234. by line and level, according to rule, methodically; a 1. phor taken from carpentry. The phrase is merely introducea another pun upon 'line'.

238. pass of pate, sally of wit.

240. lime, bird-lime. As the punning upon 'line' is still being continued, 'line' and 'lime' must evidently have been convertible forms in this, as in other senses of the word.

243. barnacles, geese which were supposed to breed out of certain shell-fish which grew upon trees.

244. foreheads villanous low. A low forehead was counted a deformity in Shakespeare's time.

255. aged cramps. Cf. note on i. 2. 369.

258. Lie. Rowe's correction for the Ff. reading lies, which may, however, be supported on the analogy of i. I. 15.

Act V.-Scene I.

Prospero, having all his enemies at his mercy, makes use of his magic power for the last time, before he lays it aside for ever. He releases them from the trance into which they have been plunged, and extends to them degrees of pardon (cf. Introduction, § 24), while Gonzalo is embraced with loving words. Thereupon follow universal reunion and restoration. Ferdinand, with his newly-won bride, is given back to his father's arms. The Master and the Boatswain rejoin their fellow-voyagers and report that the ship, which had been given up for lost, is safe in 'all her trim'. Caliban and his allies are driven in to be claimed by their respective masters, and to be forgiven on condition of penitence, and surrender of stolen goods. Ariel is restored to his home, the air; and finally Prospero strains his eyes across seas towards his Milan, and beyond that, towards his grave.

2. crack not. This probably refers to the magic bonds which Prospero weaves round his victims. Thus he afterwards declares (line 31) "my charms I'll break ".

3. Goes upright with his carriage, marches on erect, not bending under his load.

10. line-grove.

Cf. note on iv. I. 193. weather-fends, protects from the weather. II. till your release, till released by you. 15. Him, for 'he'. Cf. Abbott, § 208. 17. strongly works 'em. Cf. iv. 1. 144. 21. a touch, a power of sensibility.

23, 24. relish all as sharply, Passion as they. If we keep this punctuation of F 1 and F 2, passion is a verb (cf. Venus and Adonis, 1059: "Dumbly she passions"; and Two Gentlemen of Verona, iv. 4. 172: "t was Ariadne passioning "). The words then mean 'feel joy just as keenly, and am as much moved with sorrow as they'. F3 and F 4 omit the comma after 'sharply', thus treating passion' as a noun governed by 'relish'.

33-50. This passage has so remarkable a likeness in its phraseology to Medea's incantation in Golding's translation of Ovid's Metamorphoses, that it must have been partly modelled on it. Wright quotes the following passage from the edition of 1603:

"Ye Ayres and Windes: ye Elues of Hilles, of Brookes, of Woods alone,

Of standing Lakes, and of the Night approche ye euerychone; Through helpe of whom (the crooked bankes much wondring at the thing)

I have compelled streames to run cleane backward to their spring. By charmes I make the calme seas rough, and make the rough seas playne,

And couer all the Skie with clouds and chase them thence againe; By charmes I raise and lay the windes, and burst the Vipers iaw, And from the bowels of the earth both stones and trees do draw. Whole woods and Forrests I remoue: I make the Mountaines shake, And euen the earth it selfe to grone and fearefully to quake;

I call up dead men from their graues, and thee, O lightsome Moone, I darken oft, though beaten brasse abate thy peril soone;

Our sorceries dimmes the Morning faire, and darkes the Sun at Noone."

37. green sour ringlets: the circles of a deeper green than the surrounding grass, and bitterer in taste, which are found in meadows, and which were popularly supposed to be caused by the dancing of fairies.

41. Weak masters, weak adepts in magical powers.

43. azured, azure. Cf. Abbott, § 294.

47. spurs, the roots which project.

51. required, asked for.

59. unsettled fancy, distorted imagination.

For the use of the word in this

60. boil'd. The Ff. read boile. connection cf. Winter's Tale, iii. 3. 64, 65: “Would any but these boiled brains of nineteen and two-and-twenty hunt this weather?"

63. sociable to, in sympathy with.

show, appearance.

64. Fall. Cf. ii. 1. 286, note.

fellowly, companionable.

67. ignorant, producing ignorance.

71. Home, thoroughly. Cf. Measure for Measure, iv. 3. 148: "Accuse him home and home".

76. remorse, pity.

81. reasonable shore, the shore of reason. 35. discase me, strip off my disguise.

86. Milan, Duke of Milan. Cf. i. 2. 109.

go. when owls do cry, i.e. at night.

92. summer, changed by Theobald into 'sunset', on the ground that bats do not migrate with the close of summer. But Shakespeare is here dealing with fairy-lore, not with natural history, and the idea of spirits flying after summer is akin to that in Midsummer-Night's Dream, iv. I. 101: "Trip we after the night's shade”.

102. drink the air, an analogous expression to 'devour the way'. 103. Or ere. Cf. note on i. 2. II.

112. trifle, phantom.

abuse, deceive.

117. An if this be at all, if this have any real existence.

118. Thy dukedom I resign. Antonio had made Milan a fief of Naples, and Alonso herewith disclaims the sovereign rights he had thus acquired.

119. my wrongs, the wrongs I have done.

120. noble friend, Gonzalo.

123, 124. taste Some subtilties o' the isle. Taste used in the sense of 'experience' probably suggested subtilties, which besides meaning, as here, 'deceptions', denoted devices in pastry. Wright quotes from Fabyan's account of the feast at the coronation of Katharine, queen of Henry V.: "And a sotyltye called a Pellycane sytting on his nest with the byrdes".

128. justify, prove.

129. No. This is a curiously curt answer to Sebastian's remark, which is, moreover, supposed to be an 'aside' not overheard by Prospero. A plausible emendation is Now, used as the opening of the address to Antonio.

139. I am woe for 't. I am sorry for it. 145, 146. As great to me as it is recent; loss bearable I have much weaker means.'

Cf. Abbott, § 230. and to make the keen

154. do so much admire, are so much astonished.

155. devour their reason, refuse to believe what their reason tells them.

156. do offices of truth, perform their functions truthfully.

164. relation for a breakfast, a short story to be told at breakfast. Stage-direction, playing at chess. This introduction of chess into the enchanted island, especially as Shakespeare nowhere else directly mentions the game, is so curious that attempts have been made to assign some special reason for it. Steevens thought that Shakespeare borrowed the idea from the romance of Sir Huon de Bordeaux, where the hero and heroine engage in the same pastime. Allen ingeniously conjectures that he made the Neapolitan prince and Miranda play chess, because Naples was at that time the chief centre of the game.

174. a score. Used either in the ordinary sense of 'twenty', or, more probably, in that of 'a stake'.

you should wrangle. "The usage of 'should' and 'would' in this sentence becomes like our own by a very slight change, 'for a score of kingdoms should you wrangle I would call it fair play"" (Wright).

181-184. Notice Miranda's "child-like naïveté of admiration " (Moulton) on first beholding a company of her fellow-creatures.

205. Was Milan thrust from Milan? Was Prospero, the Duke of Milan, thrust out of his Duchy.

208–213. In these lines Gonzalo expounds, with pregnant brevity, the principle of loss and restitution which underlies so many incidents in the play.

214. still, always.

216. is. Cf. note on i. I. 15, 16.

218. blasphemy, for 'blasphemer'.

221. safely found, found safe.

223. but three glasses since. If we compare this with Alonso s statement in 1. 186 we see that the boatswain's 'glass' is meant to be an hour-glass. Brinsley Nicholson, however (New Shakspere Society's Transactions, 1880-1882), quotes from The Seaman's Grammar, by Capt. John Smith (1627), the following words: "eight glasses, or foure houres, which is a watch". This shows that the seaman's glass in Shakespeare's time, as now, was one of half-anhour, not a full hour. The technical mistake thus made proves, according to Nicholson, that Shakespeare never was at sea. But this is too weak a foundation to support so momentous a conclusion, especially in the face of much internal evidence all tending the other way.

224. tight, free from leaks.

230. of sleep, through sleep. Cf. Abbott, § 168.

238. Capering to eye her, dancing with joy at beholding her. on a trice, in a moment (see Glossary).

244. conduct, conductor.

246. infest, vex.

247. pick'd, well-selected.

248. single, alone; referring either to 'you' or 'I', probably the former.

resolve you, give you an explanation.

249. Which to you shall seem probable. The antecedent to 'which' is Prospero's explanation, implied in "I'll resolve you". every. The adjectives all, each, both, every, other, are sometimes interchanged in E.E. Cf. Abbott, § 12.

257, 258. bully-monster. With this slang use of bully as a jovial term of address cf. "bully Hercules" and "bully-rook" in The Merry Wives of Windsor.

266. Is a plain fish. For this description of Caliban cf. ii. 2. 24-26.

267. badges. Household servants, like Stephano and Trinculo, usually wore on their arms, as part of their livery, silver badges whereon the shield of their master was engraved.

269, 270. one so strong That could control the moon. For other examples of so followed by the relative that, cf. Abbott, § 279.

271. deal in her command without her power, either 'exercise her influence without being empowered to do so' or 'exercise her influence beyond or outside of her sphere'. For the latter use of 'without' Wright compares 2 Corinthians, x. 13: "But we will not boast of things without our measure".

279. reeling ripe, so intoxicated as to be ready to reel. Cf. Love's Labour's Lost, v. 2. 274: “The king was weeping-ripe for a good word".

280. gilded 'em, made them drunk. There is probably a reference to the aurum potabile, drinkable gold, of the alchemists; or the reference may be to the effect of liquor in making the face to glow.

283, 284. I shall not fear fly-blowing. Trinculo, punning on the word 'pickle', makes this statement, because pickling meat preserved it from 'fly-blowing'.

289. a strange thing as, as strange a thing as. a comparison is often, omitted.

298. bestow, stow away.

The first as in

305. accidents gone by, events that have happened. Cf. line 250 above.

310. retire me. For other examples of verbs used by Shakespeare reflexively, but now intransitive, see Abbott, § 296.