370 Fill all thy bones with achës, make thee roar No, pray thee. So, slave; hence! [Exit Caliban. Re-enter Ariel, invisible, playing and singing; FERDINAND following. ARIEL's song And then take hands : The wild waves whist, And, sweet sprites, the burthen bear. ] Bow-wow. Bow-wow. 380 370. achës. 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 Cry, Cock-a-diddle-dow. the earth ? 390 But 'tis gone. 400 ARIEL sings. Of his bones are coral made; Nothing of him that doth fade Burthen. Ding-dong. 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. commemo 410 And say what thou seest yond. Mir. What is 't? a spirit ? Lord, how it looks about ! Believe me, sir, such senses call him I might call him Pros. [Aside] It goes on, I see, free thee 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, 429 430 that wonders A sin thing, i.e. Naples ; with a play the identical with the King of sense 'solitary.' 432. To hear thee speak of Naples. He does hear me ; Alack, for mercy ! Milan [Aside] The Duke of Milan Delicate Ariel, I'll set thee free for this. [To Fer.] A word, good 440 sir ; 450 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.' Fer. No, as I am a man. temple : Follow me. Come; 460 No; [Draws, and is charmed from moving. Mir. O dear father, What? I say, conscience Beseech you, father. Sir, have pity; 470 Silence ! one word more What! 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. |