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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
that you have, Which first was mine own king; and here you sty me In this hard rock, whiles
do keep from me The rest of the island, Pro.
Thou most lying slave, Whom stripes may move, not kindness: I have us’d
Cal. O ho, O ho!S—'would it had been done!
hour One thing or other : when thou did’st not, savage, Know thine own meaning, but would’st gabble like
8 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.
when thou didst not, savage,
A thing most brutish, I endow'd thy purposes
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? 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, It would control my dam's god, Setebos, And make a vassal of him. Pro.
So, slave; hence!
Know thine oron meaning, ] By this expression, however de. fective, the poet seems to have meant-When thou didst utter sounds, to which thou hadst no determinate meaning.
But thy vile race,] Race, in this place, seems to signify original disposition, inborn qualities.
-the red plague rid you,] The erysipelas was anciently called the red plague. 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 men. tioned in Hackluyt's Voyages, 1598.
Re-enter Ariel invisible,“ playing and singing ;
FERDINAND following him.
Come unto these yellow sands,
And then take hands :
(The wild waves whist,)
Hark, hark !
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.”
s Court' sied when you have, and kiss'd,] As was anciently at the beginning of some dances.
6 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,] 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 ;
of his bones are coral made ;
Nothing of him that doth fade,
[Burden, ding-dong.' Fer. The ditty does remember my drown'd fa
“ 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 des. scribe 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.
7 Full fathom 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 Shake speare. BURNEY. 8 Nothing of him that doth fade,
But doth suffer a sea-change-] Everything about him, that is liable to alteration, is changed. 9 But doth suffer a sea-change —] So, in Milton's Masque : “ And underwent a quick immortal change."
STEEVENS. * The same burden to a song occurs in The Merchant of Venice. It should here be
Ding-dong, ding-dong, ding-dong, bell.
This is no mortal business, nor no sound
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
I might call him
[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 earth owes :) To owe, in this place, as well as many others, signifies to own.
3 The fringed curtains, &c.] The same expression occurs in Pericles, Prince of Tyre, 1609 :
her eyelids “ Begin to part their fringes of bright gold.” If you be made, or no?j 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