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quent occasion to notice in these plays the systematic ingenuity with which Shakespeare conveys the time of his dramas. In an early scene of this play Prospero, by a similar inquiry, and by rejoining "at least two glasses," when Ariel says that it is past the mid season," fixes the then time to be about two o'clock in the afternoon. Prospero continues:-"The time

'Twixt six and now must by us both be spent most preciously," which appropriates four hours for the working of his spells and

Brimful of sorrow and dismay; but chiefly

Him that you term'd, sir, "The good old lord, Gonzalo: "

His tears run down his beard, like winter's drops From eaves of reeds. Your charm so strongly

works them,

That if you now beheld them, your affections Would become tender.

Pros.

Dost thou think so, spirit?

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Ari. Mine would, sir, were I human. Pros.

And mine shall.

Hast thou, which art but air, a touch,3 a feeling
Of their afflictions, and shall not myself,
One of their kind, that relish all as sharply,

By my so potent art. But this rough magic
I here abjure; and, when I have requir'd
Some heavenly music,-which even now I do,--
To work mine end upon their senses, that
This airy charm is for, I'll break my staff,

Passion as they, be kindlier moved than thou Bury it certain fathoms in the earth,

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And ye that on the sands with printless foot
Do chase the ebbing Neptune, and do fly him
When he comes back; you demi-puppets, that
By moonshine do the green-sour ringlets' make,
Whereof the ewe not bites; and you, whose pas-
time

Is to make midnight mushrooms; that rejoice
To hear the solemn curfew; by whose aid-
Weak masters though ye bes-I have bedimm'd
The noontide sun, call'd forth the mutinous
winds,

And 'twixt the green sea and the azur'd vault
Set roaring war: to the dread rattling thunder
Have I given fire, and rifted Jove's stout oak
With his own bolt: the strong-bas'd promontory
Have I made shake; and by the spurs pluck'd
up

9

The pine and cedar: graves, at my command, Have waked their sleepers; oped, and let them forth

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And as the morning steals upon the night,
Melting the darkness, so their rising senses
Begin to chase the ignorant fumes that mantle
Their clearer reason.-O good Gonzalo!
My true preserver, and a loyal sir

To him thou follow'st, I will pay thy graces
Home, both in word and deed.—Most cruelly
Didst thou, Alonso, use me and my daughter:
Thy brother was a fartherer in the act ;-
Thou art pinch'd for't now, Sebastian.-Flesh and
blood,

You brother mine, that entertain'd ambition,
Expell'd remorse and nature; 12 who, with Sebas-

tian,

Whose inward pinches therefore are most strong,

5. A touch. A perceptive sense, a susceptibility of being cally describes) are sufficiently powerful to "aid" him as touched by.

6. That relish all as sharply, passion as they. Stopped thus, "passion" is a verb; and is often so used by Shakespeare, to mean feel acutely, emotionally, intensely. But some editors omit the comma after "sharply," by which stopping, "passion" would become a noun, and the very involved sense of the passage would be this:-'That relish passion all as sharply as they do.'

7. Green-sour ringlets. The greener circles on the grass that are supposed to mark where the fairies have danced round hand-in-hand; and which are believed to be thereby so soured that the sheep will not eat them.

8. By whose aid-weak masters though ye be. Prospero means that these inferior spirits (whose qualities he so poeti

ministers, but would be weak as rulers. According to the proverbial saying, "Fire is a good servant, but a bad master." 9. Spurs. The longest and largest roots of trees.

10. Holy Gonzalo. Shakespeare sometimes uses "holy" for righteous, virtuous, of good character and blameless life. 11. Fellowly. Sympathetic; full of fellow-feeling.

12. Remorse and nature; that is, pity and natural feeling, or affection. Shakespeare often uses remorse" in this sense. We still employ the word thus, when we say "without remorse," or "remorseless," meaning without pity, or pitiless. But besides the older meaning of tenderness, pity, compassion, in the word remorse," Shakespeare has here also blended with it the more modern acceptation of a sense of guilt, or regret for guilt.

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Ari.

Where the bee sucks, there suck I:

In a cowslip's bell I lie ;

There I couch when owls do cry.

On the bat's back I do fly

After summer, merrily. 13

Merrily, merrily shall I live now,

Under the blossom that hangs on the bough. 14

Pros. Why, that's my dainty Ariel! I shall miss thee;

But yet thou shalt have freedom :—so, so, so,—
To the king's ship, invisible as thou art:
There shalt thou find the mariners asleep

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Under the hatches; the master and the boat- [Aside to Seb. and Ant.] But you, my brace of

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13. On the bat's back I do fly after summer, merrily. There has been much commentatorial disquisition as to whether Ariel could "fly after summer on a bat's back," when it is well known that the bat is torpid in the winter! But to us it seems that summer" here is an embodiment of that luxurious twilight heat after which the bat himself seems to be eagerly flitting, as he swiftly circles round and round of a warm evening.

14 Under the blossom that hangs on the bough. That this is not mere poetic imagery on Shakespeare's part, there is confirmation pointed out by Holt White in "Virgil," and by Singer in Fairfax's "Tasso," book iv., stanza 18 :—

"The goblins, fairies, fiends, and furies mad,
Ranged in flowrie dales, and mountains hore,
And under everie trembling leafe they sit."

15 I drink the air before me. It would be difficult to parallel this little speech with one conveying an equal impression of swift motion. Shakespeare himself has matched it in his Puck's “I'll

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put a girdle round about the earth in forty minutes;" and, "I go, I go, look how I go; swifter than arrow from the Tartar's bow," where the words seem to dart out with the speed and light leaps of Robin Goodfellow himself. Even in such minute points as this, how eminently characteristic Shakespeare is. Examine severally Ariel's, Puck's, and an ordinary mortal's mode of describing a rapid rider; where Travers, in the opening of "2 Henry IV." says, "He seem'd in running to devour the way."

16. Whe'r. An old abbreviated form of "whether."

17. Some enchanted trifle. "Trifle" was sometimes used by writers of Shakespeare's time for phantasm, or illusion.

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18. Taste some subtilties. Subtilties" was a name formerly given to certain dishes of quaint device, when our ancestors took delight in dragons, castles, and trees formed of sugar. Curious confectionery, and whimsical shapes in cookery, were a feature at great feasts; and we hear of "the red herring o' horseback," where the likeness of a rider galloping through a green field was

My dukedom of thee," which, perforce, I know.
Thou must restore.

Alon.

If thou be'st Prospero,

Give us particulars of thy preservation;

Been justled from your senses, know for certain,
That I am Prospero, and that very duke
Which was thrust forth of Milan; who most
strangely

How thou hast met us here, who three hours Upon this shore, where you were wreck'd, was since landed,

Were wreck'd upon this shore; where I have To be the Lord on't. No more yet of this;

lost

How sharp the point of this remembrance is!-
My dear son Ferdinand.

Pros.
I am woe for't,20 sir.
Alon. Irreparable is the loss; and Patience
Says it is past her cure.

Pros.

I rather think,

For 'tis a chronicle of day by day,
Not a relation for a breakfast, nor
Befitting this first meeting. Welcome, sir;
This cell's my court: here have I few attendants,
And subjects none abroad: pray you, look in.
My dukedom since you have given me again,
I will requite you with as good a thing;

You have not sought her help; of whose soft At least bring forth a wonder, to content ye

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represented in salad. Prospero figuratively uses the word "subtilties" for the strange magical devices of which he has given them a "taste," or specimen.

19. Require my dukedom of thee. Prospero here demands from Antonio the usurped Duchy of Milan, which his treachery had made feudatory to the crown of Naples; and which Alonso promises to release from all claim of sovereignty on his part, in the previous words, "Thy dukedom I resign."

20. I am woe fort. An old form of our present phrase, "I am sorry for it."

21. The dear loss. Shakespeare here uses "dear" in its combined senses of dearly prized and direly felt. See Note 13,

Act ii.

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As much as me my dukedom.

The entrance of the Cell opens, and discovers
FERDINAND and MIRANDA playing at chess.

Mir. Sweet lord, you play me false.

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Used thus, to "wrangle" means to run back, and yet -not cease to contend. "Wrangling" is also a term in logic, for disputation, altercation. In the playful dissension between the lovers here, over their game of chess, Miranda tells Ferdinand that the stake shall be merely "kingdoms," instead of his gaged "world," and that he might dispute or contend as unfairly as he chose, yet she would allow it to be "fair play."

25. If this prove a vision, &c. One of the commentators remarking that "the sense of this passage is not altogether clear," and proposing to read "not after "prove," we give what we take to be the meaning of the speech as it stands: If this prove to be one of the many illusions I have beheld on this

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VOL. I.

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