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Ste. Monster, lay to your fingers; help to bear this away, where my hogshead of wine is, or I'll turn you out of my kingdom; go to, carry this.

Trin. And this.

Ste. Ay, and this. A noise of hunters beard. Enter divers spirits in shape

of hounds, hunting them about ; Prospero and Ariel setting them on. Calib. Steph. and Trinc, driven out, roaring. Pro. Hey, Mountain, hey. Ari, Silver; there it goes, Silver.

Pro. Fury, Fury; there, Tyrant, there; hark, hark; Go, charge my goblins that they grind their joints With dry convulsions; shorten up their sinews With aged cramps; and more pinch-spotted make

them, Than pard, or cat o' mountain.

Ari. Hark, they roar.

Pro. Let them be hunted foundly. At this hour Lye at my mercy all mine enemies: Shortly shall all my labours end, and thou Shalt have the air at freedom; for a little, Follow, and do me service.

[Exeunt.

A CT V. SCENE I. *** Before the Cell.

. Enter Prospero in his magick Robes, and Ariel.

PROSPERO. ow does my project gather to a head; My charms crack not; my spirits obey, and 4 time

Goes 4

Time
Goes upright with his Carriage.] The thought is pretty.

Time

N

Goes upright with his carriage : how's the day?

Ari. On the sixth hour, at which time, my lord, You said, our work should cease.

Pro. I did say fo,
When first I rais’d the tempest; fay, my spirit,
How fares the King and 's followers ?

Ari. Confin'd
In the same fashion as you gave in charge ;
Just as you left them, all your prisoners, Sir,
In the Lime-Grove which weather-fends your cell.
They cannot budge, 'till your release. The King,
His brother, and yours, abide all three distracted;
And the remainder mourning over them,
Brim-full of sorrow and dismay; but, chiefly,
Him that you term’d the good old lord Gonzalo.
His tears run down his beard, like winter drops
From eaves of reeds; your charm so strongly works

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

Pro. Do'st thou think fo, fpirit?
Ari. Mine would, Sir, were I human.

Pro. And mine shall.
Hast thou, which art but air, a touch, a feeling
Of their afflictions, and shall not myself,
One of their kind, that relish all as sharply,
Passion as they, be kindlier mov'd than thou art?
Tho' with their high wrongs I am struck to th' quick,
Yet, with my nobler reason, 'gainst my fury
Do I take part ; the rarer action is
In virtue than in vengeance; they being penitent,
The sole drift of my purpose doth extend
Not a frown further ; go, release them, Ariel ;

-Time is usually represented as an old man almost worn out, and bending under his load. He is here painted as in great

vigour, and walking upright, to denote that things went prosperoully on.

My

My charms I'll break, their senses I'll restore,
And they shall be themselves.

Ari. I'll fetch them, Sir.

[Exit.

[blocks in formation]

Pro. · Ye elves of hills, brooks, standing lakes and

groves, • And ye, that on the sands with printless foot

Do chase the ebbing Neptune ; and do fly him, < When he comes back; you demy-puppets, that - By moon-fhine do the green four ringlets make, s Whereof the ewe not bites; and you, whose pastime

Is to make midnight mushrooms, that rejoice • To hear the solemn curfew; by whose aid

(Weak masters tho' ye be) s I have be-dimm'd • The noon-tide sun, callid forth the mutinous winds,

6 And

5

I have be-dimm'd
The noon-tide Sun, call d forth the mutinous winds,
And 'twixt the green Sea and the azurd vault,
Set roaring war; to the dread ratling thunder
Have I giv'n fire, and rifted Jove's fout Oak
With his own bolt : the strong-bas’d Promontory
Have I made shake, and by the Spurs pluckt up
The Pine and Cedar : Graves at my command
Have waked their sleepers ; op'd, and let them forth

By my to potent Art.] Here is evidently an absurd transposition of the words in the last line but one. Bat Mr. Theobald's defence of the present reading is still more absurd. He juftifies the expression of Graves waking their Sleepers, by Beaumont and Fletcher's saying

Fame wakens the ruin'd Monuments which is an expression purely metaphorical, to signify that those monuments are brought again into remembrance; and is therefore justifiable. But-Graves waking their Sleepers must needs be understood literally. For Prospero would insinuate that dead men were actually raised to life by his Art. Therefore the expression is absurd, and consequently none of Shakespear's, who certainly wrote

Graves, at my command,
Have open'd, and let forth their Sleepers, wak'd
By my so potent Art.

As

potent art.'

· And 'twixt the green sea and the azur’d vault

Set roaring war; to the dread ratling thunder
Have I giv'n fire, and rifted Jove's stout oak

With his own bolt: the strong-bas'd promontory • Have I made shake, and by the spurs pluckt up • The pine and cedar: graves at my command • Have open'd, and let forth their sleepers, wak'd By my fo

6 But this rough magick I here abjure; and when I have requir'd

Some As a further proof that Shakespear wrote it thus, we may observe, that he borrowed this speech from Medea's in Ovid:

Stantia concutio cantu freta, nubila pello ;
Nubilaque induco : ventos abigoque vocoque :
Vipereasque rumpo verbis & carmine fauces :
Vivaque faxa sua convulsaque robora terra,
Et filvas moveo : jubeoque tremefcere Montes,

Et mugire folum MANES QUE EXIRE SEPULCRIS. Now manesque exire sepulcris is justly expressed as we have reformed the lines,

Graves, at my command,
Have open'd, and let forth their sleepers, wak'd

By my so potent art The third line of his original containing an atchievement little in use amongst modern Inchanters he has with judgment omitted it in his imitation. 6

But this rough magick
I here abjure. And when I have required
Some heavenly musick, which ev'n now I do,
(To work mine end upon their Senses, that

This airy charm is for;) I'll break my staff, &c.-) If the present reading be genuine, then, by [airy charm] is meant the heavenly musick owo lines before. But inis admitted, the consequence will be, 1. A wretched tautology; He had said

Some heavenly musck to work mine end; and then immediately adds this airy charm of music is for working mine end. 2. As unpardonable a defect ; for, according to this sense and reading, we are not informed what this end was, by not being told the State of their Senses. We must needs then by (airy charm] understand the fire and cracks of sulphurous roaring, as it is called in the 3d Scene of Ac I. and thunder and lightning in the 4th Scene of Ac III. which had in the highest degree terrified the persons concerned. That this was the airy charm is farther evident from these words, in the following Scene, The charm disolves apace, and as, &c.

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Some heavenly musick, which ev'n now I do,
(To work mine end upon their senses, that
This airy charm has frail'd ;) ? I'll break my staff;
Bury't a certain fądom in the earth;
And deeper than did ever plummet sound,
I'll drown my book.

[Solemn Mufick
S C E N E III.
Here enters Ariel before ; then Alonzo with a frantick

gesture, attended by Gonzalo. Sebastian and Anthonio
in like manner, attended by Adrian and Francisco. They
all enter the circle which Prospero bad made, and there
stand charm’d; which Prospero observing, speaks.
A solemn air, and the best comforter
To an unsettled fancy, cure thy brains
Now useless, boild within thy skull! There stand,
For you are spell-stopt.
Holy Gonzaló, honourable man,
It was diffolved, we see, by the heavenly mufick, and therefore
different from it. But if this be the sense of airy charm, then we see
the reading [IS FOR] must be corrupt; and that Shakespear wrote,

-heavenly mufick
To work mine end upon their fenfes, that

This airy charm HÅs' FRAIL'D.
i, e. which senses the airy charm of Ariel above-mentioned has
disturbed and shatter d. For that this was their condition appears
from the lines which follow in the next scene."

The charm disolves apace;
And as the morning Peals upon the night,
Melting the darkness ; so their rifng senses
Begin to chase the ign'rant fumes that mantle

Their clearer reason
7

rul break my ftaff;
Bury it certain fadoms in the eartb.). Certain in its present
fignification is predicated of a precise determinate number. But
this sense would make the thought flat and ridiculous. We must
consider the word certain therefore as used in its old fignification
of a many, indefinitely. So Bale in his Aits of English Votaries
says, But he took with him A ceRTÉN of his idle compa-
nions. For a many. So that Shakespear, I suppose, wrote the line thus,

Bury t A CERTAIN Fadom in the Earth.
VOL. I.

Minc

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