Imatges de pÓgina
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A prince of power.

MIRA.

Of thee, my dear one! thee, my daughter,-who | Thy father was the duke of Milan, and
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,
And thy no greater father.

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'Tis time

Did never meddle with my thoughts.

PRO.

I should inform thee further. Lend thy hand, And pluck my magic garment from me.—So; [Lays down his robe. Lie there, my art.-Wipe thou thine eyes; have comfort.

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The direful spectacle of the wreck, which touch'd
The very virtue of compassion in thee,
I have with such provision in mine art
So safely order'd, that there is no soul-
No, not so much perdition as an hair,
Betid to any creature in the vessel
Which thou heard'st cry, which thou saw'st sink.
Sit down;

Sir, are not you my father? PRO. Thy mother was a piece of virtue, and She said thou wast my daughter; and thy father Was duke of Milan; and his only heir

d

A princess, no worse issued.

For thou must now know further.

MIRA.

You have oftenb

Begun to tell me what I am; but stopp'd,
And left me to a bootless inquisition,
Concluding, Stay, not yet.—

PRO.

The hour's now come;

The very minute bids thee ope
Obey, and be attentive.

thine ear;
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.c

Certainly, sir, I can.

MIRA.
PRO. By what? by any other house or person?
Of anything the image, tell me, that
Hath kept with thy remembrance.

MIRA.

'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?

PRO. Thou hadst, and more, Miranda. But
how is it

That this lives in thy mind? What see'st thou else
In the dark backward and abysm of time?
If thou remember'st aught ere thou cam'st here,
How thou cam'st here thou mayst.

MIRA.

But that I do not. PRO. Twelve year since, Miranda, twelve year since,

that there is no soul-] Rowe prints,

"that there is no soul lost;"

Theobald. "that there is no foyle;" and Johnson, "that there is no
soil." We believe, notwithstanding Steevens' remark that "such
interruptions are not uncommon to Shakspeare," that "soul" is
a typographical error, and that the author wrote, as Capell reads, -
that there is no loss,

No, not so much perdition as an hair
Betid to any creature," &c.

b You have often, &c.] Query, "You have oft," &c.

MIRA.

O, the heavens !

What foul play had we, that we came from thence?
Or blessed was't we did?

PRO.

Both, both, my girl :

By foul play, as thou say'st, were we heav'd thence;
But blessedly holp hither.

MIRA.

O, my heart bleeds
To think o' the teen that I have turn'd you to,
Which is from my remembrance! Please you,

further.

PRO. My brother, and thy uncle, call'd An-
tonio,―

I pray
thee, mark me,-that a brother should
Be so perfidious!-he whom, next thyself,
Of all the world I lov'd, and to him put
The manage of my state; as, at that time,
Through all the signiories 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?

MIRA.

Sir, most heedfully.

PRO. 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 chang'd 'em,
Or else new form'd 'em; having both the key
Of officer and office, set all hearts i' the state
To what tune pleas'd his ear; that now he was
The ivy which had hid my princely trunk,
And suck'd my verdure out on 't.—Thou attend'st
not.

MIRA. O good sir, I do.
PRO.
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 retir'd,
O'er-priz'd all popular rate, in my false brother
Awak'd an evil nature; and my trust,

e Out three years old.] That is, past, or more than, three years
old.
d A princess,-] In the old text, "And Princesse." The cor-
rection is due to Pope.

e Teen-] Sorrow, vexation.

f To trash for over-topping,-] To clog or impede, lest they should run too fast. The expression to trash is a hunting technical. In the present day sportsmen check the speed of very fleet hounds by tying a rope, called a dog-trash, round their necks, and letting them trail it after them: formerly they effected the object by attaching to them a weight, sometimes called in jest a clogdogdo.

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MIRA. Your tale, sir, would cure deafness.
PRO. 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) with 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 stooping.

MIRA.

O the heavens !

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PRO.

Now the condition.
This king of Naples, being an enemy
To me inveterate, hearkens my brother's suit;
Which was, that he, in lieu o' the premises
Of homage, and I know not how much tribute,
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.
MIRA.

Alack, for pity!

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My tale provokes that question. Dear, they durst

not,

So dear the love my people bore me,-nor set
A mark so bloody on the business; but
With colours fairer painted their foul ends.
In few, they hurried us aboard a bark,

Bore us some leagues to sea; where they prepar'd
A rotten carcass of a boat,* not rigg'd,
Nor tackle, sail, nor mast; the very rats
Instinctively have quit it: there they hoist us,
To cry to the sea that roar'd to us; to sigh
To the winds, whose pity, sighing back again,
Did us but loving wrong.

MIRA. Was I then to you?

PRO.

Alack, what trouble

O, a cherubin

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 groan'd; which rais'd in me
An undergoing stomach, to bear up
Against what should ensue.

MIRA.

How came we ashore?
PRO. By Providence divine.
Some food we had, and some fresh water, that
A noble Neapolitan, Gonzalo,

Out of his charity,-who being then appointed
Master of this design,-did give us; with
Rich garments, linens, stuffs, and necessaries,
Which since have steaded much; so, of his

tleness,
Knowing I lov'd my books, he furnish'd me,
From mine own library, with volumes that
I prize above my dukedom.

MIRA.

But ever see that man!

Would I might

gen

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and this emendation is entitled to more respect than it has received.

b In lieu-] In lieu means here, in guerdon, or consideration; not as it usually signifies, instead, or in place.

Fated to the purpose,-] Mr. Collier's annotator reads,"Fated to the practice;" and as "purpose" is repeated two lines below, the substitution is an improvement.

d In few,-] To be brief; in a few words.

• Deck'd-1 Decked, if not a corruption for degged, an old provincialism, probably meant the same, that is, sprinkled.

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PRO. [Aside to ARIEL, above.] Now I arise: Sit still, and hear the last of our sea-sorrow. Here in this island we arriv'd; and here Have I, thy schoolmaster, made thee more profit Than other princess' can, that have more time For vainer hours, and tutors not so careful. MIRA. Heavens thank you for't! And now, pray you, sir,

I

For still 'tis beating in my mind,—your reason
For raising this sea-storm?

PRO.
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
I find my zenith doth depend upon
A most auspicious star, whose influence
If now I court not, but omit, my fortunes

Will ever after droop.-Here cease more ques

tions:

Thou art inclin'd to sleep; 't is a good dulness,
And give it way;-I know thou canst not choose.-
[MIRANDA sleeps.
Come away, servant, come! I am ready now:
Approach, my Ariel; come!

Enter ARIEL.(2)

ARI. 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.

PRO.

Hast thou, spirit,

Perform'd to point the tempest that I bade thee?
ARI. To every article.

I boarded the king's ship; now on the beak,
Now in the waist, the deck, in every cabin,
I flam'd amazement: sometime I'd divide
And burn in many places; on the topmast,
The yards, and bowsprit,* would I flame distinctly,"
Then meet, and join. (3) Jove's lightnings,† the

precursors

O' the dreadful thunder-claps, more momentary
And sight-outrunning were not: the fire, and

cracks

Of sulphurous roaring, the most mighty Neptune
Seem to besiege, and make his bold waves tremble,
Yea, his dread trident shake.

a Now I arise:-] The purport of these words has never been satisfactorily explained, because they have been always understood as addressed to Miranda. If we suppose them directed not to her, but aside to Ariel, who has entered, invisible except to Prospero, after having

"Perform'd to point the tempest,"

and whose arrival occasions Prospero to operate his sleepy charm

(4) Old text, Lightening.

(*) Old text, Bore-spritt.
upon Miranda, they are perfectly intelligible. That they were so
intended becomes almost certain from Prospero's language pre-
sently, when the charm has taken effect,-

"Come away, servant, come! I am ready now:
Approach, my Ariel; come!"

b Distinctly,-] That is, separately.

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PRO.

In an odd angle of the isle, and sitting,
His arms in this sad knot.

Of the king's ship,

Safely in harbour

The mariners, say how thou hast dispos'd,
And all the rest o' the fleet.

ARI.

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, (4) there she's hid:
The mariners all under hatches stow'd;
Whom, with a charm join'd to their suffer'd labour,
I have left asleep and for the rest o' the fleet,
Which I dispers'd, they all have met again,
And are upon the Mediterranean flote,
Bound sadly home for Naples,

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

PRO.
Ariel, thy charge
Exactly is perform'd; but there's more work.
What is the time o' the day?
ARI.

Past the mid season.

play of "The Spanish Gipsie," Act I. Sc. 5,

"it did not
More check my rash attempt, than draw to ebb
The float of those desires.'

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No.

From what a torment I did free thee?

To do me business in the veins o' the earth
When it is bak'd with frost.

ARI.
I do not, sir.
PRO. Thou liest, malignant thing! Hast thou
forgot

The foul witch Sycorax, who, with age and envy,
Was grown into a hoop? hast thou forgot her?

ARI. No, sir.

PRO. Thou hast. Where was she born? speak; tell me.

ARI. Sir, in Argier.

PRO.

O, was she so? I must Once in a month recount what thou hast been, Which thou forgett'st. This damn'd witch

Sycorax,

For mischiefs manifold, and sorceries terrible
To enter human hearing, from Argier,
Thou know'st, was banish'd: for one thing she did
They would not take her life. Is not this true?
ARI. Ay, sir.

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

And here was left by the sailors: Thou, my slave, As thou report'st thyself, wast then her servant;

d This blue-ey'd hag-] Blue ey'd has been ably defended; but it must be confessed that blear-ey'd, a common epithet in our old plays, seems more applicable to the "damn'd witch Sycorax." Thus in Beaumont and Fletcher's play of "The Chances," Act IV. Sc. 2, where old Antonio bids his servant"Get me a conjuror,

One that can raise a water devil:

*

*

ARI.

PRO. Thou dost; and think'st it much to tread the ooze

Of the salt deep,

To run upon

the sharp wind of the north,

At least two glasses-the time, 'twixt six and now-
Must by us both be spent most preciously.]

By the customary punctuation of this passage, Prospero is made to
ask a question and answer it. The pointing we adopt obviates
this inconsistency, and renders any change in the distribution of
the speeches needless.

b Told thee no lies, made thee no mistakings, serv'd-] The second thee, which overloads the line, was probably repeated by the compositor through inadvertence.

c Argier.] The old English name for Algiers.

any blear-ey'd people

With red heads, and flat noses, can perform it."

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