Pro. Dull thing, I say so; he, that Caliban, To lay upon the damn'd, which Sycorax When I arriv'd, and heard thee, that made gape Ari. I thank thee, master. Thou hast howl'd away twelve winters. What shall I do? say what: what shall I do? Pro. Go make thyself like a nymph o' the sea;a To every eyeball else. Go, take this shape, And hither come in 't: go, hence, with diligence. [Exit ARI. Awake, dear heart, awake! thou hast slept well; Awake! Mira. The strangeness of your story put Heaviness in me. We'll visit Caliban, my slave, who never Yields us kind answer. We cannot miss him he does make our fire, : Fetch in our wood, and serves in offices a The second folio reads " to a nymph of the sea." That profit us. What ho! slave! Caliban! Thou earth, thou! speak. Cal. [Within.] There's wood enough within. Pro. Come forth, I say; there's other business for thee: Come, thou tortoise! when ! a Re-enter ARIEL, like a water-nymph. Fine apparition! My quaint Ariel, Hark in thine ear. Pro. Thou poisonous slave, got by the devil himself Upon thy wicked dam, come forth! Enter CALIBAN. Cal. As wicked dew as e'er my mother brush'd With raven's feather from unwholesome fen, Drop on you both! a south-west blow on ye, And blister you all o'er. [Exit. Pro. For this, be sure, to-night thou shalt have cramps, Side-stitches that shall pen thy breath up; urchins b Shall, for that vast of night that they may work, All exercise on thee: thou shalt be pinch'd As thick as honeycomb, each pinch more stinging Cal. I must eat my dinner. When thou camest first, This island's mine, by Sycorax my mother, Which thou tak'st from me. Thou strok❜dst me, and mad'st much of me; wouldst give me Water with berries in 't; and teach me how To name the bigger light, and how the less, That burn by day and night: and then I lov'd thee, And show'd thee all the qualities o' the isle, The fresh springs, brine-pits, barren place, and fertile; Of Sycorax, toads, beetles, bats, light on you! a When an expression of great impatience. b Vast of night. In Hamlet' we have "In the dead waste and middle of the night." The quarto edition of Hamlet,' 1603, reads dead vast. For I am all the subjects that you have, Which first was mine own king; and here you sty me The rest of the island. Pro. Thou most lying slave, Whom stripes may move, not kindness: I have us'd thee, Filth as thou art, with human care; and lodg'd thee In mine own cell, till thou didst seek to violate The honour of my child. Cal. O ho, O ho!'would it had been done! Thou didst prevent me; I had peopled else This isle with Calibans. Which any print of goodness will not take, Took pains to make thee speak, taught thee each hour A thing most brutish, I endow'd thy purposes With words that made them known: But thy vile race, Though thou didst learn, had that in 't which good natures Could not abide to be with; therefore wast thou Deservedly confin'd into this rock, Who hadst deserv'd more than a prison. Cal. You taught me language; and my profit on 't Is, I know how to curse: the red plague rid you, For learning me your language! Hag-seed, hence! Pro. To answer other business. Shrugg'st thou, malice? What I command, I'll rack thee with old cramps; That beasts shall tremble at thy din. Cal. I must obey his art is of such power, Pro.. No, pray thee! [Aside. Re-enter ARIEL invisible, playing and singing; FERDINAND Fer. Where should this music be? i' the air, or the earth? It sounds no more :-and sure it waits upon ARIEL sings. Full fathom five thy father lies; Of his bones are coral made; a We follow the punctuation of the original. In all modern editions the passage stands thus: "Courtsied when you have, and kiss'd, Foot it featly here and there." Steevens explains the line in parenthesis as the wild waves being silent. But the original punctuation may allow us to interpret the passage thus: When you have courtesied to the wild waves, and kissed them into silence, "Foot it featly here and there." b We print the burden, also, as in the original. The modern editors, contrary to this, give the first "Hark, hark!" to Ariel; and there make his song terminate : whereas the three last lines give us again the voice of the delicate spirit. But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell: [Burthen, ding-dong. Hark! now I hear them,-ding-dong, bell.a Fer. The ditty does remember my drown'd father:— This is no mortal business, nor no sound That the earth owes:— -I hear it now above me. Pro. The fringed curtains of thine eye advance, Mira. It carries a brave form :-But 't is a spirit. Pro. No, wench; it eats, and sleeps, and hath such senses As we have, such: This gallant, which thou seest, Was in the wrack; and but he's something stain'd With grief, that 's beauty's canker, thou mightst call him A goodly person: he hath lost his fellows, And strays about to find them. Mira. I might call him A thing divine; for nothing natural I ever saw so noble. Pro. It goes on, I see, [Aside. 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!-Vouchsafe my prayer a We have here an absurd corruption of the text by the modern editors. When Ariel sings "Sea-nymphs hourly ring his knell," the burden comes in "ding-dong;" and then Ariel again sings "Hark! now I hear them,-ding-dong, bell." The modern editors transpose the lines, and make the burden a mere chorus to Ariel's song. b Maid. The fourth folio substituted made, which has since kept its place in many editions, amidst endless controversy. We follow the reading of the original. |