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THE TEMPEST.

ACT I.

we

SCENE I.-On a Ship at sea:

a storm, with Gon. Good; yet remember whom thou hast thunder and lightning.

aboard. Enter a Ship-Master and a Boatswain. Boars. None that I more love than myself. Mast. Boatswain !

You are a cour

punsellor;

if you can command these Boars. Here, master: what cheer?

elements to silence, and work the peace of the Mast. Good, speak to the mariners: fall to't present,s we will not hand a rope more; use your yarely, or run ourselves aground: bestir, authority: if you cannot, give thanks you have bestir.

[Exir.

lived so long, and make yourself ready in your Enter Mariners.

cabin for the mischance of the hour, if it so hap:Boats. Heigh, my hearts! cheerly, cheerly, my Cheerly, good hearts.—Out of our way, I say. hearts! yare, yare! Take in the top-sail. Tend

[Exit. to the master's whistle.—Blow, till thou burst thy

Gon. I have great comfort from this fellow: wind, if room enough!

methinks he hath no drowning mark upon

him;

his complexion is perfect gallows. Stand fast, Enter Alonso, SEBASTIAN, ANTONIO, FERDINAND, good Fate, to his hanging! make the rope of his GONZALO, and orbers,

destiny our cable, for our own doth little advanAlon. Good boatswain, have care. Where's tage! If he be not born to be hanged, our case is the master?

miserable.

[Exeunt. Play the men.

Re-enter Boatswain. Boars. I pray now, keep below.

Boars. Down with the topmast: yare; lower, Ani. Where is the master, boatswain ?

lower! Bring her to try with main-course. [A Boars. Do you not hear him? You mar our cry within.] A plague upon this howling ! they labour: keep your cabins: you do assist the storm.

are louder than the weather or our officeGon. Nay, good, be patient.

Boars. When the sea is. Hence! What ca Re-enter SeBASTIAN, ANTONIO, and GONZALO. these roarers for the name of king? To cabin: Yet again! what do you here ? Shall we give silence! trouble us not.

o'er, and drown ? Have you a mind to sink ?

1. The earliest printed copy known of "THE TEMPEST” is that retirement at one period of his life, seem to have suggested to in the Folio published by Shakespeare's fellow-actors, Heminge Shakespeare the germ of his character of Prospero. and Condell, in 1623, seven years after the poet's death. The 2. Yarely. Alertly, promptly. first performance of this play is believed to have taken place 3. If room enough. Good authorities on marine technicalities on “Hallowmas Night" (ist November), 1611. This gives have pronounced the sea orders given throughout this scene to confirmation to the internal evidence of the style-mature in be strictly correct. Lord Mulgrave, Sir Henry Manwaring, beauty and rich fancy - that this play was one of the last- and Captain Glasscock, have all shown how thoroughly the poet written productions of its author. The source of plot was

was ver in the subject he here treated. supposed to have been derived from an Italian novel, translated 4. Play the men. Behave yourselves with manly spirit and into English in 1588, and since thought to be traced to a Ger- courage. man play, called “The Beautiful Sidea ;” while some of the 5. Present Present time. circumstances recorded in the life of Gian Galeazzo Visconti, 6. To try with main-course. In Smith's "Sea Grammar," Dake of Milan, a patron of Petrarch, the founder of Milan 1627, this is explained—"To hale the tacke aboord, the sheat Cathedral, and a man much addicted to books and studious close aft, the boling set up, and the helm tied close aboord."

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Seb. A plague o' your throat, you bawling, Boats. What, must our mouths be cold ? blasphemous, incharitable dog!

Gon. The king and prince at prayers ! let's Boars. Work you, then.

assist them, Ani. Hang, cur, hang! you rascally, insolent For our case is as theirs. noise-maker, we are less afraid to be drowned Seb.

I'm out of patience. than thou art.

Ant. We are merely' cheated of our lives by Gon. I'll warrant him for drowning;' though drunkards. the ship were no stronger than a nutshell, and as This wide-chapp'd rascal,—would thou might'st leaky as an unstanched wound.

lie drowning, Boats. Lay her a-hold, a-hold ! set her two The washing of ten tides ! [Exir Boatswain. courses : 8 off to sea again; lay her off.

Gon.

He'll be hang'd yet,
Re-enter Mariners, wet.

Though every drop of water swear against it, Mariners. All lost! to prayers, to prayers! all

And gape at wid'st to glut 10 him. lost !

[Exeunt.

[A confused noise within: “Mercy on us!"
We split, we split!”—“Farewell, my wife and

children!" 7. For drowning

often used for "from." 8. Two courses. These "courses" are two of the three largest and lowest sails ; and to “lay her a-hold" is to bring 3. Merely. Absolutely. the ship to lie as near the wind as she can.

To swallow up, englut. French, engloutir.

For"

was

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“ Farewell, brother!”-“We split, we split, we So safely order'd, that there is no soulsplit!”]

No, not so much perdition as a hair Ant. Let's all sink with the king. [Exit. Betid 14 to any creature in the vessel Seb. Let's take leave of him.

[Exir. Which thou heard'st cry, which thou saw'st sink. Gon. Now would I give a thousand furlongs of

Sit down ; sea for an acre of barren ground; long heath, For thou must now know farther. brown furze, anything. The wills above be done! Mir.

You have often but I would fain die a dry death.

[Exit. Begun to tell me what I am; but stopp'd,

And left me to a bootless 1s inquisition,
Concluding, “Stay, not yet.”
Pros.

The hour's now come; SCENE 11.The Island ; before the cell of

The very minute bids thee ope thine ear;
PROSPERO.

Obey, and be attentive. Canst thou remember
Enter PROSPERO and MIRANDA.

A time before we came into this cell? Mir. If by your art, my dearest father, you have I do not think thou canst, for then thou wast not Put the wild waters in this roar, allay them. Out three years old.16 The sky, it seems, would pour down stinking pitch, Mir.

Certainly, sir, I can. But that the sea, mounting to the welkin's cheek," Pros. By what? by any other house or person ? Dashes the fire out. Oh, I have suffer'd

Of anything the image, tell me, that With those that I saw suffer! a brave vessel, Hath kept with thy remembrance. Who had, no doubt, some noble creatures in her, Mir.

'Tis far off, Dash'd all to pieces. Oh, the cry did knock And rather like a dream, than an assurance Against my very heart! Poor souls! they perish'd. That my remembrance warrants. Had I not Had I been any god of power, I would

Four or five women once that tended me ? Have sunk the sea within the earth, or ere

Pros. Thou hadst, and more, Miranda. But It should the good ship so have swallow'd, and

how is it The fraughting" souls within her.

That this lives in thy mind? What seest thou Pros. Be collected :

else No more amazement. Tell your piteous heart, In the dark backward and abysm '; of time? There's no harm done.

If thou remember'st aught ere thou cam'st here, Mir. Oh, woe the day!

How thou cam'st here thou mayst.
Pros.

No harm.
Mir.

But that I do not. I have done nothing but in care of thee,

Pros. Twelve year since, Miranda, twelve year Of thee, my dear one! thee, my daughter,—who

since,
Art ignorant of what thou art, naught knowing Thy father was the Duke of Milan, and
Of whence I am; nor that I am more better 13 A prince of power.
Than Prospero, master of a full poor cell,

Mir.

Sir, are not you my father ? And thy no greater father.

Pros. Thy mother was a piece of virtue, and Mir. More to know

She said thou wast my daughter; and thy father Did never meddle with my thoughts.

Was Duke of Milan; and his only heir Pros. 'Tis time

A princess,-no worse issu’d. I should inform thee farther. Lend thy hand, Mir.

Oh, the heavens! And pluck my magic garment from me.—So: What foul play had we, that we came from thence ?

[Lays down his robe. Or blessed was't we did ? Lie there, my art.-Wipe thou thine eyes; have Pros.

Both, both, my girl: comfort.

By foul play, as thou say'st, were we heav'd thence; The direful spectacle of the wreck, which touch'd But blessedly holy 18 hither. The very virtue of compassion in thee,

Mir.

Oh, my heart bleeds I have with such provision in mine art

To think o' the teen 19 that I have turn'd you to,

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11. Welkin's cheek. “Welkin " (Saxon, pealcan, to roll ; or 15. Bootless. Fruitless, unsuccessful. Pelcen, clouds) is an old word for the region of air; and 16. Out three years old. "Out" for "completely," "quite." Shakespeare has "cheeks of heaven," " "cheeks o' the air,” in Afterwards in this play, we have "Be a boy right out." Act other passages, for poetical allusion to the sky.

iv., sc. 1. 12. Fraughting. An old form of freighting. The word is 17. Abysm. Abyss. From the old French abisme. here used to express those who form the freight of the vessel, 18. Holp. Old form of helped. and thronged or filled her.

19. Toen. Trouble, grief. Saxon, Ceonan, injuries; Flemish, 13. More better. A double comparative was formerly in use, tenen, to vex. “Turn'd you to" is an expression that we meet and frequent instances are found in Shakespeare.

with again in “Coriolanus," iii. 1 (“Shall turn you to no farther 14. Betid. Betided, befallen, happened.

harm"); equivalent to “occasioned you," "caused you."

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