A prince of power. MIRA. Of thee, my dear one! thee, my daughter,-who | Thy father was the duke of Milan, and 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. 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- Which thou heard'st cry, which thou saw'st sink. For thou must now know further. 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 b You have often, &c.] Query, "You have oft," &c. 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. I PRO. My brother, and thy uncle, call'd An tonio, pray thee, mark me, that a brother should Without a parallel: those being all my study, 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, 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 To give him annual tribute, do him homage; MIRA. O the heavens ! 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. So dear the love my people bore me,—nor set Bore us some leagues to sea; where they prepar'd 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; MIRA. How came we ashore? Out of his charity,-who being then appointed Alack, for pity! (*) Old text, Butt. 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. e Deck'd-1 Decked, if not a corruption for degged, an old provincialism, probably meant the same, that is, sprinkled. 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, For still 'tis beating in my mind,-your reason For raising this sea-storm? I PRO. A most auspicious star, whose influence 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. I boarded the king's ship; now on the beak, 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, in visible except to Prospero, after having "Perform'd to point the tempest," and whose arrival occasions Prospero to operate his sleepy charm (*) Old text, Bore-spritt. (t) Old text, Lightening. upon Miranda, they are perfectly intelligible. That they were so intended becomes almost certain from Prospero's language presently, when the charm has taken effect, "Come away, servant, come! I am ready now: b Distinctly,-] That is, separately. " PRO. My brave spirit! Who was so firm, so constant, that this coil Would not infect his reason? ARI. Not a soul But felt a fever of the mad, and play'd Some tricks of desperation. All, but mariners, Plung'd in the foaming brine, and quit the vessel, Then all a-fire 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. PRO. Why, that's my spirit! But was not this nigh shore? ARI. Close by, my master. PRO. But are they, Ariel, safe? ARI. Not a hair perish'd; On their sustaining garments not a blemish, But fresher than before: and, as thou bad'st me, In troops I have dispers'd them 'bout the isle. The king's son have I landed by himself; Whom I left cooling of the air with sighs, And are upon the Mediterranean flote,-] Mr. Collier's annotator suggests," And all upon," &c.: but what is gained by the alteration we cannot discern. Flote is here used substantively for food or wave, as in the following from Middleton and Rowley's In an odd angle of the isle, and sitting, His arms in this sad knot. Of the king's ship, PRO. The mariners, say how thou hast dispos'd, ARI. Supposing that they saw the king's ship wreck'd, PRO. 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." a At least two glasses-the time, 'twixt six and nowMust 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. To do me business in the veins o' the earth When it is bak'd with frost. I do not, sir. ARI. 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. For mischiefs manifold, and sorceries terrible 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; |