Pro. Hag-seed, hence! Fetch us in fuel; and be quick, thou wert best, To answer other business. Shrug'st thou, malice? If thou neglect'st, or dost unwillingly What I command, I'll rack thee with old cramps; Fill all thy bones with aches; 34 make thee roar, That beasts shall tremble at thy din. power, Cal. Pro. 35 So, slave; hence ! Re-enter ARIEL invisible, playing and singing; FERDINAND following him. ARIEL'S Song. Come unto these yellow sands, 4 Aches was formerly a word of two syllables, and is required by the measure to be so here. Of this there are many examples in the old writers. Some of our readers may have heard of the clamour that was raised against Kemble for pronouncing the word thus on the stage; wherein some may still think he followed an old custom at the expense of good judgment. H. 35 Setebos was the name of an American god, or rather devil, worshipped by the Patagonians. In Eden's "History of Travaile," printed in 1577, is an account of Magellan's voyage to the South Pole, containing a description of this god and his worshippers; wherein the author says. "When they felt the shackles fast about their legs, they began to doubt; but the captain did put them in comfort and bade them stand still. In fine, when they saw how they were deceived, they roared like bulls, and cryed upon their great devil Setebos, to help them." Sycorax, as we have seen, was from Algiers, where she doubtless learned to worship this god. So that here the Poet has but transferred into the neighbourhood of his scene the matter of some of the then recent dscoveries in America. H Court'sied when you have, and kiss'd Foot it featly here and there; Burden. [Dispersedly.] Bough, wowgh. Burden. [Dispersedly.] Bowgh, wowgh. The strain of strutting chanticlere Fer. Where should this music be? i' the air or the earth? It sounds no more; - and sure, it waits upon Burden. ARIEL sings. Full fathom five thy father lies; Ding-dong. Hark now I hear them, - ding-dong, bell. Fer. The ditty does remember my drown J father. 36 i. e. court'sied and kiss'd the wild waves" into silence ;a delicate touch of poetry that is quite lost, as the passage is usually printed; the line, The wild wares whist, being made This is no mortul business, nor no sound 37 That the earth owes : 3-I hear it now above me. Pro. The fringed curtains of thine eye advance, And say, what thou seest yond'. Pro. No, wench: it eats and sleeps, and hath such senses As we have, such. This gallant, which thou seest, Was in the wreck; and, but he's something stain'd With grief, that's beauty's canker, thou might'st call him A goodly person. He hath lost his fellows, And strays about to find them. Mira. A thing divine; for nothing natural I ever saw so noble. Pro. [Aside.] I might call him It goes on, I see, As my soal 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 May know, if you remain upon this island; If 38 parenthetical, and that too without any authority from the original. Such are the improvements sometimes foisted in by those who prefer grammar to poetry, and cannot read a song without thinking of Syntax. H. 37 i. e. owns. To owe was to possess or own, in ancient language 38 Ferdinand has already spoken of Miranda as a goddess. Mira. But, certainly a maid. For. No wonder, sir; My language! heavens! I am the best of them that speak this speech, Were I but where 'tis spoken. Pro. How! the best! What wert thou, if the king of Naples heard thee? Fer. A single thing,39 as I am now, that wonders To hear thee speak of Naples: He does hear me; And, that he does, I weep: myself am Naples; Who with mine eyes, ne'er since at ebb, beheld The king my father wreck'd. Mira. Alack, for mercy! Fer. Yes, faith, and all his lords; the duke of Milan, And his brave son, being twain. The duke of Milan, Pro. And his more braver daughter, could control" thee, If now 'twere fit to do't.-[Aside.] At the first sight They have chang'd eyes:- Delicate Ariel, I'll set thee free for this![To FERD.] A word, good sir: 41 I fear, you have done yourself some wrong: a word Mira. Why speaks my father so ungently? This Is the third man that e'er I saw; the first That e'er I sigh'd for: Pity move my father To be inclin'd my way! he now asks, if she be a mortal; not a celestial being, but a maiden. Of course her answer is to be taken in the same sense as his question. H. 39 i. e. a weak, feeble thing. The Poet elsewhere uses singie in this sense; as in Macbeth: "Shakes so my single state of man." H. 40 To control here signifies to confute, to contradict unanswerably. The ancient meaning of control was to check or exhibit a contrary account, from the old French contre-roller. 41 i. e. lone wrong to your character, in claiming to be king of Naples Fer. O! if a virgin, And your affection not gone forth, I'll make you The queen of Naples. Pro. Soft, sir: one word more. [Aside.] They are both in either's powers: but this swift business I must uneasy make, lest too light winning Make the prize light. [To FERD.] One word more I charge thee, That thou attend me: thou dost here usurp From me, the lord on't. Fer. No, as I am a man. Mira. 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. Come: Speak not you for him; he's a traitor. Sea-water shalt thou drink, thy food shall be Fer. I will resist such entertainment, till Mine enemy has more power. Mira. No: [He draws, and is charmed from moving O dear father, Make not too rash a trial of him, for He's gentle, and not fearful. Pro. What! I say: My foot my tutor ! Put thy sword up, traitor; Who mak'st a show, but dar'st not strike, thy con science |