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My old bones ake: here's a maze trod, indeed,
Old lord, I cannot blame thee,
(Aside to SEBASTIAN. Do not, for one repulse, forego the purpose That you
resolv'd to effect. Seb.
The next advantage
Let it be to-night;
say, to-night: no more.
[Solemn and strange music; and PROSPERO above', invi
sible. Enter several strange Shapes, bringing in a ban-
3 – and Prospero above,] “On the top” in the folios ; meaning, perhaps, in some machine let down with ropes from the ceiling, or in the balcony at the back of the stage : this is the only deviation from the old stage-direction.
I'll believe both;
If in Naples
[Aside.] Honest lord, Thou hast said well; for some of you there present, Are worse than devils. Alon.
I cannot too much muse, Such shapes, such gesture, and such sound, expressing (Although they want the use of tongue) a kind Of excellent dumb discourse. Pro.
[Aside.] Praise in departing. Fran. They vanish'd strangely. Seb.
No matter, since They have left their viands behind, for we have sto
machs.Will't please you taste of what is here? Alon.
Not I. Gon. Faith, sir, you need not fear. When we were
Who would believe that there were mountaineers
them Wallets of flesh? or that there were such men, Whose heads stood in their breasts? which now we find, Each putter-out of five for ones will bring us
• I saw such ISLANDERS,] « Such islands” in the folio, 1623, but altered to “ islanders” in later editions.
5 Each PUTTER-OUT of five for one,] The putters-out were travellers, who
1; Good warrant of. Alon.
I will stand to, and feed, lie . Although my last : no matter, since I feel
The best is past.—Brother, my lord the duke, apla Stand to, and do as we.
Thunder and lightning. Enter Ariel like a harpy, claps
his wings upon the table, and, with a quaint device, the
[Seeing Alon., SEB., &c. draw their Swords.
put out money at what may be termed interest, viz. to receive at the rate of five for one, if they returned. This practice is often mentioned by old writers.
6 Hath caused to belch up, and on this island] The first, second, and third folios read, “ Have caus’d to belch up you,” and the fourth folio alters “ up you” to "you up." It seems clear that you is too much for the sense, verse, and grammatical construction, and we have omitted it, because we think it crept into the old text by mere inadvertence. 7 One DOWLE that's in my PLUME :]
“ Dowle seems to mean nearly the same as down, or the light parts of which feathers are composed. In all the old copies "plume” is misprinted plumbe or plumb. There is little doubt that Shakespeare had Virgil's description, Æneid III. in his memory, and he might derive his knowledge of it, if necessary, from Phaer's translation, first printed in 1558, and not in 1573 as stated by Ritson.
From Milan did supplant good Prospero;
Shapes again, and dance with mocks and mowes, and
thou Perform’d, my Ariel; a grace it had, devouring. Of my instruction hast thou nothing 'bated, In what thou hadst to say: so, with good life And observation strange, my meaner ministers Their several kinds have done. My high charms work, And these, mine enemies, are all knit up In their distractions: they now are in my power; And in these fits I leave them, while I visit Young Ferdinand, (whom they suppose is drown'd) And his and my lov’d darling.
[Exit PROSPERO. Gon. I' the name of something holy, sir, why stand
you In this strange stare? Alon.
0, it is monstrous ! monstrous ! Methought, the billows spoke, and told me of it; The winds did sing it to me; and the thunder, That deep and dreadful organ-pipe, pronounc'd
The name of Prosper : it did base my trespass.
But one fiend at a time, I'll fight their legions o'er. Ant.
I'll be thy second.
[Exeunt SEB. and Ant. Gon. All three of them are desperate: their great
Follow, I pray you.
ACT IV. SCENE I.
Before PROSPERO's Cell.
Enter PROSPERO, FERDINAND, and MIRANDA.
- a THIRD of mine own life,] We adhere to the text of every old edition of this play, where Prospero tells Ferdinand that he has given him a third of his own life-a portion of bis very existence—in bestowing Miranda upon him. This seems not only perfectly intelligible, but most natural, although modern editors (Capell excepted) substitute thread for “third,” and attempt to justify the change by quotations from other authors. It is, surely, much more expressive for Prospero to say that he has given away a third of his own life, than merely a thread of his own life. Hawkins misquotes “Mucedorus,” no doubt unintentionally, but apparently for the sake of vindicating the violence he proposed to do to the ancient text.