The Tempest

Act I, Scene I. A tempestuous noise of thunder and lightning In 1611, when Shakespeare's The Tempest was first performed, theatres used a mechanism known as a thunder machine, which was essentially a long wooden box balanced like a seesaw, containing a large cannon ball that when rolled around produced a loud noise resembling thunder. To create the effect of lightening, stage hands would prepare powdered resin which would be thrown onto a flame. Lighting a firecracker attached to a wire extending from the roof of the stage to the floor would create the illusion of a lightening bolt ("Special Effects").. Enter a Ship-master and a Boatswain Master Boatswain! Pronounced "bosun," a boatswain is the person who manages the crew of a ship and the ship's equipment (OED n.1). Boatswain Here, master: what cheer? Master Good, speak to the mariners: fall to't, yarely Now archaic, yarely derives from the Old English and means quick or nimble action (OED adv)., or we run ourselves aground: bestir, bestir. Exit Enter Mariners Boatswain Heigh, my hearts! cheerly, cheerly, my hearts! yare, yare! Take in the topsail. Tend to the master's whistle. Blow, till thou burst thy wind Here, the boatswain is directly addressing the tempest, challenging it to rage until it is out of wind, possibly in an attempt to encourage the men on deck to remain strong., if room enough! Enter Alonso, Sebastian, Antonio, Ferdinand, Gonzalo, and others Alonso Good boatswain, have care. Where's the master? Play the men According to the OED (I.1), "play" in this sense was used as an intransitive verb in the 1400s, meaning to engage something or someone in activity. Here, Alonso commands the boatswain to put his crew to work.. Boatswain I pray now, keep below. Antonio Where is the master, boatswain? Boatswain Do you not hear him? You mar our labour: keep your cabins: you do assist the storm. Gonzalo Nay, good, be patient. Boatswain When the sea is. Hence! What cares these roarers for the name of king? To cabin: silence! trouble us not. Gonzalo Good, yet remember whom thou hast aboard. Boatswain None that I more love than myself. You are a counsellor; if you can command these elements to silence, and work the peace of the present, we will not hand a rope more; use your authority: if you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap. Cheerly, good hearts! Out of our way, I say. Exit Gonzalo I have great comfort from this fellow: methinks he hath no drowning mark Gonzalo takes comfort from his belief that the boatswain's destiny in death is fated for the gallows (death by hanging), which disqualifies him for a death caused by drowning. upon him; his complexion is perfect gallows. Stand fast, good Fate, to his hanging: make the rope of his destiny our cable, for our own doth little advantage. If he be not born to be hanged, our case is miserable. Exeunt Re-enter Boatswain Boatswain Down with the topmast! yare! lower, lower! Bring her to try with main-course. A cry within A plague upon this howling! they are louder than the weather or our office. Re-enter Sebastian, Antonio, and Gonzalo Yet again! what do you here? Shall we give o'er and drown? Have you a mind to sink? Sebastian A pox o' your throat, you bawling, blasphemous, incharitable dog! Boatswain Work you then. Antonio Hang, cur! hang, you whoreson, insolent noisemaker! We are less afraid to be drowned than thou art. Gonzalo I'll warrant him for drowning; though the ship were no stronger than a nutshell and as leaky as an unstanched wench Gonzalo is comparing the ship to "an / unstanched wench." According to Shakespeare Navigator, which draws on the OED definition of "staunch," calling the boat an "unstanched wench" may be comparing the boat to a woman (a "wench") on her menstrual cycle. However, the verb "stanch" also suggests satisfying a desire (OED v3a), and it derives from the Old French that also means to make a ship watertight.. Boatswain Lay her a-hold, a-hold! set her two courses The Boatswain calls for the ship to be directed "two courses off to / sea." According to the OED, "two courses" has a specific nautical meaning, referring to the points on the compass where the ship is directed (course, n. 12a-b). off to sea again; lay her off. Enter Mariners wet Mariners All lost! to prayers, to prayers! all lost! Boatswain What, must our mouths be cold According to the Arden Shakespeare edition of The Tempest, the boatswain is wondering if, even if after all his efforts, the sailors must drown, or have their mouths become cold from drowning.? Gonzalo The king and prince at prayers! let's assist them, For our case is as theirs. Sebastian I'm out of patience. Antonio We are merely cheated of our lives by drunkards: This wide-chapp'd rascal--would thou mightst lie drowning The washing of ten tides The washing of a tide is the act of sea water flowing up the shore during a high tide (OED, wash, III.12b). The Arden edition of The Tempest notes that pirates would be condemned to hang at the shore for the length of three tides. Antonio here is extending that length of time for the boatswain, whom he imagines would "lie drowning / [for the] washing of ten tides."! Gonzalo He'll be hang'd yet, Though every drop of water swear against it And gape at widest to glut him. A confused noise within: 'Mercy on us!'-- 'We split The ship is splitting in half., we split!'--'Farewell, my wife and children!'-- 'Farewell, brother!'--'We split, we split, we split!' Antonio Let's all sink with the king. Sebastian Let's take leave of him. Exeunt Antonio and Sebastian Gonzalo Now would I give a thousand furlongs of sea for an acre of barren ground, long heath, brown furze, any thing. The wills above be done! but I would fain die a dry death. Exeunt

Scene II. [The island. Before Prospero's cell.] Enter Prospero and Miranda Miranda If by your art, my dearest father It is often thought that Prospero was modeled by Shakespeare on John Dee , a well-known polymath, magus, and advisor to Queen Elizabeth I. According to the British Library, a magus someone who "understands the cosmos and man's place in it [sic]" through knowledge and experimentation in fields such as chemistry (then alchemy), mathematics, astrology, and hermetic studies of religion and culture. A "controversial figure" and force of both good and evil, the magus sought to attain ultimate wisdom about the working of the universe. The image included here, from the British Library, shows (right to left) Dee’s spirit mirror showstone, a crystal ball, mystically engraved wax discs, a wooden case, and an engraved gold disc illustrating a vision of Dee’s colleague, Edward Kelley. Dee's "showstone' was a reflective piece of volcanic ash he would use to conjure and converse with angels, recording his conversations into his ‘angelic diaries’. As an advisor to Queen Elizabeth I , Dee advocated for imperial expansion into the New World. To learn more about Dee's advocacy of the British Empire in the Atlantic, see Glyn Parry's scholarly article, "John Dee and the Elizabethan British Empire in Its European Context." , you have Put the wild waters in this roar, allay them. The sky, it seems, would pour down stinking pitch Miranda here imagines the stormy sky raining "stinking pitch" instead of water. Pitch is a resin commonly used for waterproofing boats., But that the sea, mounting to the welkin's cheek The welkin is a poetic and now archaic term referring to the sky. Miranda uses figurative language to describe the the height of the waves, which "[mount or rise] to the welkin's cheek.", Dashes the fire The lightening. out. O, I have suffered With those that I saw suffer: a brave vessel, Who had, no doubt, some noble creature in her, Dash'd all to pieces. O, the cry did knock Against my very heart. Poor souls, they perish'd. Had I been any god of power, I would Have sunk the sea within the earth or ere It should the good ship so have swallow'd and The fraughting souls within her. Prospero Be collected: No more amazement: tell your piteous heart There's no harm done. Miranda O, woe the day! Prospero No harm. I have done nothing but in care of thee, Of thee, my dear one, thee, my daughter, who Art ignorant of what thou art, nought knowing Of whence I am, nor that I am more better Than Prospero, master of a full poor cell A very small or humble dwelling., And thy no greater father. Miranda More to know Did never meddle with my thoughts. Prospero 'Tis time I should inform thee farther. Lend thy hand, And pluck my magic garment from me. So: Lays down his mantle Lie there, my art. Prospero is speaking to his robe, calling it his "art," and suggesting to us that the robe is lain down on some surface by Miranda.. Wipe thou thine eyes; have comfort. The direful spectacle of the wreck, which touch'd The very virtue of compassion in thee, I have with such provision in mine art So safely ordered that there is no soul-- No, not so much perdition as an hair Betid Befell or happened to (OED). to any creature in the vessel Which thou heard'st cry, which thou saw'st sink. Sit down; For thou must now know farther. Miranda You have often Begun to tell me what I am, but stopp'd And left me to a bootless inquisition Ineffective questioning (OED)., Concluding 'stay: not yet.' Prospero The hour's now come; The very minute bids thee ope thine ear; Obey and be attentive. Canst thou remember A time before we came unto this cell? I do not think thou canst, for then thou wast not Out three years old. Miranda Certainly, sir, I can. Prospero By what? by any other house or person? Of any thing the image tell me that Hath kept with thy remembrance. Miranda 'Tis far off And rather like a dream than an assurance That my remembrance warrants. Had I not Four or five women once that tended me? Prospero Thou hadst, and more, Miranda. But how is it That this lives in thy mind? What seest thou else In the dark backward and abysm An immense depth, a chasm which seems to have no end (OED). of time? If thou remember'st aught ere Aught is an archaic adverb which means "to any extent, in any respect, at all" (OED C.1), and "ere" means before or formerly (OED 4.a). thou camest here, How thou camest here thou mayst. Miranda But that I do not. Prospero Twelve year since, Miranda, twelve year since, Thy father was the Duke of Milan and A prince of power. Miranda Sir, are not you my father? Prospero Thy mother was a piece of virtue, and She said thou wast my daughter; and thy father Was Duke of Milan; and thou his only heir And princess no worse issued. Miranda O the heavens! What foul play had we, that we came from thence? Or blessed was't we did? Prospero Both, both, my girl: By foul play, as thou say'st, were we heaved thence, But blessedly holp This is the past participle of the word "help," spelled this way from the 14th to the 17th century (OED). hither. Miranda O, my heart bleeds To think o' the teen Now rarely used, teen is a noun that refers to suffering or pain (OED n. 2a). that I have turn'd you to, Which is from my remembrance! Please you, farther. Prospero My brother and thy uncle, call'd Antonio-- I pray thee, mark me--that a brother should Be so perfidious!--he whom next thyself Of all the world I loved and to him put The manage of my state; as at that time Through all the signories A historical term referring to governing bodies or assemblies specifically of an Italian state (OED n, 5). it was the first And Prospero the prime duke, being so reputed In dignity, and for the liberal arts Without a parallel; those being all my study, The government I cast upon my brother And to my state grew stranger, being transported And rapt in secret studies. Thy false uncle-- Dost thou attend me? Miranda Sir, most heedfully. Prospero Being once perfected how to grant suits, How to deny them, who to advance and who To trash for over-topping, new created The creatures that were mine, I say, or changed 'em, Or else new form'd 'em; having both the key Of officer and office, set all hearts i' the state To what tune pleased his ear; that now he was The ivy which had hid my princely trunk, And suck'd my verdure According to the OED, this refers to the freshness of a flourishing green plant. out on't. Thou attend'st not. Miranda O, good sir, I do. Prospero I pray thee, mark me. I, thus neglecting worldly ends, all dedicated To closeness and the bettering of my mind With that which, but by being so retired, O'er-prized all popular rate, in my false brother Awaked an evil nature; and my trust, Like a good parent, did beget of him A falsehood in its contrary as great As my trust was; which had indeed no limit, A confidence sans bound. He being thus lorded, Not only with what my revenue yielded, But what my power might else exact, like one Who having into truth, by telling of it, Made such a sinner of his memory, To credit his own lie, he did believe He was indeed the duke; out o' the substitution And executing the outward face of royalty, With all prerogative: hence his ambition growing-- Dost thou hear? Miranda Your tale, sir, would cure deafness. Prospero To have no screen between this part he play'd And him he play'd it for, he needs will be Absolute Milan. Me, poor man, my library Was dukedom large enough: of temporal royalties He thinks me now incapable; confederates-- So dry he was for sway--wi' the King of Naples To give him annual tribute, do him homage, Subject his coronet to his crown and bend The dukedom yet unbow'd--alas, poor Milan!-- To most ignoble According to the OED, ignoble is defined as being dishonorable in terms of character or intent. stooping. Miranda O the heavens! Prospero Mark his condition and the event; then tell me If this might be a brother. Miranda I should sin To think but nobly of my grandmother: Good wombs have borne bad sons. Prospero Now the condition. The King of Naples, being an enemy To me inveterate Entrenched, long-standing, persistent, with the suggestion of disease (OED)., hearkens my brother's suit; Which was, that he, in lieu o' the premises Of homage and I know not how much tribute, Should presently extirpate me and mine Out of the dukedom and confer fair Milan With all the honours on my brother: whereon, A treacherous army levied, one midnight Fated to the purpose did Antonio open The gates of Milan, and, i' the dead of darkness, The ministers for the purpose hurried thence Me and thy crying self. Miranda Alack, for pity! I, not remembering how I cried out then, Will cry it o'er again: it is a hint That wrings mine eyes to't. Prospero Hear a little further And then I'll bring thee to the present business Which now's upon's; without the which this story Were most impertinent. Miranda Wherefore did they not That hour destroy us? Prospero Well demanded, wench: My tale provokes that question. Dear, they durst An archaic past tense of the verb "to dare" (OED). not, So dear the love my people bore me, nor set A mark so bloody on the business, but With colours fairer painted their foul ends. In few, they hurried us aboard a bark A bark is a small boat., Bore us some leagues to sea; where they prepared A rotten carcass of a boat, not rigg'd, Nor tackle, sail, nor mast; the very rats Instinctively had quit it: there they hoist us, To cry to the sea that roar'd to us, to sigh To the winds whose pity, sighing back again, Did us but loving wrong. Miranda Alack, what trouble Was I then to you! Prospero O, a cherubim A cherub is a biblical angel, with a related sense common in the early 17th century that also means a beloved woman (OED n. 5b). Thou wast that did preserve me. Thou didst smile. Infused with a fortitude from heaven, When I have deck'd the sea with drops full salt, Under my burthen An alternative spelling of burden. groan'd; which raised in me An undergoing stomach, to bear up Against what should ensue. Miranda How came we ashore? Prospero By Providence divine. Some food we had and some fresh water that A noble Neapolitan, Gonzalo, Out of his charity, being then appointed Master of this design, did give us, with Rich garments, linens, stuffs and necessaries, Which since have steaded much; so, of his gentleness, Knowing I loved my books, he furnish'd me From mine own library with volumes that I prize above my dukedom. Miranda Would I might But ever see that man! Prospero Now I arise: Resumes his mantle Sit still, and hear the last of our sea-sorrow. Here in this island we arrived; and here Have I, thy schoolmaster, made thee more profit Than other princesses can that have more time For vainer hours and tutors not so careful. Miranda Heavens thank you for't! And now, I pray you, sir, For still 'tis beating in my mind, your reason For raising this sea-storm? Prospero Know thus far forth. By accident most strange, bountiful Fortune, Now my dear lady, hath mine enemies Brought to this shore; and by my prescience Prescience is both a quality attributed to God and the characteristic of foresight that a human might possess (OED). I find my zenith A term from astronomy, the zenith is the highest point the sun or moon reaches in the sky (OED). doth depend upon A most auspicious star, whose influence If now I court not but omit, my fortunes Will ever after droop. Here cease more questions: Thou art inclined to sleep; 'tis a good dulness, And give it way The Arden edition of The Tempest glosses this as "succumb to it." Prospero is commanding Miranda to fall asleep.: I know thou canst not choose. Miranda sleeps Come away, servant, come. I am ready now. Approach, my Ariel, come. Enter Ariel After Miranda falls asleep, Prospero is typically understood to put his magical robe back on as Ariel comes onto the stage. The image here, an engraving after Henry Fusili, shows a late 18th century rendition of Miranda, Prospero, Caliban, and the airy spirit Ariel (Metropolitan Museum of Art). Ariel All hail, great master! grave sir, hail! I come To answer thy best pleasure; be't to fly, To swim, to dive into the fire, to ride On the curl'd clouds, to thy strong bidding task Ariel and all his quality. Prospero Hast thou, spirit, Perform'd to point the tempest that I bade thee? Ariel To every article. I boarded the king's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement: sometime I'ld divide, And burn in many places; on the topmast, The yards and bowsprit, would I flame distinctly, Then meet and join. Jove's lightnings Jove, more famously known as Jupiter, is the most powerful Roman God and is known to overthrow his enemies using his bolt of lightening. His Greek equivalent is Zeus. , the precursors O' the dreadful thunder-claps, more momentary And sight-outrunning were not; the fire and cracks Of sulphurous roaring the most mighty Neptune Seem to besiege and make his bold waves tremble, Yea, his dread trident shake. Prospero My brave spirit! Who was so firm, so constant, that this coil Would not infect his reason? Ariel Not a soul But felt a fever of the mad and play'd Some tricks of desperation. All but mariners Plunged in the foaming brine and quit the vessel, Then all afire with me: the king's son, Ferdinand, With hair up-staring,--then like reeds, not hair,-- Was the first man that leap'd; cried, 'Hell is empty And all the devils are here.' Prospero Why that's my spirit! But was not this nigh An old fashioned way of saying nearby or almost (OED). shore? Ariel Close by, my master. Prospero But are they, Ariel, safe? Ariel Not a hair perish'd; On their sustaining garments not a blemish, But fresher than before: and, as thou badest me, In troops I have dispersed them 'bout the isle. The king's son have I landed by himself; Whom I left cooling of the air with sighs In an odd angle of the isle and sitting, His arms in this sad knot Sleeping crossed armed (The Arden Shakespeare edition of The Tempest). Prospero Of the king's ship The mariners say how thou hast disposed And all the rest o' the fleet. Ariel Safely in harbour Is the king's ship; in the deep nook, where once Thou call'dst me up at midnight to fetch dew From the still-vex'd Bermoothes The Island of Bermuda was devoid of any habitation by indigenous groups before it was discovered by accident by the Spanish sailor Juan Bermúdez in 1503. A flotilla from England, includng the Sea Venture, was shipwrecked here on their way to restock the Jamestown Colony in Virginia (Virginia was named after Elizabeth I, the "Virgin Queen," and Jamestown, after King James I ). The wreck of the Sea Venture in 1609, is thought to be a contemporary inspiration for The Tempest. After almost a year, the crew was largely able to leave the Island with ships they built during that time. The Island wasn’t colonized until the seventeenth century, after the crew of the Sea Venture returned to England with their tale. Enslaved people were first brought to the Island in 1617. The image included here shows a 17th century map of the Island of Bermuda by Willem Janszoon Blaeu, from the Norman B. Leventhal Map Center. Content of annotation sourced from Barry Lawrence Ruderman., there she's hid: The mariners all under hatches stow'd; Who, with a charm join'd to their suffer'd labour, I have left asleep; and for the rest o' the fleet Which I dispersed, they all have met again And are upon the Mediterranean flote, Supposing that they saw the king's ship wreck'd And his great person perish. Prospero Ariel, thy charge Exactly is perform'd: but there's more work. What is the time o' the day? Ariel Past the mid season. Prospero At least two glasses Two hourglasses past midday would be 2 p.m. (The Arden Shakespeare edition of The Tempest).. The time 'twixt six and now Whatever Prospero is planning must happen between 2 and 6 p.m. (The Arden Shakespeare edition of The Tempest). It is important to keep in mind that in Elizabethan England, plays would have typically been performed in the afternoon. The action of the play roughly corresponds to the duratioon of the play being acted. Must by us both be spent most preciously. Ariel Is there more toil? Since thou dost give me pains, Let me remember thee what thou hast promised, Which is not yet perform'd me. Prospero How now? moody? What is't thou canst demand? Ariel My liberty. Prospero Before the time be out? no more! Ariel I prithee, Remember I have done thee worthy service; Told thee no lies, made thee no mistakings, served Without or grudge or grumblings: thou didst promise To bate me a full year. Prospero Dost thou forget From what a torment I did free thee? Ariel No. Prospero Thou dost, and think'st it much to tread the ooze Of the salt deep, To run upon the sharp wind of the north, To do me business in the veins o' the earth When it is baked with frost. Ariel I do not, sir. Prospero Thou liest, malignant thing! Hast thou forgot The foul witch Sycorax, who with age and envy Was grown into a hoop A hoop is a circular band; here, the witch Sycorax has acquired a hunchback with age (The Arden Shakespeare edition of The Tempest).? hast thou forgot her? Ariel No, sir. Prospero Thou hast. Where was she born? speak; tell me. Ariel Sir, in Argier Sycorax seems to have been born in Argier or Algiers, the capital and chief sea port of Algeria in North Africa, on the Mediterranean coast. Invaded throughout its history, Algiers rose to prominence under the Berber dynasties in the 10th century. Algiers became became home to many Muslim and Jewish refugees escaping Spain in the begining of the 16th century. At the time The Tempest was written, Algiers was under Ottoman rule, and it became associated with piracy (Britannica). The image included here, from the Library of Congress’ first volume of Civitates Orbis Terrarum (1588), shows the white buildings of the fort--and which gave it its French name, “Alger la Blanche” (El-Bahdja in Arabic).. Prospero O, was she so? I must Once in a month recount what thou hast been, Which thou forget'st. This damn'd witch Sycorax, For mischiefs manifold and sorceries terrible To enter human hearing, from Argier, Thou know'st, was banish'd: for one thing she did They would not take her life. Is not this true? Ariel Ay, sir. Prospero This blue-eyed hag was hither brought with child And here was left by the sailors. Thou, my slave, As thou report'st thyself, wast then her servant; And, for thou wast a spirit too delicate To act her earthy and abhorr'd commands, Refusing her grand hests, she did confine thee, By help of her more potent ministers And in her most unmitigable rage, Into a cloven pine; within which rift Imprison'd thou didst painfully remain A dozen years; within which space she died And left thee there; where thou didst vent thy groans As fast as mill-wheels strike Denoting how frequently a millwheel blade would strike the water (The Arden Shakespeare edition of The Tempest).. Then was this island-- Save for the son that she did litter here, A freckled whelp hag-born--not honour'd with A human shape. Ariel Yes, Caliban her son. Prospero Dull thing, I say so; he, that Caliban Whom now I keep in service. Thou best know'st What torment I did find thee in; thy groans Did make wolves howl and penetrate the breasts Of ever angry bears: it was a torment To lay upon the damn'd, which Sycorax Could not again undo: it was mine art, When I arrived and heard thee, that made gape The pine and let thee out. Ariel I thank thee, master. Prospero If thou more murmur'st, I will rend an oak And peg thee in his knotty entrails till Thou hast howl'd away twelve winters. Ariel Pardon, master; I will be correspondent to command And do my spiriting gently. Prospero Do so, and after two days I will discharge thee. Ariel That's my noble master! What shall I do? say what; what shall I do? Prospero Go make thyself like a nymph o' the sea: be subject To no sight but thine and mine, invisible Here, Prospero hands Ariel a robe that represents a sea-nymph. Whenever the audience later sees Ariel in this robe, they are to assume that he is invisible to every other character on stage save Prospero (The Arden Shakespeare edition of The Tempest). To every eyeball else. Go take this shape And hither come in't: go, hence with diligence! Exit Ariel Awake Ariel exits the stage. He now speaks to Miranda., dear heart, awake! thou hast slept well; Awake! Miranda The strangeness of your story put Heaviness Miranda is unaware that her father put her to sleep. in me. Prospero Shake it off. Come on; We'll visit Caliban Caliban is a complex character. He is described as a misshapen creature, described as a "monster" "not honored with a human shape." He is treated as an inferior by the humans in the play. The image here, sourced from Wikimedia Commons, is an 18th century etching of Caliban by John Hamilton Mortimer (MET, 62.602.163). my slave, who never Yields us kind answer. Miranda 'Tis a villain, sir, I do not love to look on. Prospero But, as 'tis, We cannot miss him: he does make our fire, Fetch in our wood and serves in offices That profit us. What, ho! slave! Caliban! Thou earth, thou! speak. Caliban Within There's wood enough within. Prospero Come forth, I say! there's other business for thee: Come, thou tortoise! when? Re-enter Ariel like a water-nymph Fine apparition! My quaint Ariel, Hark in thine ear. Ariel My lord it shall be done. Exit Prospero Thou poisonous slave, got by the devil himself Upon thy wicked dam, come forth! Enter Caliban Caliban As wicked dew as e'er my mother brush'd With raven's feather from unwholesome fen Drop on you both! A blow Warm damp air carrying airborne diseases, according to the Arden Shakespeare edition of The Tempest. on ye And blister you all o'er! Prospero For this, be sure, to-night thou shalt have cramps, Side-stitches that shall pen thy breath up Stop your breath (OED v).; urchins Shall, for that vast of night that they may work, All exercise on thee; thou shalt be pinch'd As thick as honeycomb, each pinch more stinging Than bees that made 'em. Caliban I must eat my dinner. This island's mine, by Sycorax my mother, Which thou takest from me. When thou camest first, Thou strokedst me and madest much of me, wouldst give me Water with berries in't, and teach me how To name the bigger light, and how the less, That burn by day and night: and then I loved thee And show'd thee all the qualities o' the isle, The fresh springs, brine-pits, barren place and fertile: Cursed be I that did so! All the charms Of Sycorax, toads, beetles, bats, light on you! For I am all the subjects that you have, Which first was mine own king: and here you sty To confine. me In this hard rock, whiles you do keep from me The rest o' the island. Prospero Thou most lying slave, Whom stripes may move, not kindness! I have used thee, Filth as thou art, with human care, and lodged thee In mine own cell, till thou didst seek to violate The honour When used to describe men, "honour" or "honor" refers to the virtues of nobility of spirit, distinction. However, when applied to women--like Miranda--the word most typically refers to sexual chastity or virginity (OED 7.a) of my child. Caliban O ho, O ho! would't had been done! Thou didst prevent me; I had peopled else This isle with Calibans. Prospero Abhorred slave, Which any print of goodness wilt not take Prospero is here using the word "print" as in "impression," but with connotations deriving from the new invention of printing., Being capable of all ill! I pitied thee, Took pains to make thee speak, taught thee each hour One thing or other: when thou didst not, savage, Know thine own meaning, but wouldst gabble like A thing most brutish, I endow'd thy purposes With words that made them known. But thy vile race, Though thou didst learn, had that in't which good natures Could not abide to be with; therefore wast thou Deservedly confined into this rock, Who hadst deserved more than a prison. Caliban You taught me language; and my profit on't Is, I know how to curse. The red plague rid you For learning me your language! Prospero Hag-seed, hence! Fetch us in fuel; and be quick, thou'rt best "You are advised to" (The Arden Shakespeare edition of The Tempest)., To answer other business. Shrug'st thou, malice? If thou neglect'st or dost unwillingly What I command, I'll rack thee with old cramps, Fill all thy bones with aches, make thee roar That beasts shall tremble at thy din. Caliban No, pray thee. Aside I must obey: his art is of such power, It would control my dam's god, Setebos, and make a vassal of him. Prospero So, slave; hence! Exit Caliban Re-enter Ariel, invisible, playing and singing; Ferdinand following Ariel's song. [Ariel] Come unto these yellow sands, And then take hands: Courtsied when you have and kiss'd The wild waves whist, Foot it featly here and there; And, sweet sprites, the burthen bear. Hark, hark! Burthen Here, "burthen" doesn't mean burden; it is used instead in a musical sense, a bass accoompaniment (from the Middle English word "bourdon"), or perhaps the refrain of a song (OED IV.9-10) (dispersedly, within) Bow-wow The watch-dogs bark! Burthen Bow-wow Hark, hark! I hear The strain of strutting chanticleer A dominating rooster in a courtyard. Cry, Cock-a-diddle-dow. Ferdinand Where should this music be? i' the air or the earth? It sounds no more: and sure, it waits upon Some god o' the island. Sitting on a bank, Weeping again the king my father's wreck, This music crept by me upon the waters, Allaying both their fury and my passion With its sweet air: thence I have follow'd it, Or it hath drawn me rather. But 'tis gone. No, it begins again. Ariel sings [Ariel] Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell Burthen: Ding-dong Hark! now I hear them,--Ding-dong, bell. Ferdinand The ditty does remember my drown'd father. This is no mortal business, nor no sound That the earth owes. I hear it now above me. Prospero The fringed curtains of thine eye advance And say what thou seest yond. Miranda What is't? a spirit? Lord, how it looks about! Believe me, sir, It carries a brave form. But 'tis a spirit. Prospero No, wench; it eats and sleeps and hath such senses As we have, such. This gallant which thou seest Was in the wreck; and, but he's something stain'd With grief that's beauty's canker A disease that consumes vegetation (OED). , thou mightst call him A goodly person: he hath lost his fellows And strays about to find 'em. Miranda I might call him A thing divine, for nothing natural I ever saw so noble. Prospero Aside It goes on, I see, As my soul prompts it. Spirit, fine spirit! I'll free thee Within two days for this. Ferdinand Most sure, the goddess On whom these airs attend! Vouchsafe To grant or bestow. my prayer May know if you remain upon this island; And that you will some good instruction give How I may bear me here: my prime request, Which I do last pronounce, is, O you wonder! If you be maid or no? Miranda No wonder, sir; But certainly a maid. Ferdinand My language! heavens! I am the best of them that speak this speech, Were I but where 'tis spoken. Prospero How? the best? What wert thou, if the King of Naples heard thee? Ferdinand A single thing, as I am now, that wonders To hear thee speak of Naples. He does hear me; And that he does I weep: myself am Naples, Who with mine eyes, never since at ebb At low tide., beheld The king my father wreck'd. Miranda Alack, for mercy! Ferdinand Yes, faith, and all his lords; the Duke of Milan And his brave son being twain. Prospero Aside The Duke of Milan And his more braver daughter could control thee, If now 'twere fit to do't. At the first sight They have changed eyes. Delicate Ariel, I'll set thee free for this. To Ferdinand A word, good sir; I fear you have done yourself some wrong: a word. Miranda Why speaks my father so ungently? This Is the third man that e'er I saw, the first That e'er I sigh'd for: pity move my father To be inclined my way! Ferdinand O, if a virgin, And your affection not gone forth, I'll make you The queen of Naples. Prospero Soft To kindly ask for silence (OED adv.)., sir! one word more. Aside They are both in either's powers; but this swift business I must uneasy make, lest too light winning Make the prize light. [To Ferdinand] One word more; I charge thee That thou attend me: thou dost here usurp The name thou owest not Prospero accuses Ferdinand of "usurping" his father's position as king by claiming that he will make Miranda "queen of Naples".; and hast put thyself Upon this island as a spy, to win it From me, the lord on't. Ferdinand No, as I am a man. Miranda There's nothing ill can dwell in such a temple: If the ill spirit have so fair a house, Good things will strive to dwell with't. Prospero Follow me. Speak not you for him; he's a traitor. Come; I'll manacle thy neck and feet together: Sea-water shalt thou drink; thy food shall be The fresh-brook muscles, wither'd roots and husks Wherein the acorn cradled. Follow. Ferdinand No; I will resist such entertainment till Mine enemy has more power. Draws, and is charmed from moving Ferdinand draws his sword. Prospero casts a spell to transfix Ferdinand while neither he nor Miranda are aware of this. Miranda O dear father, Make not too rash a trial of him, for He's gentle and not fearful. Prospero What? I say, My foot my tutor? Put thy sword up, traitor; Who makest a show but darest not strike, thy conscience Is so possess'd with guilt: come from thy ward, For I can here disarm thee with this stick And make thy weapon drop. Miranda Beseech you, father. Prospero Hence! hang not on my garments. Miranda Sir, have pity; I'll be his surety According to the OED, a surety in this sense is "a person who is liable for the default or misconduct of another, or for ensuring the performance of some act on another's part, such as payment of a debt or appearance in court" (surety n. 2a).. Prospero Silence! one word more Shall make me chide thee, if not hate thee. What! An advocate for an imposter! hush! Thou think'st there is no more such shapes as he, Having seen but him and Caliban: foolish wench! To the most of men this is a Caliban And they to him are angels. Miranda My affections Are then most humble; I have no ambition To see a goodlier man. Prospero Come on; obey: Thy nerves are in their infancy again And have no vigour in them. Ferdinand So they are; My spirits, as in a dream, are all bound up. My father's loss, the weakness which I feel, The wreck of all my friends, nor this man's threats, To whom I am subdued, are but light to me, Might I but through my prison once a day Behold this maid: all corners else o' the earth Let liberty make use of; space enough Have I in such a prison. Prospero Aside It works. To Ferdinand Come on. Thou hast done well, fine Ariel! [To Ferdinand] Follow me. To Ariel Hark Calling to attention, to listen, to harken to (OED). what thou else shalt do me. Miranda Be of comfort; My father's of a better nature, sir, Than he appears by speech: this is unwonted Unusual Which now came from him. Prospero Thou shalt be free As mountain winds: but then exactly do All points of my command. Ariel To the syllable. Prospero [To Ferdinand.] Come, follow. [To Miranda.] Speak not for him. Exeunt

Act II

Scene I. Another part of the island. Enter Alonso, Sebastian, Antonio, Gonzalo, Adrian, Francisco, and others Gonzalo Beseech To plead or beg with great earnest (OED v. 2a). you, sir, be merry; you have cause, So have we all, of joy; for our escape Is much beyond our loss. Our hint of woe Is common; every day some sailor's wife, The masters 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, weigh Our sorrow with our comfort. Alonso Prithee A synonym for the word "beseech." An archaic form of "I pray thee" (OED)., peace. Sebastian He receives comfort like cold porridge. Antonio The visitor will not give him o'er so. Sebastian Look he's winding up the watch of his wit; by and by it will strike. Gonzalo Sir,-- Sebastian One: tell. Gonzalo When every grief is entertain'd that's offer'd, Comes to the entertainer-- Sebastian A dollar According to the OED, a dollar is the English word for the thaler, a German coin of varying value used from the 16th century. The image here, sourced from Wikimedia Commons, shows several thalers.. Gonzalo Dolour Sorrow or grief (OED). Gonzalo is playing along with Sebastian's jesting. comes to him, indeed: you have spoken truer than you purposed. Sebastian You have taken it wiselier than I meant you should. Gonzalo Therefore, my lord,-- Antonio Fie A Middle English expression of disgust, used to refer to children to "excite shame for some unbecoming action" (OED)., what a spendthrift Someone who irresponsibly squanders his income (OED 2). is he of his tongue! Alonso I prithee, spare. Gonzalo Well, I have done: but yet,-- Sebastian He will be talking. Antonio Which, of he or Adrian, for a good wager, first begins to crow? Sebastian The old cock. Antonio The cockerel. Sebastian Done. The wager? Antonio A laughter. Sebastian A match! Adrian Though this island seem to be desert,-- Sebastian Ha, ha, ha! So, you're paid. Adrian Uninhabitable and almost inaccessible,-- Sebastian Yet,-- Adrian Yet,-- Antonio He could not miss't. Adrian It must needs be of subtle, tender and delicate temperance. Antonio Temperance was a delicate wench. Sebastian Ay, and a subtle; as he most learnedly delivered. Adrian The air breathes upon us here most sweetly. Sebastian As if it had lungs and rotten ones. Antonio Or as 'twere perfumed by a fen Smelly marsh lands.. Gonzalo Here is everything advantageous to life. Antonio True; save means to live. Sebastian Of that there's none, or little. Gonzalo How lush and lusty the grass looks! how green! Antonio The ground indeed is tawny. Sebastian With an eye of green in't. Antonio He misses not much. Sebastian No; he doth but mistake the truth totally. Gonzalo But the rarity of it is,--which is indeed almost beyond credit,-- Sebastian As many vouched rarities are. Gonzalo That our garments, being, as they were, drenched in the sea, hold notwithstanding their freshness and glosses, being rather new-dyed than stained with salt water. Antonio If but one of his pockets could speak, would it not say he lies? Sebastian Ay, or very falsely pocket up his report Gonzalo Methinks our garments are now as fresh as when we put them on first in Afric An old form of Africa (OED)., at the marriage of the king's fair daughter Claribel to the King of Tunis Tunis is the capital city in Tunisia, a country in North Africa. The northern coast of the country, where Tunis is, is on the Mediterranean Sea.. Sebastian 'Twas a sweet marriage, and we prosper well in our return. Adrian Tunis was never graced before with such a Paragon to their Queen. Gonzalo Not since widow Dido In Greek mythology, Dido, a widow, falls in love with Aeneas and kills herself after he leaves her to go and build the city of Rome (The Arden Shakespeare edition of The Tempest).'s time. Antonio Widow! a pox o' that! How came that widow in? widow Dido! Sebastian What if he had said 'widower AEneas' too? Good Lord, how you take it! Adrian 'Widow Dido' said you? you make me study of that: she was of Carthage Carthage and Tunis weren't the same city, but later on, Carthage was usurped, and Tunis took it's place as the main powerful state of the region (The Arden Shakespeare edition of The Tempest)., not of Tunis. Gonzalo This Tunis, sir, was Carthage. Adrian Carthage? Gonzalo I assure you, Carthage. Sebastian His word is more than the miraculous harp Sebastian is referring to the harp that Amphion, son of Zeus is known to have used when constructing the walls of Thebes, a city in Boeotia, Greece (The Arden Shakespeare edition of The Tempest).; he hath raised the wall and houses too. Antonio What impossible matter will he make easy next? Sebastian I think he will carry this island home in his pocket and give it his son for an apple. Antonio And, sowing the kernels of it in the sea, bring forth more islands. Gonzalo Ay. Antonio Why, in good time. Gonzalo Sir, we were talking that our garments seem now as fresh as when we were at Tunis at the marriage of your daughter, who is now queen. Antonio And the rarest that e'er came there. Sebastian Bate, I beseech you, widow Dido. Antonio O, widow Dido! ay, widow Dido. Gonzalo Is not, sir, my doublet as fresh as the first day I wore it? I mean, in a sort. Antonio That sort was well fished for. Gonzalo When I wore it at your daughter's marriage? Alonso You cram these words into mine ears against The stomach of my sense. Would I had never Married my daughter there! for, coming thence, My son is lost and, in my rate, she too, Who is so far from Italy removed I ne'er again shall see her. O thou mine heir Of Naples and of Milan, what strange fish This phrase may be a reference to the sea creatures that were often depicted in the oceans of early modern maps. While in earlier periods, when little was known about the shapes of land masses, these sea creatures were signs of danger and the unknown; however, by the late 16th and 17th centuries, sea travel and exploration was on the rise, and this led to more and more complete maps. As the unknown declined, so too did representationos of sea monsters. They transitioned into less threatening and more whimsical fish or whales, and in the modern world, they all but disappeared cartographically. To learn more about the "strange fish" of early modern cartography, see "Mapping the Oceans: How Cartographers Saw the World in the Age of Discovery" at Lapham's Quarterly. Hath made his meal on thee? Francisco Sir, he may live: I saw him beat the surges under him, And ride upon their backs; he trod the water, Whose enmity he flung aside, and breasted The surge most swoln According to the OED (IV. 5a), breasted in this sense means "To move forwards directly into, to confront head-on; to climb." Francisco means to say that he witnessed Ferdinand survive contact with a large wave. that met him; his bold head 'Bove the contentious waves he kept, and oar'd Himself with his good arms in lusty stroke To the shore, that o'er his wave-worn basis bow'd, As stooping to relieve him: I not doubt He came alive to land. Alonso No, no, he's gone. Sebastian Sir, you may thank yourself for this great loss, That would not bless our Europe with your daughter, But rather lose her to an African; Where she at least is banish'd from your eye, Who hath cause to wet the grief on't. Alonso Prithee, peace. Sebastian You were kneel'd to and importuned otherwise By all of us, and the fair soul herself Weigh'd between loathness and obedience, at Which end o' the beam should bow. We have lost your son, I fear, for ever: Milan and Naples have More widows in them of this business' making Than we bring men to comfort them: The fault's your own. Alonso So is the dear'st o' the loss. Gonzalo My lord Sebastian, The truth you speak doth lack some gentleness And time to speak it in: you rub the sore, When you should bring the plaster. Sebastian Very well. Antonio And most chirurgeonly "Chirurgeon" is an older spelling of "surgeon" (OED).. Gonzalo It is foul weather in us all, good sir, When you are cloudy. Sebastian Foul weather? Antonio Very foul. Gonzalo Had I plantation The word "plantation" is significant in the early modern period, as it refers to colonization; Gonzalo imagines his dominion over the island. It also has another sense, meaning a site of planting, which Antonio plays on in the next line. of this isle, my lord,-- Antonio He'ld sow't with nettle-seed. Sebastian Or docks, or mallows. Gonzalo And were the king on't, what would I do? Sebastian 'scape being drunk for want of wine. Gonzalo I' the commonwealth I would by contraries Execute all things; for no kind of traffic Would I admit; no name of magistrate; Letters should not be known; riches, poverty, And use of service, none; contract, succession, Bourn, bound of land, tilth, vineyard, none; No use of metal, corn, or wine, or oil; No occupation; all men idle, all; And women too, but innocent and pure; No sovereignty;-- Sebastian Yet he would be king on't. Antonio The latter end of his commonwealth forgets the beginning. Gonzalo All things in common nature should produce Gonzalo seems to be suggesting that the trappings of modern civilization lead to corruptiono and want. He imagines a pure, idyllic place without violence, commerce, or vice. Without sweat or endeavour: treason, felony, Sword, pike, knife, gun, or need of any engine, Would I not have; but nature should bring forth, Of its own kind, all foison, all abundance, To feed my innocent people. Sebastian No marrying 'mong his subjects? Antonio None, man; all idle: whores and knaves Dishonorable men.. Gonzalo I would with such perfection govern, sir, To excel the golden age. Sebastian God save his majesty! Antonio Long live Gonzalo! Gonzalo And,--do you mark me, sir? Alonso Prithee, no more: thou dost talk nothing to me. Gonzalo I do well believe your highness; and did it to minister occasion to these gentlemen, who are of such sensible and nimble lungs that they always use to laugh at nothing. Antonio 'Twas you we laughed at. Gonzalo Who in this kind of merry fooling am nothing to you: so you may continue and laugh at nothing still. Antonio What a blow was there given! Sebastian An it had not fallen flat-long. Gonzalo You are gentlemen of brave metal; you would lift the moon out of her sphere, if she would continue in it five weeks without changing. Enter Ariel, invisible, playing solemn music Sebastian We would so, and then go a bat-fowling A way of catching birds at night by flashing them with a bright light, so as to disorient them (OED).. Antonio Nay, good my lord, be not angry. Gonzalo No, I warrant you; I will not adventure my discretion so weakly. Will you laugh me asleep, for I am very heavy Ariel is working magic to put them to sleep.? Antonio Go sleep, and hear us. All sleep except Alonso, Sebastian, and Antonio Alonso What, all so soon asleep! I wish mine eyes Would, with themselves, shut up my thoughts: I find They are inclined to do so. Sebastian Please you, sir, Do not omit the heavy offer of it: It seldom visits sorrow; when it doth, It is a comforter. Antonio We two, my lord, Will guard your person while you take your rest, And watch your safety. Alonso Thank you. Wondrous heavy. Alonso sleeps. Exit Ariel Sebastian What a strange drowsiness possesses them! Antonio It is the quality o' the climate. Sebastian Why Doth it not then our eyelids sink? I find not Myself disposed to sleep. Antonio Nor I; my spirits are nimble. They fell together all, as by consent; They dropp'd, as by a thunder-stroke. What might, Worthy Sebastian? O, what might?--No more:-- And yet me thinks I see it in thy face, What thou shouldst be: the occasion speaks thee, and My strong imagination sees a crown Dropping upon thy head. Sebastian What, art thou waking? Antonio Do you not hear me speak? Sebastian I do; and surely It is a sleepy language and thou speak'st Out of thy sleep. What is it thou didst say? This is a strange repose, to be asleep With eyes wide open; standing, speaking, moving, And yet so fast asleep. Antonio Noble Sebastian, Thou let'st thy fortune sleep--die, rather; wink'st Whiles thou art waking. Sebastian Thou dost snore distinctly; There's meaning in thy snores. Antonio I am more serious than my custom: you Must be so too, if heed me; which to do Trebles thee o'er. Sebastian Well, I am standing water. Antonio I'll teach you how to flow. Sebastian Do so: to ebb Hereditary sloth Sebastian says that he is naturally slothful or slow; he is naturally driven to ebb, and not to flow. instructs me. Antonio O, If you but knew how you the purpose cherish Whiles thus you mock it! how, in stripping it, You more invest it! Ebbing men, indeed, Most often do so near the bottom run By their own fear or sloth. Sebastian Prithee, say on: The setting of thine eye and cheek proclaim A matter from thee, and a birth indeed Which throes thee much to yield. Antonio Thus, sir: Although this lord of weak remembrance, this, Who shall be of as little memory When he is earth'd, hath here almost persuade,-- For he's a spirit of persuasion, only Professes to persuade,--the king his son's alive, 'Tis as impossible that he's undrown'd And he that sleeps here swims. Sebastian I have no hope That he's undrown'd. Antonio O, out of that 'no hope' What great hope have you! no hope that way is Another way so high a hope that even Ambition cannot pierce a wink beyond, But doubt discovery there. Will you grant with me That Ferdinand is drown'd? Sebastian He's gone. Antonio Then, tell me, Who's the next heir of Naples? Sebastian Claribel. Antonio She that is queen of Tunis; she that dwells Ten leagues beyond man's life; she that from Naples Can have no note, unless the sun were post-- The man i' the moon's too slow--till new-born chins Be rough and razorable; she that--from whom? We all were sea-swallow'd, though some cast again, And by that destiny to perform an act Whereof what's past is prologue, what to come In yours and my discharge. Sebastian What stuff is this! how say you? 'Tis true, my brother's daughter's queen of Tunis; So is she heir of Naples; 'twixt which regions There is some space. Antonio A space whose every cubit Seems to cry out, 'How shall that Claribel Measure us back to Naples? Keep in Tunis, And let Sebastian wake.' Say, this were death That now hath seized them; why, they were no worse Than now they are. There be that can rule Naples As well as he that sleeps; lords that can prate To chatter irrelevantly. As amply and unnecessarily As this Gonzalo; I myself could make A chough A chatterer. of as deep chat. O, that you bore The mind that I do! what a sleep were this For your advancement! Do you understand me? Sebastian Methinks I do. Antonio And how does your content Tender your own good fortune? Sebastian I remember You did supplant your brother Prospero. Antonio True: And look how well my garments sit upon me; Much feater A better fit. than before: my brother's servants Were then my fellows; now they are my men. Sebastian But, for your conscience? Antonio Ay, sir; where lies that? if 'twere a kibe According to the OED 1a., a kibe is a Middle English word meaning "A chapped or ulcerated chilblain, esp. one on the heel." A chilblain is a red, rough, patchy area of skin., 'Twould put me to my slipper: but I feel not This deity in my bosom: twenty consciences, That stand 'twixt me and Milan, candied be they And melt ere they molest! Here lies your brother, No better than the earth he lies upon, If he were that which now he's like, that's dead; Whom I, with this obedient steel, three inches of it, Can lay to bed for ever; whiles you, doing thus, To the perpetual wink for aye might put This ancient morsel, this Sir Prudence, who Should not upbraid our course. For all the rest, They'll take suggestion as a cat laps milk; They'll tell the clock to any business that We say befits the hour. Sebastian Thy case, dear friend, Shall be my precedent; as thou got'st Milan, I'll come by Naples. Draw thy sword: one stroke Shall free thee from the tribute which thou payest; And I the king shall love thee. Antonio Draw together; And when I rear my hand, do you the like, To fall it on Gonzalo. Sebastian O, but one word. They talk apart Re-enter Ariel, invisible Ariel My master through his art foresees the danger That you, his friend, are in; and sends me forth-- For else his project dies--to keep them living. Sings in Gonzalo's ear While you here do snoring lie, Open-eyed conspiracy His time doth take. If of life you keep a care, Shake off slumber, and beware: Awake, awake! Antonio Then let us both be sudden. Gonzalo Now, good angels Preserve the king. They wake Alonso Why, how now? ho, awake! Why are you drawn? Wherefore this ghastly looking? Gonzalo What's the matter? Sebastian Whiles we stood here securing your repose, Even now, we heard a hollow burst of bellowing Like bulls, or rather lions: did't not wake you? It struck mine ear most terribly. Alonso I heard nothing. Antonio O, 'twas a din to fright a monster's ear, To make an earthquake! sure, it was the roar Of a whole herd of lions. Alonso Heard you this, Gonzalo? Gonzalo Upon mine honour, sir, I heard a humming, (And that a strange one too) which did awake me: I shaked you, sir, and cried: as mine eyes open'd, I saw their weapons drawn: there was a noise, That's verily. 'Tis best we stand upon our guard, Or that we quit this place; let's draw our weapons. Alonso Lead off this ground; and let's make further search For my poor son. Gonzalo Heavens keep him from these beasts! For he is, sure, i' the island. Alonso Lead away. Ariel Prospero my lord shall know what I have done: So, king, go safely on to seek thy son. Exeunt

Scene II. Another part of the island. Enter Caliban with a burden of wood. A noise of thunder heard Caliban All the infections that the sun sucks up From bogs, fens, flats, on Prosper fall and make him By inch-meal As cited from the OED, "Little by little, by every inch." a disease! His spirits hear me And yet I needs must curse. But they'll nor pinch, Fright me with urchin-shows Apparitions of goblins or elves which sometimes resembled the form of a hedgehog (OED n.1c)., pitch me i' the mire, Nor lead me, like a firebrand, in the dark Out of my way, unless he bid 'em; but For every trifle are they set upon me; Sometime like apes that mow and chatter at me 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 wound with adders Any of the various types of venomous snakes or serpents (OED). who with cloven tongues Do hiss me into madness. Enter Trinculo Lo, now, lo! Here comes a spirit of his, and to torment me For bringing wood in slowly. I'll fall flat; Perchance he will not mind me. Trinculo Here's neither bush nor shrub, to bear off any weather at all, and another storm brewing; I hear it sing i' the wind: yond same black cloud, yond huge one, looks like a foul bombard that would shed his liquor. If it should thunder as it did before, I know not where to hide my head: yond same cloud cannot choose but fall by pailfuls. What have we here? a man or a fish? dead or alive? A fish: he smells like a fish; a very ancient and fish-like smell; a kind of not of the newest Poor-John Poor-John is a "fish salted and dried for food" (OED). . A strange fish! Were I in England now, as once I was, and had but this fish painted, not a holiday fool there but would give a piece of silver: there would this monster make According to the The Arden Shakespeare edition of The Tempest, the archaic phrase "to make a man" meant to make a man's fortune. a man; any strange beast there makes a man: when they will not give a doit "The half of an English farthing, as the type of a very small sum" (OED 1.a). to relieve a lame beggar, they will lazy out ten to see a dead Indian. Legged like a man and his fins like arms! Warm o' my troth! I do now let loose my opinion; hold it no longer: this is no fish, but an islander, that hath lately suffered by a thunderbolt. Thunder Alas, the storm is come again! my best way is to creep under his gaberdine A loose upper garment for men, which worked as a coat or gown woven from coarse fabric (OED A.1.a); there is no other shelter hereabouts: misery acquaints a man with strange bed-fellows. I will here shroud till the dregs of the storm be past. Enter Stephano, singing: [a bottle in his hand] Stephano I shall no more to sea, to sea, Here shall I die ashore-- This is a very scurvy tune to sing at a man's funeral: well, here's my comfort. Drinks Sings The master, the swabber, the boatswain and I, The gunner and his mate Loved Mall, Meg and Marian and Margery, But none of us cared for Kate; For she had a tongue with a tang According to the OED, a pungent or stinging effect (II.5.c); could also mean the strong ringing sound produced when a large bell or an object with sonorous quality is struck (n.2)., Would cry to a sailor, Go hang! She loved not the savour of tar nor of pitch, Yet a tailor might scratch her where'er she did itch: Then to sea, boys, and let her go hang! This is a scurvy tune too: but here's my comfort. Drinks Caliban Do not torment me: Oh! Stephano What's the matter? Have we devils here? Do you put tricks upon's with savages and men of Ind As cited from the Arden Shakespeare edition of The Tempest, Stephano refers to Caliban as a "savage" and compares him to the "men of Ind," whether they are referring to the West Indies (in the Caribbean Sea) or East India is contested. The East India Company was chartered by Elizabeth I in 1600. To read more about Shakespeare and India, see this somewhat dated essay by John Draper., ha? I have not scaped drowning to be afeard now of your four legs; for it hath been said, As proper a man as ever went on four legs According to notes in most annotated versions of the play, Stephano here uses a proverbial expression: "As proper a man as ever went on two legs." However, he substitutes "four legs" for "two," given the monstrous creature he sees. cannot make him give ground; and it shall be said so again while Stephano breathes at's nostrils. Caliban The spirit torments me; Oh! Stephano This is some monster of the isle with four legs, who hath got, as I take it, an ague A state of distress, fear, causing the body to shake or shiver (OED 2).. Where the devil should he learn our language? I will give him some relief, if it be but for that. If I can recover him, and keep him tame and get to Naples with him, he's a present for any emperor that ever trod on neat's-leather. Caliban Do not torment me, prithee; I'll bring my wood home faster. Stephano He's in his fit now and does not talk after the wisest. He shall taste of my bottle: if he have never drunk wine afore will go near to remove his fit. If I can recover him and keep him tame, I will not take too much for him; he shall pay for him that hath him, and that soundly. Caliban Thou dost me yet but little hurt; thou wilt anon, I know it by thy trembling: now Prosper works upon thee. Stephano Come on your ways; open your mouth; here is that which will give language to you, cat: open your mouth; this will shake your shaking, I can tell you, and that soundly: you cannot tell who's your friend: open your chaps again. [Caliban drinks.] Trinculo I should know that voice: it should be--but he is drowned; and these are devils: O defend me! Stephano Four legs and two voices: a most delicate monster! His forward voice now is to speak well of his friend; his backward voice is to utter foul speeches and to detract. If all the wine in my bottle will recover him, I will help his ague. Come. [Caliban drinks.] Amen! I will pour some in thy other mouth. Trinculo Stephano! Stephano Doth thy other mouth call me? Mercy, mercy! This is a devil, and no monster: I will leave him; I have no long spoon. Trinculo Stephano! If thou beest Stephano, touch me and speak to me: for I am Trinculo--be not afeard--thy good friend Trinculo. Stephano If thou beest Trinculo, come forth: I'll pull thee by the lesser legs: if any be Trinculo's legs, these are they. Thou art very Trinculo indeed! How camest thou to be the siege of this moon-calf? can he vent Trinculos? Trinculo I took him to be killed with a thunder-stroke. But art thou not drowned, Stephano? I hope now thou art not drowned. Is the storm overblown? I hid me under the dead moon-calf's gaberdine for fear of the storm. And art thou living, Stephano? O Stephano, two Neapolitans A citizen of the former kingdom of Naples in Southern Italy (OED). 'scaped! Stephano Prithee, do not turn me about; my stomach is not constant. Caliban Aside These be fine things, an if they be not sprites That's a brave god and bears celestial liquor. I will kneel to him. Stephano How didst thou 'scape? How camest thou hither? swear by this bottle how thou camest hither. I escaped upon a butt of sack which the sailors heaved o'erboard, by this bottle; which I made of the bark of a tree with mine own hands since I was cast ashore. Caliban I'll swear upon that bottle to be thy true subject; for the liquor is not earthly. Stephano Here; swear then how thou escapedst. Trinculo Swum ashore. man, like a duck: I can swim like a duck, I'll be sworn. Stephano Here, kiss the book. [Passing the bottle.] Though thou canst swim like a duck, thou art made like a goose. Trinculo O Stephano. hast any more of this? Stephano The whole butt, man: my cellar is in a rock by the sea-side where my wine is hid. How now, moon-calf! how does thine ague? Caliban Hast thou not dropp'd from heaven? Stephano Out o' the moon, I do assure thee: I was the man i' the moon when time was. Caliban I have seen thee in her and I do adore thee: My mistress show'd me thee and thy dog and thy bush. Stephano Come, swear to that; kiss the book: I will furnish it anon with new contents swear. [Caliban drinks.] Trinculo By this good light, this is a very shallow monster! I afeard of him! A very weak monster! The man Trinculo is referring to the folktale about a man who was banished to the moon because he was caught working on the sabbath day (Arden Shakespeare edition of The Tempest).i' the moon! A most poor credulous monster! Well drawn, monster, in good sooth! Caliban I'll show thee every fertile inch o' th' island; And I will kiss thy foot: I prithee, be my god. Trinculo By this light, a most perfidious and drunken monster! when 's god's asleep, he'll rob his bottle. Caliban I'll kiss thy foot; I'll swear myself thy subject. Stephano Come on then; down, and swear. Trinculo I shall laugh myself to death at this puppy-headed monster. A most scurvy monster! I could find in my heart to beat him,-- Stephano Come, kiss. Trinculo But that the poor monster's in drink: an abominable monster! Caliban I'll show thee the best springs; I'll pluck thee berries; I'll fish for thee and get thee wood enough. A plague upon the tyrant that I serve! I'll bear him no more sticks, but follow thee, Thou wondrous man. Trinculo A most ridiculous monster, to make a wonder of a Poor drunkard! Caliban I prithee, let me bring thee where crabs grow; And I with my long nails will dig thee pignuts From the OED, 'The sweetish edible tuber of Conopodium majus, a fine-leaved plant of the family Apiaceae (Umbelliferae) of acid pastures and woods in western Europe; the plant itself. Also called earthnut.'; Show thee a jay's nest and instruct thee how To snare the nimble marmoset A small monkey to be captured as a pet or for eating; I'll bring thee To clustering filberts "The fruit or nut of the cultivated hazel" (OED) and sometimes I'll get thee Young scamels As noted in the Arden Shakespeare, the meaning of this word is heavily contested, possibly because of printing errors. Scholars assume that it could mean "seamews," a bird that feeds on fish, or a custacean, bird or a fish that frequent rocks. The OED defines the meaning as uncertain. from the rock. Wilt thou go with me? Stephano I prithee now, lead the way without any more talking. Trinculo, the king and all our company else being drowned, we will inherit here: here; bear my bottle: fellow Trinculo, we'll fill him by and by again. Caliban (Sings drunkenly.) Farewell master; farewell, farewell! Trinculo A howling monster: a drunken monster! Caliban No more dams I'll make for fish Nor fetch in firing At requiring; Nor scrape trencher, nor wash dish 'Ban, 'Ban, CaCaliban Has a new master: get a new man. Freedom, hey-day! hey-day, freedom! freedom, hey-day, freedom! Stephano O brave monster! Lead the way. Exeunt

Act III

Scene I. Before Prospero's Cell. Enter Ferdinand, bearing a log Ferdinand There be some sports are painful, and their labour Delight in them sets off: some kinds of baseness Are nobly undergone and most poor matters Point to rich ends. This my mean task Would be as heavy to me as odious, but The mistress which I serve quickens what's dead And makes my labours pleasures: O, she is Ten times more gentle than her father's crabbed A verb that originated in the 1400's, which means to be Irritated or enraged. (OED v. 1a), And he's composed of harshness. I must remove Some thousands of these logs and pile them up, Upon a sore injunction: my sweet mistress Weeps when she sees me work, and says, such baseness Had never like executor. I forget: But these sweet thoughts do even refresh my labours, Most busy lest, when I do it. Enter Miranda; and Prospero at a distance, unseen Miranda Alas, now, pray you, Work not so hard: I would the lightning had Burnt up those logs that you are enjoin'd to pile! Pray, set it down and rest you: when this burns, 'Twill weep for having wearied you. My father Is hard at study; pray now, rest yourself; He's safe for these three hours. Ferdinand O most dear mistress, The sun will set before I shall discharge What I must strive to do. Miranda If you'll sit down, I'll bear your logs the while: pray, give me that; I'll carry it to the pile. Ferdinand No, precious creature; I had rather crack my sinews Fibrous chords that connect the muscles to the bone (OED)., break my back, Than you should such dishonour undergo, While I sit lazy by. Miranda It would become me As well as it does you: and I should do it With much more ease; for my good will is to it, And yours it is against. Prospero [Aside.] Poor worm Prospero is using the noun worm as a term of endearment when speaking about his daughter, also working as a metaphor her delicate and simple nature., thou art infected! This visitation shows it. Miranda You look wearily. Ferdinand No, noble mistress;'tis fresh morning with me When you are by at night. I do beseech you-- Chiefly that I might set it in my prayers-- What is your name? Miranda Miranda.--O my father, I have broke your hest An archaic word that means command or behest (OED). to say so! Ferdinand Admired Miranda The name Miranda means "to be wondered at" or to be admired. Ferdinand is seen to be using word-play.! Indeed the top of admiration! worth What's dearest to the world! Full many a lady I have eyed with best regard and many a time The harmony of their tongues hath into bondage Brought my too diligent ear: for several virtues Have I liked several women; never any With so fun soul, but some defect in her Did quarrel with the noblest grace she owed And put it to the foil Here, foil either refers to a fencing sword or to a verb that means to thwart.: but you, O you, So perfect and so peerless, are created Of every creature's best! Miranda I do not know One of my sex; no woman's face remember, Save, from my glass, mine own; nor have I seen More that I may call men than you, good friend, And my dear father: how features are abroad, I am skilless of; but, by my modesty, The jewel in my dower Miranda presents her modesty, which also may refer to her virginity, as her greatly priced jewel that she is able to offer Ferdinand as dowry for marriage which represents what society greatly valued in a young woman when it came to marriage., I would not wish 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 precepts I therein do forget. Ferdinand I am in my condition A prince, Miranda; I do think, a king; I would, not so!--and would no more endure This wooden slavery than to suffer flesh-fly Flies that generally lay their eggs in carcasses. blow my mouth. Hear my soul speak: 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. Miranda Do you love me? Ferdinand O heaven, O earth, bear witness to this sound And crown what I profess with kind event If I speak true! if hollowly, invert What best is boded me to mischief! I Beyond all limit of what else i' the world Do love, prize, honour you. Miranda I am a fool To weep at what I am glad of. Prospero [Aside.] Fair encounter Of two most rare affections! Heavens rain grace On that which breeds between 'em! Ferdinand Wherefore weep you? Miranda At mine unworthiness that dare not offer What I desire to give, and much less take What I shall die to want. But this is trifling; And all the more it seeks to hide itself, The bigger bulk it shows. Hence, bashful cunning! And prompt me, plain and holy innocence! I am your wife, if you will marry me; If not, I'll die your maid: to be your fellow You may deny me; but I'll be your servant, Whether you will or no. Ferdinand My mistress, dearest; And I thus humble ever. Miranda My husband, then? Ferdinand Ay, with a heart as willing As bondage e'er of freedom: here's my hand. Miranda And mine, with my heart in't; and now farewell Till half an hour hence Another indication of the procession of time in this play.. Ferdinand A thousand thousand! Exeunt [Ferdinand and Miranda severally] They exit at different points from the stage. Prospero So glad of this as they I cannot be, Who are surprised withal; but my rejoicing At nothing can be more. I'll to my book, For yet ere supper-time must I perform Much business appertaining. Exit

Scene II. Another part of the island. Enter Caliban, Stephano, and Trinculo Stephano Tell not me; when the butt is out, we will drink water; not a drop before: therefore bear up, and board 'em. Servant-monster, drink to me. Trinculo Servant-monster! the folly of this island! They say there's but five upon this isle: we are three of them; if th' other two be brained like us, the state totters An unsteady or shaky movement (OED).. Stephano Drink, servant-monster, when I bid thee: thy eyes are almost set in thy head. Trinculo Where should they be set else? he were a brave monster indeed, if they were set in his tail. Stephano My man-monster hath drown'd his tongue in sack: for my part, the sea cannot drown me; I swam, ere I could recover the shore, five and thirty leagues off and on. By this light, thou shalt be my lieutenant, monster, or my standard According to the OED, A standard is an obsolete term, referring to "a person who carries a standard, often as a permanent duty'.. Trinculo Your lieutenant, if you list; he's no standard. Stephano We'll not run, Monsieur Monster. Trinculo Nor go neither; but you'll lie like dogs and yet say nothing neither. Stephano Moon-calf, speak once in thy life, if thou beest a good moon-calf. Caliban How does thy honour? Let me lick thy shoe. I'll not serve him; he's not valiant. Trinculo Thou liest, most ignorant monster: I am in case to justle a constable Trinculo claims that he is ready to fight a constable, who is the chief officer of the court (OED).. Why, thou deboshed A variant of the term debauched--over-indulging in sensual pleasures, including drinking (OED). fish thou, was there ever man a coward that hath drunk so much sack as I to-day? Wilt thou tell a monstrous lie, being but half a fish and half a monster? Caliban Lo, how he mocks me! wilt thou let him, my lord? Trinculo 'Lord' quoth he! That a monster should be such a natural! Caliban Lo, lo, again! bite him to death, I prithee. Stephano Trinculo, keep a good tongue in your head: if you prove a mutineer,--the next tree! The poor monster's my subject and he shall not suffer indignity. Caliban I thank my noble lord. Wilt thou be pleased to hearken once again to the suit I made to thee? Stephano Marry, will I kneel and repeat it; I will stand, and so shall Trinculo. Enter Ariel, invisible Ariel is accompanied by his fellow spirits as he sings his song. Caliban As I told thee before, I am subject to a tyrant, a sorcerer, that by his cunning hath cheated me of the island. Ariel Thou liest. Caliban Thou liest, thou jesting monkey, thou: I would my valiant master would destroy thee! I do not lie. Stephano Trinculo, if you trouble him any more in's tale, by this hand, I will supplant some of your teeth. Trinculo Why, I said nothing. Stephano Mum, then, and no more. Proceed. Caliban I say, by sorcery he got this isle; From me he got it. if thy greatness will Revenge it on him,--for I know thou darest, But this thing dare not,-- Stephano That's most certain. Caliban Thou shalt be lord of it and I'll serve thee. Stephano How now shall this be compassed? Canst thou bring me to the party? Caliban Yea, yea, my lord: I'll yield him thee asleep, Where thou mayst knock a nail into his bead. Ariel Thou liest; thou canst not. Caliban What a pied ninny "Pied" refers to the many-colored or mixed-up costume a jester would wear. A "ninny" is a simpleton.'s this! Thou scurvy patch! I do beseech thy greatness, give him blows And take his bottle from him: when that's gone He shall drink nought but brine Salty sea water.; for I'll not show him Where the quick freshes are. Stephano Trinculo, run into no further danger: interrupt the monster one word further, and, by this hand, I'll turn my mercy out o' doors and make a stock-fish of thee. Trinculo Why, what did I? I did nothing. I'll go farther off. Stephano Didst thou not say he lied? Ariel Thou liest. Stephano Do I so? take thou that. Beats Trinculo As you like this, give me the lie another time. Trinculo I did not give the lie. Out o' your wits and bearing too? A pox An exclamation of frustration or anger; Trinculo wishes the pox--syphillis--upon Stephano's drinking. (OED). o' your bottle! this can sack and drinking do. A murrain a deadly infectious disease (OED). on your monster, and the devil take your fingers! Caliban Ha, ha, ha! Stephano Now, forward with your tale. Prithee, stand farther off. Caliban Beat him enough: after a little time I'll beat him too. Stephano Stand farther. Come, proceed. Caliban Why, as I told thee, 'tis a custom with him, I' th' afternoon to sleep: there thou mayst brain him, Having first seized his books, or with a log Batter his skull, or paunch To stab or wound in the stomach (OED). him with a stake, Or cut his wezand The throat or windpipe. with thy knife. Remember First to possess his books; for without them He's but a sot, as I am, nor hath not One spirit to command: they all do hate him As rootedly as I. Burn but his books. He has brave utensils,--for so he calls them-- Which when he has a house, he'll deck withal And that most deeply to consider is The beauty of his daughter; he himself Calls her a nonpareil incomparable: I never saw a woman, But only Sycorax my dam and she; But she as far surpasseth Sycorax As great'st does least. Stephano Is it so brave a lass? Caliban Ay, lord; she will become thy bed, I warrant. And bring thee forth brave brood. Stephano Monster, I will kill this man: his daughter and I will be king and queen--save our graces!--and Trinculo and thyself shall be viceroys. Dost thou like the plot, Trinculo? Trinculo Excellent. Stephano Give me thy hand: I am sorry I beat thee; but, while thou livest, keep a good tongue in thy head. Caliban Within this half hour will he be asleep: Wilt thou destroy him then? Stephano Ay, on mine honour. Ariel This will I tell my master. Caliban Thou makest me merry; I am full of pleasure: Let us be jocund: will you troll the catch You taught me but while-ere? Stephano At thy request, monster, I will do reason, any reason. Come on, Trinculo, let us sing. Sings Flout 'em and scout 'em And scout 'em and flout 'em Thought is free. Caliban That's not the tune. Ariel plays the tune on a tabour and pipe Stephano What is this same? Trinculo This is the tune of our catch, played by the picture of Nobody. Stephano If thou beest a man, show thyself in thy likeness: if thou beest a devil, take't as thou list. Trinculo O, forgive me my sins! Stephano He that dies pays all debts: I defy thee. Mercy upon us! Caliban Art thou afeard? Stephano No, monster, not I. Caliban Be not afeard The following speech by Caliban is one of the most famous and studied passages of the play. Caliban who had lived his entire life on the island feels a deeper connection to its beauty and richness.; the isle is full of noises, Sounds and sweet airs, that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears, and sometime voices That, if I then had waked after long sleep, Will make me sleep again: and then, in dreaming, The clouds methought would open and show riches Ready to drop upon me that, when I waked, I cried to dream again. Stephano This will prove a brave kingdom to me, where I shall have my music for nothing. Caliban When Prospero is destroyed. Stephano That shall be by and by: I remember the story. Trinculo The sound is going away; let's follow it, and after do our work. Stephano Lead, monster; we'll follow. I would I could see this tabourer; he lays it on. Trinculo Wilt come? I'll follow, Stephano. Exeunt

Scene III. Another part of the island. Enter Alonso, Sebastian, Antonio, Gonzalo, Adrian, Francisco, and others Gonzalo By'r lakin An obsolete form of the phrase 'by our Lady', denoting the Virgin Mary (OED n.2)., I can go no further, sir; My old bones ache: here's a maze trod indeed Through forth-rights and meanders! By your patience, I needs must rest me. Alonso Old lord, I cannot blame thee, Who am myself attach'd with weariness, To the dulling of my spirits: sit down, and rest. Even here I will put off my hope and keep it No longer for my flatterer: he is drown'd Whom thus we stray to find, and the sea mocks Our frustrate search on land. Well, let him go. Antonio Aside to Sebastian I am right glad that he's so out of hope. Do not, for one repulse, forego the purpose That you resolved to effect. Sebastian Aside to Antonio The next advantage Will we take throughly. Antonio Aside to Sebastian Let it be to-night; For, now they are oppress'd with travel, they Will not, nor cannot, use such vigilance As when they are fresh. Sebastian Aside to Antonio I say, to-night: no more. Solemn and strange music Alonso What harmony is this? My good friends, hark! Gonzalo Marvellous sweet music! Enter Prospero above In this scene, the upper stage allows Prospero's character secretly observe the plot transpiring below on the main stage., invisible. Enter several strange Shapes, bringing in a banquet; they dance about it with gentle actions of salutation; and, inviting the King, &c. to eat, they depart Alonso Give us kind keepers, heavens! What were these? Sebastian A living drollery A comical entertainment in the form of a puppet-show (OED 2.a). Now I will believe That there are unicorns, that in Arabia There is one tree, the phoenix' throne, one phoenix At this hour reigning there. Antonio I'll believe both; And what does else want credit lacking in credibility, come to me, And I'll be sworn 'tis true: travellers ne'er did lie, Though fools at home condemn 'em. Gonzalo If in Naples I should report this now, would they believe me? If I should say, I saw such islanders-- For, certes An archaic form of the term meaning certainly, assuredly (OED)., these are people of the island-- Who, though they are of monstrous shape, yet, note, Their manners are more gentle-kind than of Our human generation you shall find Many, nay, almost any. Prospero Aside Honest lord, Thou hast said well; for some of you there present Are worse than devils. Alonso I cannot too much muse Such shapes, such gesture and such sound, expressing, Although they want the use of tongue, a kind Of excellent dumb discourse. Prospero Aside Praise in departing. Francisco They vanish'd strangely. Sebastian No matter, since They have left their viands behind; for we have stomachs. Will't please you taste of what is here? Alonso Not I. Gonzalo Faith, sir, you need not fear. When we were boys, Who would believe that there were mountaineers Dew-lapp'd like bulls Gonzalo describes the physical attributes of the indigenous people living on the island, commenting that their necks have a similar folding of excessive loose skin that hangs from the throats of cattle (OED)., whose throats had hanging at 'em Wallets of flesh? or that there were such men Whose heads stood in their breasts? which now we find Each putter-out of five for one will bring us Good warrant of. Alonso I will stand to and feed, Although 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 Ariel appears in the form of a harpy, a greedy and fearsome mythological creature that metes out divine justice and vengeance. Harpies have the head and body of a woman and the wings and claws of a bird. Ariel is imagined as wreaking the 'divine' vengeance of Prospero. This annotation and image are sourced from World History Encyclopedia. The image here, also from the World History Encyclopedia, is an illustration of the harpy from Ulisse Aldrovandi's Monstrorum Historia, Bologna, 1642.; claps his wings upon the table; and, with a quaint device, the banquet vanishes Ariel You are three men of sin, whom Destiny, That hath to instrument this lower world And what is in't, the never-surfeited The insatiable nature of the sea. sea Hath caused to belch up you; and on this island Where man doth not inhabit; you 'mongst men Being most unfit to live. I have made you mad; And even with such-like valour men hang and drown Their proper selves. Alonso, Sebastian &c. draw their swords You fools! I and my fellows 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 The OED define dowl as "One of the filaments of fibres of a feather' that's in my plume: my fellow-ministers Are like invulnerable. If you could hurt, Your swords are now too massy for your strengths And will not be uplifted. But remember-- For that's my business to you--that you three From Milan did supplant good Prospero; Exposed unto the sea, which hath requit To repay, compensation (OED) 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, 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 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 grimacing facial expressions, and carrying out the table Prospero Bravely the figure of this harpy hast thou Perform'd, my Ariel; a grace it had, devouring: Of my instruction hast thou nothing bated In what thou hadst to say: so, with good life And observation strange, my meaner ministers Their several kinds have done. My high charms work And these mine enemies are all knit Entangled by their temporary madness up In their distractions; they now are in my power; 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 Gonzalo I' the name of something holy, sir, why stand you In this strange stare? Alonso O, it is monstrous, monstrous: Methought the billows spoke and told me of it; The winds did sing it to me, and the thunder, That deep and dreadful organ-pipe, pronounced The name of Prosper: it did bass my trespass. Therefore my son i' the ooze is bedded, and I'll seek him deeper than e'er plummet As cited from the OED, 'A piece of lead or other heavy material attached to a line, used for measuring the depth of water; a sounding lead' or a plumb. sounded And with him there lie mudded. Exit Sebastian But one fiend at a time, I'll fight their legions o'er. Antonio I'll be thy second. Exeunt Sebastian, and Antonio Gonzalo All three of them are desperate: their great guilt, Like poison given to work a great time after, Now 'gins to bite the spirits. I do beseech you That are of suppler joints, follow them swiftly And hinder them from what this ecstasy May now provoke them to. Adrian Follow, I pray you. Exeunt

Act IV

Scene I. Before Prospero's cell. Enter Prospero, Ferdinand, and Miranda Prospero If I have too austerely punish'd you, Your compensation makes amends, for I Have given you here a third of mine own life As noted in the Arden Shakespeare edition of The Tempest, there could be several explanations for this line; some scholars believe that it is an indication of Prospero's age being 45 years as Miranda is known to 15 years of age in the play, others also believe that he his speaking metaphorically claiming that his daughter is one of the three most valuable treasures of this life, apart from his dukedom and his art., Or that for which I live; who once again I tender to thy hand: all thy vexations Were but my trials of thy love and thou Hast strangely stood the test here, afore Heaven, I ratify this my rich gift. O Ferdinand, Do not smile at me that I boast her off, For thou shalt find she will outstrip all praise And make it halt behind her. Ferdinand I do believe it Against an oracle. An oracle, in ancient Greece and Rome, was a person who was believed to be a medium through which the Gods would use to communicate with the masses. These people were often priests and priestesses (OED).. Prospero Then, as my gift and thine own acquisition Worthily purchased take my daughter: but If thou dost break her virgin-knot Prospero warns Ferdinand against taking his daughter’s virginity before their official union. before All sanctimonious ceremonies may With full and holy rite be minister'd, No sweet aspersion shall the heavens let fall To make this contract grow: but barren hate, Sour-eyed disdain and discord shall bestrew The union of your bed with weeds so loathly That you shall hate it both: therefore take heed, As Hymen's lamps Hymen is the God of marriage of Greek and Roman mythology, who with his torches/lamps would signify if the union between a couple would prosper or perish, depending on whether the flame burned clear, or smoked. (Shakespeare Navigators) shall light you. Ferdinand As I hope For quiet days, fair issue and long life, With such love as 'tis now, the murkiest den, The most opportune place, the strong'st suggestion. Our worser genius can, shall never melt Mine honour into lust, to take away The edge of that day's celebration When I shall think: or Phoebus' steeds Phoebus Apollo, the God of light or of the sun, was often characterized by riding his chariot of the sun drawn by his steeds. Here, Ferdinand vows to uphold Miranda's honor by not engaging in the consummation of their union until they are wed, lest the sun never set not the night ever arrive for their wedding night. (The Arden edition of Shakespeare The Tempest) are founder'd, Or Night kept chain'd below. Prospero Fairly spoke. Sit then and talk with her; she is thine own. What, Ariel! my industrious servant, Ariel! Enter Ariel Ariel What would my potent master? here I am. Prospero Thou and thy meaner fellows your last service Did worthily perform; and I must use you In such another trick. Go bring the rabble A loud and disorderly crowd (OED). Prospero gives Ariel the power to summon the spirits Iris, Ceres and Juno. The word rabble here is used in a derogatory sense., 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 vanity of mine art

Prospero plans to use his magic to create the fantastic entertainment of a masque for the young couple. According to material hosted by the Royal Historic Palaces, masques were elaborate court entertainments staged for and often by nobility. They involved a variety of performance types--ballet, opera, music, and theater--combined in a highly visual and stylized manner. By the early 17th century, when Shakespeare wrote and performed The Tempest, they had become highly elaborate. The Royal Banqueting House, designed by Inigo Jones and completed in 1622, was purpose-built for the staging of masques. The most popular early court masques were developed by Jones in partnership with Ben Jonson.

Thematically, masques represented and reinforced the divinity of the monarchy and symbolized a world of order in opposition to the baseness and disorder that reigned before the emergence of the Stuart Court. In The Tempest, Prospero conjures the masque as a gift for the young couple, Miranda and Ferdinand, who will marry upon their return to Naples and return order to the throne. This masque, like all masques, then, is a statement of political power.

The image included here, from the illustrated catalog of masque designs owned by the Duke and Duchess of Devonshire, shows a page dressed as a fiery spirit--this character, like the nymphs and reapers in Prospero’s masque, would likely have been a dancing role rather than a more important speaking role.

An exceptional illustrated source is “Designs by Inigo Jones for Masques & Plays at Court,” a descriptive catalog of a key collection of masque designs, now hosted in JSTOR. The image included here, from that illustrated catalog of masque designs, shows a page dressed as a fiery spirit.

Brunel University London has produced a 360° video of a modern version of a 17th century court masque, performed in the Royal Banqueting House; the video is accessible via YouTube.

: it is my promise, And they expect it from me. Ariel Presently? Prospero Ay, with a twink "A winking of the eye" or the time taken to perform this action (OED n.1). The modern equivalent of the phrase 'with/in a twink' is 'in the blink of an eye'.. Ariel Before you can say 'come' and 'go,' And breathe twice and cry 'so, so,' Each one, tripping on his toe, Will be here with mop and mow. Do you love me, master? no? Prospero Dearly my delicate Ariel. Do not approach Till thou dost hear me call. Ariel Well, I conceive understand. Exit Prospero 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! Ferdinand I warrant you sir; The white cold virgin snow upon my heart Abates the ardour of my liver According to the OED (II.4.a), the liver was understood in the early modern period to be the location of the passions, especially love, bitterness, and anger.. Prospero Well. Now come, my Ariel! bring a An obsolete term for something additional (OED 4). Prospero wants Ariel to summon an extra sprit just so they have enough., Rather than want a spirit: appear and pertly! No tongue! all eyes! be silent. Soft music Enter Iris Ariel conjures up spirits disguised as goddesses to entertain and celebrate the betrothal of the young couple. The first to appear is the spirit imitating Iris, the goddess of the rainbow and the messenger to the gods. She plays the 'presenter' of the masque. This annotation is referenced from the "Hudson Shakespeare Company". Iris Ceres, most bounteous lady, thy rich leas pastures or meadows Of wheat, rye, barley, vetches Various kinds of leguminous plants of the genus Vicia, used mainly as fodder (OED), oats and pease; Thy turfy mountains, where live nibbling sheep, And flat meads thatch'd with stover A meadow covered with hay or straw for fodder., them to keep; Thy banks with pioned Banks that are formed through the excavation or trenching of the ground caused by the currents of springs. (The Arden Shakespeare edition of The Tempest") and twilled brims The weaving of ridges in 'brims' or bodies of water (OED)., Which spongy The rainy season of AprilApril at thy hest betrims, To make cold nymphs chaste crowns; and thy broom -groves A groove covered with beautiful yellow papilionaceous flowers (OED)., Whose shadow the dismissed bachelor loves, Being lass-lorn As the word "love-lorn" means having lost a lover, "lass-lorn" means having lost a "lass"--a girl or woman.: thy pole-clipt vineyard; And thy sea-marge Margin of the sea or the sea-coast., sterile and rocky-hard, Where thou thyself dost air;--the queen o' the sky, Whose watery arch A rainbow, which is also the sign of Iris. 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. Enter Ceres The second spirit presented is Ceres, the fertility goddess of the harvest, motherhood and earth. She only participates in the masque after making sure that Venus and Cupid, the goddess and god of love responsible for the kidnapping of her daughter, do not make an appearance. This further establishes Prospero's demand that Miranda remain chaste until their union. This annotation is referenced from the "Hudson Shakespeare Company". Ceres Hail, many-colour'd messenger, that ne'er Dost disobey the wife of Jupiter Juno, the Greek goddess of marriage and the wife of Jupiter, the king of the gods.; Who with thy saffron wings upon my flowers Diffusest honey-drops, refreshing showers, And with each end of thy blue bow dost crown My bosky As cited from the OED, bosky is defined as "Consisting of or covered with bushes or underwood; full of thickets, bushy". 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 On the blest lovers. Ceres Tell me, heavenly bow Iris is frequently depicted with a rainbow, or bow., If Venus The Roman goddess of love, beauty, desire and fertility. She is also known as Aphrodite in the Greek mythology. or her son Ceres here is referring to Cupid, the Roman god of love, born to Venus and Mercury, the god of translators and interpreters., as thou dost know, Do now attend the queen? Since they did plot The means that dusky Dis Dis is another name for Pluto, god of the underworld. In mythology, he kidnaps Ceres' daughter Proserpina with help from Venus and Cupid, her 'blind' and 'waspish-headed' son of the next lines, who is typically depicted as blindly shooting his arrows of love. Ceres bargains with Pluto, and according to their deal, Proserpina spends half the year with her mother and half, with Pluto. During the spring and summer months, when mother and daughter are toogether, all is light and warmth; when Prosperpina is in the underworld, Ceres's sadness brings us the fall and winter months. my daughter got, Her and her blind boy's scandal'd company I have forsworn. Iris Of her society Be not afraid: I met her deity Cutting the clouds towards Paphos The sacred home of the goddess Venus on the Island of Cyprus. and her son Dove-drawn with her. Here thought they to have done Some wanton charm upon this man and maid, Whose vows are, that no bed-right shall be paid Till Hymen's torch Prospero is forbidding Ferdinand and Miranda from having sex before they are married, or before the torch of Hymen, the Greek God of marriage, is lit. be lighted: but 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 And be a boy right out. Ceres High'st queen of state, Great Juno, comes; I know her by her gait. Enter Juno The third spirit enters the masque fashioned as Juno, the roman queen of the gods. 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: Juno Honour, riches, marriage-blessing, Long continuance, and increasing, Hourly joys be still upon you! Juno sings her blessings upon you. Ceres Earth's increase, foison An archaic term for abundance or bountiful supply (OED 1.a).plenty, Barns and garners never empty, Vines and clustering bunches growing, Plants with goodly burthen bowing Plants bending from the weight of their growth.; Spring come to you at the farthest In the very end of harvest! Scarcity and want shall shun you; Ceres' blessing so is on you. Ferdinand This is a most majestic vision, and Harmoniously charmingly. May I be bold To think these spirits? Prospero Spirits, which by mine art I have from their confines call'd to enact My present fancies. Ferdinand 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 Prospero Sweet, now, silence! Juno and Ceres whisper seriously; There's something else to do: hush, and be mute, Or else our spell is marr'd. Iris You nymphs According to Britannica, nymphs are a class of low-ranking female deities from Greek mythology, often associated with sources of growing life such as trees and water. The Naiads presided over freshwater brooks, lakes, springs, and rivers., call'd Naiads, of the windring brooks, With your sedged crowns and ever-harmless looks, Leave your crisp channels and on this green land Answer your summons; Juno does command: Come, temperate nymphs, and help to celebrate A contract of true love; be not too late. Enter certain Nymphs You sunburnt sicklemen, of August weary, Come hither from the furrow and be merry: Make holiday; your rye-straw hats put on And these fresh nymphs encounter every one In country footing. Enter certain Reapers, properly habited: they join with the Nymphs in a graceful dance; towards the end whereof Prospero starts suddenly, and speaks; after which, to a strange, hollow, and confused noise, they heavily vanish Prospero Aside I had forgot that foul conspiracy Of the beast Caliban and his confederates Against my life: the minute of their plot Is almost come. To the Spirits Well done! avoid; no more! Ferdinand This is strange: your father's in some passion That works him strongly. Miranda Never till this day Saw I him touch'd with anger so distemper'd. Prospero 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: And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itself, Ye all which it inherit, shall dissolve And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep. Sir, I am vex'd; Bear with my weakness; my, brain is troubled: Be not disturb'd with my infirmity: If you be pleased, retire into my cell And there repose: a turn or two I'll walk, To still my beating mind. Ferdinand and Miranda We wish your peace. Exeunt Prospero Come with a thought I thank thee, Ariel: come. Enter Ariel Ariel Thy thoughts I cleave to. What's thy pleasure? Prospero Spirit, We must prepare to meet with Caliban. Ariel Ay, my commander: when I presented Ceres, I thought to have told thee of it, but I fear'd Lest I might anger thee. Prospero Say again, where didst thou leave these varlets According to the OED, a varlet was a term for a man or a young lad acting as a lowly servant. In this context however, Prospero uses it as an "abusive form of address" (OED 2.a).? Ariel I told you, sir, they were red-hot with drinking; So fun 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 tabour Tabour/Tabor is an archaic term from the eleventh century for a small drum (OED).; 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, Which entered 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. Prospero This was well done, my bird. Thy shape invisible retain thou still: The trumpery in my house, go bring it hither, For stale to catch these thieves. Ariel I go, I go. Exit Prospero A devil, a born devil, on whose nature Nurture can never stick; on whom my pains, Humanely taken, all, all lost, quite lost; And as with age his body uglier grows, So his mind cankers. I will plague them all, Even to roaring. 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 Caliban Pray you, tread softly, that the blind mole may not Hear a foot fall: we now are near his cell. Stephano Monster, your fairy, which you say is a harmless fairy, has done little better than played the Jack with us. Trinculo Monster, I do smell all horse-piss; at which my nose is in great indignation. Stephano So is mine. Do you hear, monster? If I should take a displeasure against you, look you,-- Trinculo Thou wert but a lost monster. Caliban 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. All's hush'd as midnight yet. Trinculo Ay, but to lose our bottles in the pool,-- Stephano There is not only disgrace and dishonour in that, monster, but an infinite loss. Trinculo That's more to me than my wetting: yet this is your harmless fairy, monster. Stephano I will fetch off my bottle, though I be o'er ears for my labour. Caliban Prithee, my king, be quiet. Seest thou here, This is the mouth o' the cell: no noise, and enter. Do that good mischief which may make this island Thine own for ever, and I, thy Caliban, For aye thy foot-licker. Stephano Give me thy hand. I do begin to have bloody thoughts. Trinculo O king Stephano! O peer! O worthy Stephano! look what a wardrobe here is for thee! Caliban Let it alone, thou fool; it is but trash. Trinculo O, ho, monster! we know what belongs to a frippery A store where previously-owned but quality cloghing is sold (OED). Trinculo chides Caliban for not knowing the value of the clothing.. O king Stephano! Stephano Put off that gown, Trinculo; by this hand, I'll have that gown. Trinculo Thy grace shall have it. Caliban The dropsy drown this fool I what do you mean To dote thus on such luggage? Let's alone And do the murder first: if he awake, From toe to crown he'll fill our skins with pinches, Make us strange stuff. Stephano Be you quiet, monster. Mistress line Stephano and Trinculo engage in a riff on the multiple meanings of the word "line." Here, Stephano is comically addressing the clothesline (or line) in a formal manner., is not this my jerkin? Now is the jerkin A men's jacket made of leather either with sleaves or without, and having a short skirt. The historical equivalent of the waistcoat. (OED) under the line "Under the line" during this period was a reference to the equator (OED n, 10.b).: now, jerkin, you are like to lose your hair and prove a bald jerkin. Trinculo Do, do: we steal by line and level To do something by line and level means to do it methodically and with care (OED n, 4.b)., an't like your grace. Stephano I thank thee for that jest; here's a garment for't: wit shall not go unrewarded while I am king of this country. 'Steal by line and level' is an excellent pass of pate The OED defines 'pass of pate' as a "witty or cutting remark". In the literal sense, 'pate' was an archaic noun for the head or skull. Stephano creates his own pun Trinculo's clever wordplay.; there's another garment for't. Trinculo Monster, come, put some lime upon your fingers According to the OED, lime or birdlime is a sticky material from holly bark, mistletoe berries and other plants, used to capture birds by applying it to branches where they might alight., and away with the rest. Caliban I will have none on't: we shall lose our time, And all be turn'd to barnacles, or to apes With foreheads villanous low. Stephano 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. Trinculo And this. Stephano Ay, and this. A noise of hunters heard. Enter divers Spirits These noises mimicking the sounds of animals are produced by the actors off-stage., in shape of dogs and hounds, and hunt them about, Prospero and Ariel setting them on Prospero Hey, Mountain, hey! Ariel Silver I there it goes, Silver! Prospero Fury, Fury! there, Tyrant, there! hark! hark! Caliban, Stephano, and Trinculo, 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 Than pard or cat o' mountain. Ariel Hark, they roar! Prospero Let them be hunted soundly. At this hour Lie at my mercy all mine enemies: Shortly shall all my labours end, and thou Shalt have the air at freedom: for a little Follow, and do me service. Exeunt

Act V

Scene I. Before Prospero's cell. Enter Prospero in his magic robes, and Ariel Prospero 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? Ariel On the sixth hour; at which time, my lord, You said our work should cease. Prospero I did say so, When first I raised the tempest. Say, my spirit, How fares the king and's followers? Ariel Confined together In the same fashion as you gave in charge, Just as you left them; all prisoners, sir, In the line-grove A small group of trees that provide shade (OED). Here, the grove is acting as a barrier for Prospero's cell. which weather-fends your cell; They cannot budge till your release. The king, His brother and yours, abide all three distracted And the remainder mourning over them, Brimful of sorrow and dismay; but chiefly Him that you term'd, sir, 'The good old lord Gonzalo;' His tears run down his beard, like winter's drops From eaves Eaves is an Old English term, signifying the edge of the roof over a building which overhangs off the sides, made typically of straws or reeds (OED) of reeds. Your charm so strongly works 'em That if you now beheld them, your affections Would become tender. Prospero Dost thou think so, spirit? Ariel Mine would, sir, were I human. Prospero And mine shall. Hast thou, which art but air, a touch, a feeling Of their afflictions, and shall not myself, One of their kind, that relish all as sharply, Passion as they, be kindlier moved than thou art? Though with their high wrongs I am struck to the quick, Yet with my nobler reason 'gaitist 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: My charms I'll break, their senses I'll restore, And they shall be themselves. Ariel I'll fetch them, sir. Exit Prospero 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 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, 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 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 According to the OED, oped is a transitive verb which means, " To open. Frequently of an eye, door, or window.", and let 'em forth By my so potent art. But this rough magic I here abjure, and, when I have required Some heavenly music, which even now I do, To work mine end upon their senses that This airy charm is for, I'll break my staff, Bury it certain fathoms in the earth, And deeper than did ever plummet sound I'll drown my book. Solemn music Re-enter Ariel before: then Alonso, with a frantic gesture, attended by Gonzalo; Sebastian and Antonio in like manner, attended by Adrian and Francisco they all enter the circle which Prospero had made, and there stand charmed; which Prospero observing, speaks: A solemn air and the best comforter To an unsettled fancy cure thy brains, Now useless, boil'd within thy skull! There stand Around this time, the actors who are yet transfixed by Prospero's sorcery enter the stage led by Ariel. Prospero then addresses each of the afflicted before releasing them from their state., 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, 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 you follow'st! 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 furtherer in the act. Thou art pinch'd fort now, Sebastian. Flesh and blood, You, brother mine, that entertain'd ambition, Expell'd remorse and nature; who, with Sebastian, Whose inward pinches therefore are most strong, Would here have kill'd your king; I do forgive thee, Unnatural though thou art. Their understanding Begins to swell, and the approaching tide Will shortly fill the reasonable shore That now lies foul and muddy. Not one of them That yet looks on me, or would know me Ariel, Fetch me the hat and rapier in my cell: I will discase me Prospero, with Ariel's help, removes his magical robe and staff, and dresses himself in the clothes he had worn while he was still Duke of Milan perhaps to keep them in the dark about his association with the tempest. "Discase" literally means to take something out of its case, but colloquially it means to undress., and myself present As I was sometime Milan: quickly, spirit; Thou shalt ere long be free. Ariel 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. 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. Prospero Why, that's my dainty Ariel! I shall miss thee: But yet thou shalt have freedom: so, so, so. To the king's ship, invisible as thou art: There shalt thou find the mariners asleep Under the hatches; the master and the boatswain Being awake, enforce them to this place, And presently, I prithee. Ariel I drink the air before me, and return Or ere your pulse twice beat. Exit Gonzalo All torment, trouble, wonder and amazement Inhabits here: some heavenly power guide us Out of this fearful country! Prospero 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 A hearty welcome. Alonso Whether thou best 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, 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? Prospero First, noble friend, Let me embrace thine age, whose honour cannot Be measured or confined. Gonzalo Whether this be Or be not, I'll not swear. Prospero You do yet taste Some subtilties o' the isle, that will not let you Believe things certain. Welcome, my friends all! Aside to Sebastian and Antonio 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. Sebastian Aside The devil speaks in him. Prospero No. For you, most wicked sir, whom to call brother Would even infect my mouth, I do forgive Thy rankest fault; all of them; and require My dukedom of thee, which perforce, I know, Thou must restore. Alonso If thou be'st Prospero, Give us particulars of thy preservation; How thou hast met us here, who three hours since Were wreck'd upon this shore; where I have lost-- How sharp the point of this remembrance is!-- My dear son Ferdinand. Prospero I am woe for't, sir. Alonso Irreparable is the loss, and patience Says it is past her cure. Prospero 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. Alonso You the like loss! Prospero As great to me as late; and, supportable To make the dear loss, have I means much weaker Than you may call to comfort you, for I Have lost my daughter. Alonso A daughter? O heavens, that they were living both in Naples, The king and queen there! that they were, I wish Myself were mudded in that oozy bed Where my son lies. When did you lose your daughter? Prospero In this last tempest. I perceive these lords At this encounter do so much admire That they devour their reason and scarce think 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 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 It is a very long narrative to be recounted over the course of many days., Not a relation for a breakfast nor Befitting this first meeting. Welcome, sir; This cell's my court: here have I few attendants And subjects none abroad: pray you, look in. My dukedom since you have given me again, I will requite you with as good a thing; At least bring forth a wonder, to content ye As much as me my dukedom. Here Prospero discovers A discovery space on the stage is an area enclosed by curtains which is used to reveal objects or characters. Sometimes the color of the curtains will also indicate the theme of the tale, as in the case of the tragedy Doctor Faustus where black curtains are sometimes used to signal the dark events of the play ("Reconstructing the Rose"). Ferdinand and Miranda playing at chess Miranda Sweet lord, you play me false. Ferdinand No, my dear'st love, I would not for the world. Miranda Yes, for a score of kingdoms you should wrangle, And I would call it, fair play. Alonso If this prove A vision of the Island, one dear son Shall I twice lose. Sebastian A most high miracle! Ferdinand [Sees his father and the others] Though the seas threaten, they are merciful; I have cursed them without cause. Kneels Alonso Now all the blessings Of a glad father compass thee about! Arise, and say how thou camest here. Miranda O, wonder! How many goodly creatures are there here! How beauteous mankind is! O brave new world, That has such people in't! Prospero 'Tis new to thee. Alonso What is this maid with whom thou wast at play? Your eld'st acquaintance cannot be three hours: Is she the goddess that hath sever'd us, And brought us thus together? Ferdinand Sir, she is mortal; But by immortal Providence she's mine: I chose her when I could not ask my father For his advice, nor thought I had one. She Is daughter to this famous Duke of Milan, Of whom so often I have heard renown, But never saw before; of whom I have Received a second life; and second father This lady makes him to me. Alonso I am hers: But, O, how oddly will it sound that I Must ask my child forgiveness! Prospero There, sir, stop: Let us not burthen our remembrance with A heaviness that's gone. Gonzalo I have inly wept, Or should have spoke ere this. Look down, you god, And on this couple drop a blessed crown! For it is you that have chalk'd forth the way Which brought us hither. Alonso I say, Amen, Gonzalo! Gonzalo Was Milan thrust from Milan, that his issue Should become kings of Naples? O, rejoice Beyond a common joy, and set it down With gold on lasting pillars: In one voyage Did Claribel her husband find at Tunis, And Ferdinand, her brother, found a wife Where he himself was lost, Prospero his dukedom In a poor isle and all of us ourselves When no man was his own. Alonso To Ferdinand and Miranda Give me your hands: Let grief and sorrow still embrace his heart That doth not wish you joy! Gonzalo Be it so! Amen! Re-enter Ariel, with the Master and Boatswain amazedly following O, look, sir, look, sir! here is more of us: I prophesied, if a gallows were on land, This fellow could not drown. [to Boatswain] Now, blasphemy, That swear'st grace o'erboard, not an oath on shore? Hast thou no mouth by land? What is the news? Boatswain 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. Ariel Aside to Prospero Sir, all this service Have I done since I went. Prospero Aside to Ariel My tricksy spirit! Alonso These are not natural events; they strengthen From strange to stranger. Say, how came you hither? Boatswain If I did think, sir, I were well awake, I'ld strive to tell you. We were dead of sleep, And--how we know not--all clapp'd under hatches; Where but even now with strange and several noises Of roaring, shrieking, howling, jingling chains, And more diversity of sounds, all horrible, We were awaked; straightway, at liberty; Where we, in all her trim, freshly beheld Our royal, good and gallant ship, our master Capering to eye her: on a trice, so please you, Even in a dream, were we divided from them And were brought moping hither. Ariel Aside to Prospero Was't well done? Prospero Aside to Ariel Bravely, my diligence. Thou shalt be free. Alonso 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. Prospero Sir, my liege, Do not infest your mind with beating on The strangeness of this business; at pick'd leisure Which shall be shortly, single I'll resolve you, Which to you shall seem probable, of every These happen'd accidents; till when, be cheerful And think of each thing well.Aside to Ariel 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. Re-enter Ariel, driving in Caliban, Stephano and Trinculo, in their stolen apparel Stephano Every man shift for all the rest, andlet no man take care for himself; for all is but fortune. Coragio An exhortatory Italian exclamation for "Courage!" (OED), bully-monster, coragio! Trinculo If these be true spies which I wear in my head, here's a goodly sight. Caliban O Setebos, these be brave spirits indeed! How fine my master is! I am afraid He will chastise me. Sebastian Ha, ha! What things are these, my lord Antonio? Will money buy 'em? Antonio Very like; one of them Is a plain fish, and, no doubt, marketable. Prospero 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, 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 Acknowledge mine. Caliban I shall be pinch'd to death. Alonso Is not this Stephano, my drunken butler? Sebastian He is drunk now: where had he wine? Alonso And Trinculo is reeling ripe: where should they Find this grand liquor that hath gilded 'em? How camest thou in this pickle? Trinculo 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. Sebastian Why, how now, Stephano! Stephano O, touch me not; I am not Stephano, but a cramp. Prospero You'ld be king o' the isle, sirrah According to the OED, it's an archaic "term of address used to men or boys, expressing contempt, reprimand, or assumption of authority on the part of the speaker".? Stephano I should have been a sore one then. Alonso This is a strange thing as e'er I look'd on. Pointing to Caliban Prospero He is as disproportion'd in his manners As in his shape. Go, sirrah, to my cell; Take with you your companions; as you look To have my pardon, trim it handsomely. Caliban Ay, that I will; and I'll be wise hereafter And seek for grace. What a thrice-double ass Was I, to take this drunkard for a god And worship this dull fool! Prospero Go to; away! Alonso Hence, and bestow your luggage where you found it. Sebastian Or stole it, rather. Exeunt Caliban, Stephano, and Trinculo Prospero Sir, I invite your highness and your train To my poor cell, where you shall take your rest For this one night; which, part of it, I'll waste With such discourse as, I not doubt, shall make it Go quick away; the story of my life And the particular accidents gone by Since I came to this isle: and in the morn I'll bring you to your ship and so to Naples, Where I have hope to see the nuptial Of these our dear-beloved solemnized; And thence retire me to my Milan, where Every third thought shall be my grave. Alonso I long To hear the story of your life, which must Take the ear strangely. Prospero 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 Ariel [aside to Ariel] My Ariel, chick, That is thy charge: then to the elements Be free, and fare thou well! [to the others] Please you, draw near. Exeunt

EPILOGUE An epilogue serves as a conclusionary poem or speech to a play, with the main purpose of tying up the many subplots and providing some closure for the characters at the end of the tale. It is usually performed in the form of a monologue in which applause is sought, addressed directly to the audience. spoken by Prospero [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, 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: 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, 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. FINIS