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The Tempest

Volume 1 / Act 5 — V. 1 Scene I. Before the cell of Prospero.

Reading edition

Enter Prospero in his magic robes, and Ariel.

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

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

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

Ari. Confined together In the same fashion as you gave in charge, Just as you left them; all prisoners, sir, 10 In the line-grove 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 15 Him that you term’d, sir, “The good old lord, Gonzalo;” His tears run down his beard, like winter’s drops From eaves of reeds. Your charm so strongly works ’em, That if you now beheld them, your affections Would become tender.

Pros.

Dost thou think so, spirit?

Ari. Mine would, sir, were I human.

Pros. 20 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? V. 1. 25 Though with their high wrongs I am struck to the quick, Yet with my nobler reason ’gainst my fury Do I take part: the rarer action is In virtue than in vengeance: they being penitent, The sole drift of my purpose doth extend 30 Not a frown further. Go release them, Ariel: My charms I’ll break, their senses I’ll restore, And they shall be themselves.

Ari. I’ll fetch them, sir. Exit.

Pros. Ye elves of hills, brooks, standing lakes, and groves; And ye that on the sands with printless foot 35 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 40 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 45 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, and let ’em forth V. 1. 50 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, 55 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, 60 Now useless, boil’d within thy skull! There stand, 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; 65 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 70 To him thou 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 for’t now, Sebastian. Flesh and blood, V. 1. 75 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 80 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: 85 I will discase me, and myself present As I was sometime Milan: quickly, spirit; Thou shalt ere long be free.

Ariel sings and helps to attire him.

Where the bee sucks, there suck I: In a cowslip’s bell I lie; 90 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.

95 Pros. 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 V. 1. 100 Being awake, enforce them to this place, And presently, I prithee.

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

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

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

Alon. Whether thou be’st he or no, Or some enchanted trifle to abuse me, As late I have been, I not know: thy pulse Beats, as of flesh and blood; and, since I saw thee, 115 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?

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

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

Pros. You do yet taste Some subtilties o’ the isle, that will not let you V. 1. 125 Believe things certain. Welcome, my friends all! [Aside to Seb. and Ant.] But you, my brace of lords, were I so minded, I here could pluck his Highness’ frown upon you, And justify you traitors: at this time I will tell no tales.

Seb. [Aside]

The devil speaks in him.

Pros. No. 130 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.

Alon. If thou be’st Prospero, 135 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.

Pros.

I am woe for’t, sir.

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

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

Alon.

You the like loss!

145 Pros. 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.

Alon. A daughter? O heavens, that they were living both in Naples, V. 1. 150 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 you daughter?

Pros. In this last tempest. I perceive, these lords At this encounter do so much admire, 155 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 160 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, Not a relation for a breakfast, nor 165 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; 170 At least bring forth a wonder, to content ye As much as me my dukedom.

Here Prospero discovers Ferdinand and Miranda playing at chess.

Mir. Sweet lord, you play me false.

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

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

Alon. V. 1. 175 If this prove A vision of the island, one dear son Shall I twice lose.

Seb.

A most high miracle!

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

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

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

Pros.

’Tis new to thee.

185 Alon. 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?

Fer. Sir, she is mortal; But by immortal Providence she’s mine: 190 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 195 Received a second life; and second father This lady makes him to me.

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

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

Gon. V. 1. 200 I have inly wept, Or should have spoke ere this. Look down, you gods, And on this couple drop a blessed crown! For it is you that have chalk’d forth the way Which brought us hither.

Alon.

I say, Amen, Gonzalo!

205 Gon. 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, 210 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.

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

Gon.

215 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. Now, blasphemy, That swear’st grace o’erboard, not an oath on shore? 220 Hast thou no mouth by land? What is the news?

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

V. 1. 225 Ari. [Aside to Pros.] Sir, all this service Have I done since I went.

Pros. [Aside to Ari.]

My tricksy spirit!

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

Boats. If I did think, sir, I were well awake, 230 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, 235 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.

240 Ari. [Aside to Pros.]

Was’t well done?

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

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

Pros. 245 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 V. 1. 250 These happen’d accidents; till when, be cheerful, And think of each thing well. [Aside to Ari.] Come hither, spirit: Set Caliban and his companions free; Untie the spell. [Exit Ariel.] How fares my gracious sir? There are yet missing of your company 255 Some few odd lads that you remember not.

Re-enter Ariel, driving in Caliban, Stephano, and Trinculo, in their stolen apparel.

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

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

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

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

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

Pros. Mark but the badges of these men, my lords, Then say if they be true. This mis-shapen knave, His mother was a witch; and one so strong 270 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 V. 1. 275 Must know and own; this thing of darkness I Acknowledge mine.

Cal.

I shall be pinch’d to death.

Alon. Is not this Stephano, my drunken butler?

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

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

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

285 Seb. Why, how now, Stephano!

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

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

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

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

290 Pros. 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.

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

Pros.

Go to; away!

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

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

V. 1. 300 Pros. 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, 305 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; 310 And thence retire me to my Milan, where Every third thought shall be my grave.

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

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

Exeunt.

EPILOGUE.

SPOKEN BY PROSPERO.

Now my charms are all o’erthrown, And what strength I have’s mine own, Which is most faint: now, ’tis true, I must be here confined by you, 5 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 10 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; 15 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, 20 Let your indulgence set me free.

NOTES.

Note I.

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

Note II.

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

Note III.

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

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

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

Note IV.

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

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

Possibly it ought to be printed thus:

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

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

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

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

Note V.

I. 2. 377, 378:

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

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

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

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

Note VI.

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

Note VII.

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

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

Note VIII.

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

Note IX.

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

Note X.

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

Note XI.

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

Note XII.

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

Note XIII.

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

Note XIV.

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

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

Note XV.

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

Note XVI.

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

Note XVII.

IV. 1. 230. Let’s alone. See Staunton’s “Shakespeare,” Vol. I. p. 81, note (b).

Note XVIII.

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

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

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