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Drop on you both! a south-west blow on ye,
And blister you all o'er.

I must eat my dinner.
This iland's mine by Sycorax my mother,
Which thou tak’ft from me: when thou camest first
Thou stroak’it me, and mad'it much of me: wou'd't

give me
Water with berries in't, and teach me how
To name the bigger light, and how the less,
That burn by day and night: and then I lov'd thee,
And thew'd thee all the qualities oʻth' ifle,
The fresh springs, brine pits; barren place and fertile:
Curs'd be Î, that I did so: all the charms
Of Sycorax, toads, beetles, bats, light on you!
For I am all the subjects that you have,
Who first was mine own king: and here you sty me
In this hard rock, whilft you do keep from me
The rest of th’ island..
Caliban's Exultation after Prospero tells himHe

sought to violate the Honour of his Child, bas something in it very Arikingly in Character. Oh ho, oh ho,--I wou'd it had been done, Thou did'ft prevent me, I had peopled else This ifle with Calibans.

Prof. Abhorred flave; Which any print of goodness will not take, Being capable of all ill! I pity'd thee, Took pains to make thee speak, taught thee each hour One thing or other : when thou could'st not, savage, Show thine own meaning; but would'st gabble like A thing most brutish, I endow'd thy purposes With words that made them known: but thy vile race

Though the malignity of his purposes ; but let any other being entertain the same thoughts, and he will find them eally ife fue in the same expressions."

Though thou didst learn, had that in 't which good

Could not abide to be with ; therefore wast thou
Deservedly confin'd into this rock,
Who hadft 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!

Where should this music be? in air or earth?,
It sounds no more, and sure it waits upon
Some God of th' island. Sitting on a bank,
Weeping again the king my father's wreck,
This music crept by me upon the waters;
Allaying both their fury and my paflion
With its sweet air.

Ariel's Song.
Full fathom five (12) thy father lies,

Of his bones are coral made;
Those are pearls that were his eyes ;

Nothing of him that doth fade,
But doth Luffer a sea-change

Into something rich and strange.
Sea-nymphs hourly ring his knell,
Hark, now I hear them, ding-dong, bell.


(12) Full fatlom five, &c.] Gildon, who has pretended to criticise our author, would give this up as an insufferable and fenseless piece of trifling. And I believe this is the general opinion concerning it. But a very unjust one. Let us consider the buiiness Ariel is here upon, and his manner of executing it. The commission Prospero had entrusted to him, in a whisper, was plainly this; to conduct Ferdinand to the sight of Miranda, and to dispose him


Amiable Simplicity of Miranda on first View of

Ferdinand. Prof. This gallant which thou feest Was in the wreck: and, but he's something stain'de


to the quick sentiments of love, while he, on the other hand, prepared his daughter for the same impressions. Ariel sets about his business by acquainting Ferdinand, in an extraordinary manner, with the afflictive news of his father's death.' A very odd apparatns, one would think, for a love fit. And yet as it appears, the poet has shewn in it the finest conduct for carrying on his plot. Prospero had said,

I find my zenith doth depend upon
A most auspicious frar, whose influence
If now I court not, but omit, my fortunes

Will ever after droop. In consequence of this his prescience, he takes advantage of every favourable circunstance that the occasion offers. The principal affair is the marriage of his daughter with young Ferdinand. But to secure this point it was necefsary they thould be contracted before the affair came to Alonzo, the father's knowledge. For Profpero was ignorant how this storm and shipwreck, caused by him, would work upon Alonzo's temper. It might either soften him, or increase his averfion for Profpero as the author. On the other hand, to engage Ferdinand, without the consent of his father, was difficult. For, not to speak of his quality, where such engagements are not made without the consent of the sovereign, Ferdinand is represented (to fhew it a match worth seeking) of a most pious temper and difpofition, which would prevent him contracting himself without his father's knowledge. The poet therefore, with the utmost address, has made Ariel perfuade him of his father's death, to remove this remora. Thus far W. 7. adds, “ The reason for which Ariel is introduced thus trifiling is, that he and his companions are evidently of the fairy kind, an order of beings to which tradition has always ascribed a sort of diminutive agency, powerful but ludicrous, a humourous and frolick controlment of na. ture, well expressed by the songs of Ariel."

. With grief, that beauty's canker, thou mights call

A goodly person.-

Mir.. I might call him
A thing divine: for nothing natural
I ever saw so noble.

Fer. Most sure the goddess
On whom these airs attend.


There's nothing ill can dwell in such a tem,


If the ill spirit love fo fair a house,
Good things will strive to dwell with 't.

A Lover's Speech.
My (13) spirits, as in a dream, are all bound up ;
My father's loss, the weakness which I feel,


(13) My, &c.] The following fine fimile from Virgil will be a good comment on S. Æn. 12. v. 908.

Ac velut, &c.
And as, when heavy seep has clos'd the fight,
The fickly fancy labours in the night, .
We seem to run, and destitute of force,
Our finking limbs forsake us in the course :
In vain we heave for breath, in vain we cry, 1
The nerves unbrac'd their usual strength deny, Ý
And on the tongue the falt'ring accents die. J

Dryden. Tasso, in his Gierufalemme Liberata, has finely imitated this simile, C. 20. S. 105,

Come vede talor torbidi, &c.
As when the fick or frantic men oft dream

In their unquiet sleep, and flumber short,
And think they run fome speedy course, and seem
To move their legs and feet in harty fort;


The wreck of all my friends, or this man's threats,
To whom I am subdu’d, were but light to me,
Might I but thro' my prison once a day
Behold this maid: all corners else o'th' earth
Let liberty make use of: space enough
Have I in such a prison.


Yet feel their limbs far flower than the stream

Of their vain thoughts, that bears them in this sport, And oft wou'd speak, wou'd cry, wou'd call or shout, Yet neither sound, nor voice, nor word sent out.

Fairfax. The following part of the speech is greatly exceeded by another of the same fort in the Second Part of King Henry VI. Act 3. which see and n. There is too in the Midsummer Night's Dream, a thought of the fame kind, though rather too quaint.

Nor doth this wood lack worlds of company:
For you in my respect are all the world,
Then how can it be said I am alone ;
When all the world is here to look on me?

Act 2. Sc 30 Sir 7. Suckling, in his Goblins, Act 4. has a similar pas fage.

Witness all that can punish falfhood,
That I cou'd live with thee, even in this dark
And narrow prison, and think all happiness

Confin'd within the walls.We may obferve the character of Reginella, in that play, is an imperfect copy of Miranda in this.

Malinger, in his Guardian, Act 5. Sc. 1. has an expression like S's.

These woods, Severino,
Shall more than seem to me a populous city,
You being present.

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