ACT FIFTH SCENE I Before the cell of Prospero Enter Prospero in his magic robes, and Ariel. Ari. On the sixth hour; at which time, my lord, Ari. I did say so, When first I raised the tempest. Say, my spirit, How fares the king and 's followers? Confined together And the remainder mourning over them, 10 Him that you term'd, sir, "The good old lord, His tears run down his beard, like winter's drops That if you now beheld them, your affections Pros. Dost thou think so, spirit? Ari. Mine would, sir, were I human. Pros. Ari. And mine shall. 20 Though with their high wrongs I am struck to Yet with my nobler reason 'gainst my fury Do I take part: the rarer action is In virtue than in vengeance: they being penitent, 29 The sole drift of my purpose doth extend I'll fetch them, sir. [Exit. Pros. Ye elves of hills, brooks, standing lakes, and groves; 21. "touch"; sense.-C. H. H. 23-24. The first and second folios place a comma after “sharply," making "passion" a verb; the comma is omitted in the third and fourth folios.-I. G. 33-57. "Ye elves of hills," etc.; this speech is in some measure borrowed from Medea's, in Ovid; the expressions are, many of them, in And ye that on the sands with printless foot Is to make midnight mushrooms, that rejoice And 'twixt the green sea and the azured vault Have I made shake, and by the spurs pluck'd up The pine and cedar: graves at my command By my so potent art. But this rough magic 50 the old translation by Golding. But the exquisite fairy imagery is Shakespeare's own.-H. N. H. 37. "green sour ringlets"; circles formed by grass of deeper color and sharper flavor, popularly attributed to the dancing of fairies by night.-C. H. H. 41. "weak masters"; i. e. ye are powerful auxiliaries, but weak if left to yourselves; your employments being of the trivial nature before mentioned.-H. N. H. 47. "spurs"; spreading roots.-C. H. H. This airy charm is for, I'll break my staff, Re-enter Ariel before: then Alonso, with a A solemn air, and the best comforter For you are spell-stopp❜d. Holy Gonzalo, honorable man, 60 Mine eyes, even sociable to the show of thine, Fall fellowly drops. The charm dissolves apace; And as the morning steals upon the night 69 To him thou follow'st! I will pay thy graces Home both in word and deed. Most cruelly Didst thou, Alonso, use me and my daughter: 60. "boiled within thy skull"; so in A Midsummer-Night's Dream: "Lovers and madmen have such seething brains." -H. N. H. Thy brother was a furtherer in the act. Thou art pinch'd for 't now, Sebastian. Flesh and blood, You, brother mine, that entertain'd ambition, Expell'd remorse and nature; who, with Sebastian, Whose inward pinches therefore are most strong, Would here have kill'd your king; I do forgive thee, Unnatural though thou art. Their understand- Begins to swell; and the approaching tide 80 That now lies foul and muddy. Not one of That yet looks on me, or would know me: Ariel, Ariel sings and helps to attire him. Where the bee sucks, there suck I: There I couch when owls do cry. On the bat's back I do fly After summer merrily. 90 88. "Where the bee sucks"; the musical setting of this song by R. Johnson is preserved in Wilson's Cheerfull Ayres or Ballads, 1660. It was probably that used in the original performance.-C. H. H. 92. "after summer merrily"; "at night, 'when owls do cry,' Ariel couches 'in a cowslip's bell'; and he uses 'the bat's back' as his pleasant vehicle, to pursue summer in its progress round the world, |