Fill all thy bones with achës, make thee roar Cal. No, pray thee. [Aside] I must obey: his art is of such power, It would control my dam's god, Setebos, And make a vassal of him. Pros. So, slave; hence! [Exit Caliban. Re-enter ARIEL, invisible, playing and singing; ARIEL'S Song. Come unto these yellow sands, And then take hands: The wild waves whist, Foot it featly here and there; The watch-dogs bark: 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, Bow-wow. Bow-wow. 370 380 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. Fer. Where should this music be? i' the air or the earth? It sounds no more: and, sure, it waits upon No, it begins again. ARIEL sings. Full fathom five thy father lies; But doth suffer a sea-change Burthen. Ding-dong. Ari. Hark! now I hear them,-Ding-dong, bell. Fer. The ditty does remember my father. drown'd This is no mortal business, nor no sound 390. again, again and again. 395. Ariel sings. The musical setting of this song by R. Johnson, probably that used in the original performance, is still extant in Wilson's Cheerful Ayres or Ballads, 1660. John 390 400 son composed in 1610 the music for Middleton's The Witch. 405. ditty, the words (detto) of the song. 405. remember, rate. commemo 408. advance, lift up. And say what thou seest yond. Mir. Lord, how it looks about! It carries a brave form. What is 't? a spirit? But 'tis a spirit. Pros. No, wench; it eats and sleeps and hath As we have, such. This gallant which thou seest call him A goodly person: he hath lost his fellows Mir. I might call him A thing divine, for nothing natural Pros. [Aside] It goes on, I see, As my soul prompts it. Spirit, fine spirit! I'll free thee Within two days for this. Fer. Most sure, the goddess On whom these airs attend! Mir. But certainly a maid. Fer. No wonder, sir; My language! heavens! I am the best of them that speak this speech, Pros. How? the best? What wert thou, if the King of Naples heard thee? 410 425 430 432. A single thing, i.e. Naples; with a play on the identical with the King of sense 'solitary.' To hear thee speak of Naples. He does hear me ; Mir. Alack, for mercy! Fer. Yes, faith, and all his lords; the Duke of Milan And his brave son being twain. Pros. [Aside] The Duke of Milan And his more braver daughter could control thee, If now 'twere fit to do 't. sir; At the first sight Delicate Ariel, [To Fer.] A word, good I fear you have done yourself some wrong: a word. That ere I sigh'd for: pity move my father Fer. O, if a virgin, And your affection not gone forth, I'll make you Pros. Soft, sir! one word more. [Aside] They are both in either's powers;, but I must uneasy make, lest too light winning I charge thee That thou attend me: thou dost here usurp 438. his brave son. This person, apparently by an oversight, does not appear in the sequel. 439. control, check. 443. done yourself some wrong, 440 450 made an unfounded claim; with the friendly sub-sense, hidden from Ferdinand : ' represented your case as worse than it will prove to be.' Fer. No, as I am a man. Mir. There's nothing ill can dwell in such a temple : If the ill spirit have so fair a house, Good things will strive to dwell with 't. Pros. Speak not you for him; he's a traitor. I'll manacle thy neck and feet together: The fresh-brook muscles, wither'd roots and husks Fer. I will resist such entertainment till Mine enemy has more power. Mir. No; [Draws, and is charmed from moving. Make not too rash a trial of him, for He's gentle and not fearful. Pros. What? I say, My foot my tutor? Put thy sword up, traitor; conscience Is so possess'd with guilt: come from thy ward, And make thy weapon drop. Mir. Pros. Hence! hang not on my garments. Mir. I'll be his surety. Pros. Beseech you, father. Sir, have pity; Silence! one word more Shall make me chide thee, if not hate thee. What! 468. gentle and not fearful, mild and not terrible. The interpretation of gentle birth and not a coward' seems to 470 attribute to Miranda too much insight into the niceties of social distinction. 471. ward, posture of defence. |