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Which thou tak'st from me. When thou camest
first,
Thou strok'dst me, and mad'st much of me; would'st
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 shew'd thee all the qualities o' the isle,
The fresh springs, brine pits, barren place, and fer-
tile;
Cursed be I that did so —All the charms
Of Sycorax, toads, beetles, bats, light on you!
For I am all the subjects that you have,
Which first was mine own king; and here you sty me
In this hard rock, whiles you do keep from 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 did'st seek to violate
The honour of my child.
Cal. O ho, Oho!”—would it had been done!
Thou did'st prevent me; I had peopled else
This isle with Calibans.
Pro. Abhorred slave;
Which any print of goodness will not take,
Being capable of all ill! I pitied thee,
Took pains to make thee speak, taught thee each
hour
One thing or other: when thou did'st not, savage,
Know thine own meaning,” but would'st gabble like

* Oho! O ho!] This savage exclamation was originally and constantly appropriated by the writers of our ancient Mysteries and Moralities, to the Devil; and has, in this instance, been transferred to his descendant Caliban. STEEvens.

9—when thou didst not, savage,

A thing most brutish, I endow'd thy purposes
With words that made them known: But thy vile
race,"
Though thou did'st learn, had that in't which good
natures
Could not abide to be with ; therefore wast thou
Deservedly confin'd into this rock,
Who had'st 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!
Pro. Hag-seed, hence!
Fetch us in fuel; and be quick, thou wert best,
To answer other business. Shrug'st thou, malice P
If thou neglect'st, or dost unwillingly
What I command, I’ll rack thee with old cramps;
Fill all thy bones with aches; make thee roar
That beasts shall tremble at thy din.
Cal. No, pray thee!—
I must obey: his art is of such power, [Aside.
It would control my dam's god, Setebos,”
And make a vassal of him.
Pro. So, slave; hences
[Erit CALIBAN.

Know thine own meaning,j By this expression, however defective, the poet seems to have meant—When thou didst utter sounds, to which thou hadst no determinate meaning.

1. But thy vile race, Race, in this place, seems to signify original disposition, inborn qualities.

2. the red plague rid you, The crysipelas was anciently called the red''': The word rid, means to destroy.

3. my dam’s god, Setebos, Mr. Warner has observed, on the authority of John Barbot, that “the Patagons are reported to dread a great horned devil called Setebos.” We learn from Magellan's voyage, that Setebos was the supreme god of the Patagons, and Cheleule was an inferior one. Setebos is also mentioned in Hackluyt's Woyages, 1598.

Re-enter ARIEL invisible," playing and singing ; FERDINAND following him.

ARIEL's Song.

Come unto these yellow sands,
And then take hands:

Court’sied when you have, and kiss'd,”
(The wild waves whist,)

Foot it featly here and there;

And, sweet sprites, the burden bear.
Hark, hark /

Bur. Bowgh, wowgh. [dispersedly.
The watch-dogs bark:
Bur. Bowgh, wowgh. [dispersedly,

Hark, hark / I hear
The strain of strutting chanticlere
Cry, Cock-a-doodle-doo.

Fer. Where should this musick be? i' the air, or the earth? It sounds no more:—and sure it waits upon Some god of the island. Sitting on a bank Weeping again the king my father's wreck,"

* Re-enter Ariel invisible, In the wardrobe of the Lord Admiral's men (i.e. company of comedians,) 1598, was—“a robe for to goo invisebell.”

* Court’sied when you have, and kiss'd, J As was anciently at the beginning of some dances.

* Weeping again the king my father’s wreck, Thus the old copy; but in the books of Shakspeare's age again is sometimes printed instead of against,[i.e. opposite to, J which I am persuaded was our author's word. The placing Ferdinand in such a situation that he could still gaze upon the wrecked vessel, is one of Shakspeare’s touches of nature. Again is inadmissible ; for this would import that Ferdinand’s tears had ceased for a time; whereas he himself tells us, afterwards, that from the hour of his father's wreck they had never ceased to flow :

“——Myself am Naples,

This musick crept by me upon the waters;
Allaying both their fury, and my passion,
With its sweet air: thence I have follow'd it,
Or it hath drawn me rather:-But 'tis gone.
No, it begins again.

ARIEL sings.

Full fathom five thy father lies;"
Of his bones are coral made ;
Those are pearls that were his eyes:
Nothing of him that doth fade,”
But doth suffer a sea-change”
Into something rich and strange.
Sea-nymphs hourly ring his knell: -
Hark! now I hear them,-ding-dong, bell.
[Burden, ding-dong."

Fer. The ditty does remember my drown'd father:—

“Who with mine eyes, ne’er since at ebb, beheld “The king my father wreck'd.” MAlone. By the word—again, I suppose the prince means only to desscribe the repetition of his sorrows. Besides, it appears from Miranda's description of the storm, that the ship had been swallowed by the waves, and, consequently, could no longer be an object of sight. STEEvens. * Full fathon five thy father lies ; &c.] The songs in this play, Dr. Wilson, who reset and published two of them, tells us, in his Court Ayres, or Ballads, published at Oxford, 1660, that “Full fathom five,” and “Where the bee sucks,” had been first set by Robert Johnson, a composer contemporary with Shakspeare. BURNEY. * Nothing of him that doth fade, But doth suffer a sea-change—I Every thing about him, that is liable to alteration, is changed. 9 But doth suffer a sea-change–J. So, in Milton's Masque : “And underwent a quick immortal change.” STEEve Ns. *The same burden to a song occurs in The Merchant of Vemice. It should here be— Ding-dong, ding-dong, ding-dong, bell.

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
And say, what thou seest yond'.
Mira. What is't? a spirit?
Lord, how it looks about! Believe me, sir,
It carries a brave form:—But 'tis 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 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. I might call him
A thing divine; for nothing natural
I ever saw so noble.

Pro. It goes on, [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
May know, if you remain upon this island;
And that you will some good instruction give,
How I may bear me here: My prime request,
Which I do last pronounce, is, O you wonder!
If you be made or no?"

* That the carth owes:] To owe, in this place, as well as many others, signifies to own. * The fringed curtains, &c.] The same expression occurs in Pericles, Prince of Tyre, 1609: & 4 her eve/ids “Begin to part their fringes of bright gold.” * If you be made, or no?] Some copies read maid, and the critics are not fully agreed in their opinions. Mr. M. Mason says, “The question is, whether our readers will adopt a natural and

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