
225 Let us not burden our remembrances with
A heaviness226 that’s gone.
Or should have spoke ere this. Look down you gods,
And on this couple drop a blessèd crown.
230 For it is you that have chalked forth230 the way
Which brought us hither.
Should become kings of Naples? O, rejoice
235 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
Where he himself was lost, Prospero his dukedom
240 In a poor isle, and all of us our selves
When no man was his own.
Let grief and sorrow still243 embrace his heart
That doth not wish you joy.
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,248 To Boatswain
That swear’st grace o’erboard, not an oath on shore?
250 Hast thou no mouth by land? What is the news?
Our king and company: the next, our ship,
Which but three glasses253 since we gave out split,
Is tight and yare254 and bravely rigged as when
255 We first put out to sea.
Have I done since I went.
260 From strange to stranger. Say, how came you hither?
I’d strive to tell you. We were dead of sleep,
And — how we know not — all clapped under hatches,263
Where, but even now, with strange and several264 noises
265 Of roaring, shrieking, howling, jingling chains,
And more diversity of sounds, all horrible,
We were awaked: straightway at liberty,267
Where we, in all our trim,268 freshly beheld
Our royal, good and gallant ship, our master
270 Cap’ring270 to eye her. On a trice, so please you,
Even in a dream, were we divided from them
And were brought moping272 hither.
And there is in this business more than nature
Was ever conduct277 of: some oracle
Must rectify our knowledge.
280 Do not infest your mind with beating280 on
The strangeness of this business. At picked leisure281 —
Which shall be shortly single282 — I’ll resolve you,
Which283 to you shall seem probable, of every
These happened accidents.284 Till when, be cheerful
285 And think of each thing well.285— Come hither, spirit, Aside to Ariel
Set Caliban and his companions free:
Untie the spell.—
[Exit Ariel]
How fares my gracious sir? To Alonso
There are yet missing of your company
Some few odd lads that you remember not.
Enter Ariel, driving in Caliban, Stephano and Trinculo, in their stolen apparel
How fine my master is! I am afraid
295 He will chastise me.
What things are these, my lord Antonio?
Will money buy ’em?
300 Is a plain fish, and no doubt marketable.
Then say if they be true.302 This misshapen knave,
His mother was a witch, and one so strong
That could control the moon, make flows and ebbs,
305 And305 deal in her command without her power:
These three have robbed me, and this demi-devil —
For he’s a bastard307 one — had plotted with them
To take my life. Two of these fellows you
Must know and own: this thing of darkness I
310 Acknowledge mine.
315 Find this grand liquor that hath gilded315 ’em?
How cam’st thou in this pickle?316 To Trinculo
325 As in his shape. Go, sirrah, to my cell:
Take with you your companions: as you look
To have my pardon, trim it handsomely.327
And seek for grace.329 What a thrice-double ass
330 Was I to take this drunkard for a god
And worship this dull fool!
[Exeunt Caliban, Stephano and Trinculo]
To my poor cell, where you shall take your rest
For this one night: which, part of it, I’ll waste337
With such discourse as I not doubt shall make it
Go quick away: the story of my life
340 And the particular accidents340 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,344
345 And thence retire me to my Milan, where
Every third thought346 shall be my grave.
To hear the story of your life, which must
Take349 the ear strangely.
And promise you calm seas, auspicious gales
And sail so expeditious352 that shall catch
Your royal fleet far off.— My Ariel, chick,
That is thy charge: then to the elements
355 Be free, and fare thou well.— Please you, draw near.355
Exeunt [all but Prospero]
Now my charms356 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,359
360 Or sent to Naples. Let me not,
Since I have my dukedom got
And pardoned the deceiver, dwell
In this bare island by your spell,
But release me from my bands364
365 With the help of your good hands:365
Gentle breath366 of yours my sails
Must fill, or else my project fails,
Which was to please. Now I want368
Spirits to enforce, art to enchant,
370 And my ending is despair,
Unless I be relieved by prayer,371
Which pierces372 so, that it assaults
Mercy itself, and frees all faults.
As you from crimes would pardoned be,
375 Let your indulgence375 set me free. Awaits applause
Exit
F = First Folio text of 1623, the only authority for the play
F2 = a correction introduced in the Second Folio text of 1632
Ed = a correction introduced by a later editor
SD = stage direction
SH = speech heading (i.e., speaker’s name)
List of parts based on “Names of the Actors” (reordered) at end of F text
1.1.7 SD Ferdinand = Ed. F = Ferdinando 50 wi’th’ = Ed. F = with’
1.2.129 wi’th’ = Ed. F = with 202 princes = Ed. F = Princesse (old spelling of ‘princes’) 330 she = Ed. F = he
2.2.139 trencher = Ed. F = trenchering
3.1.2 sets = Ed. F = set 15 least = F2. F = lest
3.2.106 scout = Ed. F = cout (107 F = skowt)
3.3.2 ache = F2. F = akes 34 islanders = F2. F = Islands
4.1.12 gainst = Ed. F = Against (beginning new half-line) 13 guest = F. Some eds emend to gift. 57 abstemious = F2. F = abstenious 67 vetches spelled Fetches in F 80 Her = Ed. F = here 119 SH CERES = Ed. (no change of singer in F) 134 wise = F. Some eds emend to wife 209 them on = Ed. F = on them
5.1.18 run = F2. F = runs 77 Didst = F (catchword on sig. B2v; text reads Did) 87 lies = Ed. F = ly 118 Whether = Ed. F = Where 291 Coraggio…coraggio = F2. F = Coragio…Corasio