To no sight but thine and mine; invisible 32
To every eyeball else. Go, take this shape,
And hither come in't: go; hence, with diligence.
[Exit ARIEL.
Awake, dear heart, awake! thou hast slept well;
Awake!

Mira. [awaking] The strangeness of your story put Heaviness in me.

Pro.

Shake it off. Come on;

We'll visit Caliban, my slave, who never

Pro. Come forth, I say; there's other business for

thee:

Come, thou tortoise! when 34 ?

Re-enter ARIEL, like a Water-nymph.

Fine apparition! My quaint 35 Ariel,
Hark in thine ear.

32 Steevens read this passage thus:

Go make thyself like to a nymph o' the sea,

Be subject to no sight but mine, invisible
To every eyeball else.

The word to is in the old copy, and the omission of the words thine
and makes the whole more metrical. Indeed there seems to be
no reason for making Ariel visible to his own eye! In my cor-
rected copy of the second folio, the words thine and are erased.
33 i. e. we cannot do without him. The phrase is still common
in the midland counties.

34 This is a common expression of impatience. Vide note on King Richard II. Act i. Scene I.

35 Quaint here means brisk, spruce, dexterous, from the French cointe.

Ari.

My lord, it shall be done. [Exit. 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 36,
And blister you all o'er!

Pro. For this, be sure, to-night thou shalt have

cramps,

Side-stitches that shall

pen thy

breath up; urchins 37 Shall, for that vast 38 of night that they may work All exercise on thee: thou shalt be pinch'd As thick as honey-comb, each pinch more stinging Than bees that made them.

Cal. I must eat my dinner. This island's mine, by Sycorax my mother, Which thou tak'st from me. When thou camest first, Thou strok'dst me, and mad'st much of me; would'st

give me

36 A book with which Shakspeare appears to have been familiar, tells us, "This southern wind is hot and moist. Southern winds corrupt and destroy, they heat and maketh men fall into the sickness." Batman upon Bartholome-De Proprietatibus Rerum, Lib. xi. c. 3.

37 Urchins were fairies of a particular class. Hedgehogs were also called urchins; and it is probable that the sprites were so named, because they were of a mischievous kind, the urchin being anciently deemed a very noxious animal. Shakspeare again mentions these fairy beings in The Merry Wives of Windsor.

“Like urchins, ouphes, and fairies green and white." In the phrase still current, "a little urchin," the idea of the fairy remains.

38 That vast of night is that space of night. So in Hamlet: "In the dead waist and middle of the night," nox vasta, midnight, when all things are quiet and still, making the world appear one great uninhabited waste. In the pneumatology of ancient times visionary beings had different allotments of time suitable to the variety and nature of their agency.

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 fertile ;
Cursed be I that I 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 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.

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 didst not, savage,
Know thine own meaning, but wouldst gabble like
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!

Pro.

Hag-seed, hence ! Fetch us in fuel; and be quick, thou'rt 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 39: make thee roar, That beasts shall tremble at thy din!

Cal. No, 'pray thee!—

I must obey: his art is of such power,
It would control my dam's god, Setebos 40,
And make a vassal of him.

Pro.

[Aside.

So, slave; hence!

[Exit CALIBAN.

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 41,

39 The word aches is evidently a dissyllable here and in two passages of Timon of Athens. The reader may remember the senseless clamour that was raised against Kemble for his adherence to the text of Shakspeare in thus pronouncing it as the measure requires. "Ake," says Baret in his Alvearie, "is the verb of this substantive Ache, ch being turned into k." And that ache was pronounced in the same way as the letter h is placed beyond doubt by the passage in Much Ado about Nothing, in which Margaret asks Beatrice for what she cries Heigh ho, and she answers for an h. i. e. ache. See the Epigram of Heywood adduced in illustration of that passage. This orthography and pronunciation continued even to the times of Butler and Swift. It would be easy to produce numerous instances.

40 The giants, when they found themselves fettered, " roared like bulls, and cried upon their great devill Setebos to help them." -Eden's Hist. of Travayle, 1577, p. 434.

41 i. e. when you have courtsied and kissed the wild waves into silence, foot it, &c. It should be remembered that Ariel is invoking his fellow sprites.

Fer. Where should this music 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 wrack,
This music 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:

[Burden, ding-dong.

Hark! now I hear them,-ding-dong, bell.

Fer. The ditty does remember my drown'd father.This is no mortal business, nor no sound

42 Dispersedly. This stage direction is in the old copy. It possibly means that the burden Bough, wowgh, was to be heard from several places behind the scene.