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Fill all thy bones with achës, make thee roar
No, pray thee.
So, slave; hence! [Exit Caliban.
Re-enter Ariel, invisible, playing and singing;
And then take hands :
The wild waves whist,
And, sweet sprites, the burthen bear.
The word ache was phonetically identical with name of the letter H. Hence Shakespeare puns on them (cf. Much Ado, iii. 4. 56). 374. invisible.
A special dress was used to indicate in. visibility.' Steevens quotes from a contemporary theatrical wardrobe the item : a robe for to go invisible.
378-9. kiss'd the wild waves whist, kissed the waves into hushed stillness,
i.e. kissed partners (immediate prelude to the dance) and thereby hushed the noisy waves into attention (Allen). This interpretation,
favoured by the punctuation in Ff and by v. 392, is more Shakespearean than the commoner one, which makes v.
379 a parenthesis.
380. featly, gracefully.
381. the burthen bear, Pope's correction of the reading of the Ff bear the burden.
382. Ff print the four lines 382-6 continuously, as belonging to the dispersed burthen.' Some editors separate the 'bowwows' from the 'burthen'; but in the desolate island the 'watch dogs' also must clearly have been personated by ‘sprites.'
Ari. Hark, hark! I hear
The strain of strutting chanticleer
the earth ?
But 'tis gone.
Of his bones are coral made;
Nothing of him that doth fade
father. This is no mortal business, nor no sound That the earth owes. I hear it now above me.
Pros. The fringed curtains of thine eye advance
of the song.
390. again, again and again. son composed in 1610 the music 395.
Ariel sings. The for Middleton's The Witch. musical setting of this song by 405. ditty, the words (detto) R. Johnson, probably that used in the original performance, is 405. remember, still extant in Wilson's Cheerful rate. Ayres or Ballads, 1660. John- 408. advance, lift up.
what thou seest yond. Mir.
What is 't? a spirit ? Lord, how it looks about !
Believe me, sir,
I might call him
Pros. [Aside] It goes on, I see,
Most sure, the goddess
No wonder, sir;
My language ! heavens !
How? the best? What wert thou, if the King of Naples heard thee? Fer. A single thing, as I am now,
that wonders A sin thing, i.e. Naples ; with a play the identical with the King of sense 'solitary.'
To hear thee speak of Naples. He does hear me ;
Alack, for mercy !
[Aside] The Duke of Milan
Delicate Ariel, I'll set thee free for this. [To Fer.] A word, good
I fear you have done yourself some wrong: a word.
Mir. Why speaks my father so ungently? This Is the third man th 'er I saw, the first That ere I sigh'd for : pity move my father To be inclined my way! Fer.
O, if a virgin, And your
affection not gone forth, I'll make you The queen of Naples. Pros.
Soft, sir! one word more. (Aside] They are both in either's powers ;, but
this swift business
I charge thee
438. his brave son. This per- made an unfounded claim ; with son, apparently by an oversight, the friendly sub-sense, hidden does not appear in the sequel. from Ferdinand : represented 439. control, check.
your case as worse than it will 443. done yourself some wrong,
prove to be.'
No, as I am a man.
[Draws, and is charmed from moving. Mir.
O dear father,
What? I say,
Beseech you, father.
Sir, have pity;
Silence ! one word more
468. gentle and not fearful, attribute to Miranda too much mild and not terrible. The
insight into the niceties of social interpretation of gentle birth distinction. and not a coward' seems to 471. ward, posture of defence.