essay questions for the tempest

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William Shakespeare

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Study Help Essay Questions

1. How does Prospero's magic differ from that of the witch, Sycorax?

2. Prospero's need for revenge could easily have led to tragedy. Compare The Tempest to one of Shakespeare's tragedies, such as Hamlet . What elements of revenge are present in both plays? How are they different? In what way is Prospero's revenge neutralized by romance?

3. Compare the plot to murder Prospero to the plot to murder Alonso. Shakespeare clearly intended one murder plot to mirror the other. What does each group of conspirators have in common? How important are social status and rank in evaluating these two murder plots?

4. Compare Gonzalo's ideas of the ideal society and commonwealth with those of Sir Thomas More in his Utopia . Why do you think that utopian dreams are destined to fail?

5. Traditionally, Shakespeare uses poetry for noble characters and prose for the lower class. Caliban, however, uses both poetry and prose. Discuss why he shifts between poetry and prose and under what circumstances. What does this reveal about this character?

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The Tempest Essay Topics & Examples

Students’ life is a bumpy ride, and sometimes you can end up with several vital assignments all of which are due the next day. Custom-Writing.org experts have prepared a compilation of The Tempest essay topics.  

Our specialists will write a custom essay specially for you!

On this page, you’ll find best questions, prompts, title ideas on the Shakespeare’s play, together with The Tempest essay examples. Feel free to alter and adjust them to your liking and academic requirements!

• 🏆 Essay Topics
• 💡 Essay Prompts
• 📝 Essay Examples

🏆 The Tempest Essay Topics

• Revenge and forgiveness in The Tempest
• Colonialism and slavery in The Tempest
• The role of setting in The Tempest
• How is Caliban presented in The Tempest?
• Prospero: character analysis
• Frankenstein and The Tempest: compare and contrast essay
• The theme of magic in The Tempest
• Love and relationships in The Tempest
• Gender roles in Shakespeare’s plays
• King Alonso: character traits
• Non-human beings in The Tempest
• The symbolism of Prospero’s books

💡 The Tempest Essay Prompts

• The analysis of Shakespeare’s messages hidden behind the central themes . The first thing you need to find out is what the theme of The Tempest is. There may be more than one, so you should choose those that seem to be the most important. If you have doubts, go back and look through our guide again!
• Discussion of the historical context of The Tempest with the focus on colonization . It appears that the play was quite relevant at the time. No wonder, because Shakespeare took a chance and used the most discussed topic as the theme. Therefore, your main task would be to find out how the views about colonial imperialism are expressed in The Tempest .
• What is the role of comic scenes in the play’s plot ? The Tempest is considered to be a comedy since it involves plenty of funny moments. The most memorable ones are performed by the drunken trio. The main idea of this essay is to analyze how those scenes go along with the main plot.
• How vital are audio impressions and noises in the play? You should start by looking for the moments where various sounds and music are described. Since every element of imagery adds to the overall impression from the play, it is essential to find out what role they play.
• Colonization in The Tempest : how do characters want to rule the island? It might be a part of the central theme dedicated to colonization, but an additional analysis might be fun to do. After getting on the island, almost all the characters start dreaming about owning it. They all have a different vision of how they would rule it, though.
• Discuss the impressions from the very first scene of the play. Here is the place for you to analyze everything mentioned in Scene 1 that influenced your perception of the whole play. For example, see how the characters are presented and what their dialogues tell about them. How are the main themes introduced?
• Contrast and compare The Tempest to one of Shakespeare’s tragedies. Prospero has been planning his revenge for so many years. His desire could have easily turned out as a tragedy for every character if it wasn’t for romance. Therefore, you should look into the differences between this aspect in The Tempest and a tragedy.
• Draw a parallel between the attempted assassination of Alonso and plotting against Prospero. The two of the king’s staff, along with Caliban, are planning on taking the place of the island’s rulers by killing Prospero. Meanwhile, there is an attempt to murder Alonso. Your task is to compare these two occasions and see how social status might affect them.
• What roles does Prospero take on, and what is their significance? It seems like Prospero wants to have as much power as he can. He is a father, friend, magician, island’s ruler, and desires to return home to be a duke again. However, it is impossible to have everything. Analyze Prospero’s character and find out which role he is most likely to choose.
• Analyze and discuss the purpose of Caliban’s character in the play. At first, it seems like Caliban plays a critical role in The Tempest . However, at the end of the play, the audience can see that his part is insignificant. Therefore, your task for this essay would be to find out why Shakespeare involved Caliban after all.
• The complete literary analysis of Shakespeare’s The Tempest . It is one of the primary and most straightforward topics about the play. However, attention to detail is vital. Try to include the most critical elements in there, such as the central themes and ideas, symbols , literary devices. If you need help with it, just look through our guide!
• Does Caliban really need to be trained and educated? From Prospero’s point of view, Caliban is a savage who desperately needs help to become more civilized. In this essay, you can let your perspective create the structure. Do you think Prospero should have left Caliban in peace? What is the role of colonization in it?
• Appearances of feminism in Shakespeare’s The Tempest . Even though there is only one female character in the play, this issue still appears to be relevant. Miranda is always kind to Caliban until the moment he tries to sexually abuse her. Explain what her actions were and how her attitude has changed since then.
• Discuss the theme of religion and Christianity in the play. If you look closely, you can see some associations between Christianity and Prospero’s character. He is almost seen as God due to his powers and control over the events on the island. In the end, he refuses to use magic any longer and forgives his enemies. Can it be a biblical reference?
• The correlation between political corruption and greed of the characters. Antonio is the main character in the play, which shows intense greed for power. He is ready to pay any price to get more power, so his personal ethics degrades quickly. However, you should find out about the role of political corruption in Antonio’s actions and plans.
• What is Miranda’s perception of the island in The Tempest ? She was taken to the island when she was a child. How do you think Miranda perceives her new home as an adult? Does it seem like a prison to her, or does Prospero’s magic makes her believe the island is a utopia?

📝 The Tempest Essay Examples

• Shakespeare’s “The Tempest” and Sandars’ “The Epics of Gigamesh”
• Shakespeare’s The Tempest Directed by Gregory Doran
• Shakespeare’s The Tempest in the Savage Rose Theater
• The Epic of Gilgamesh and The Tempest: Being “Civilized” or “Uncivilized”
• Shakespeare’s “The Tempest” – Viewing and Reflection
• Ahab from Moby Dick and Prospero from the Tempest
• The Phaedrus and The Tempest: Compare & Contrast
• Prospero in The Tempest: Character Analysis
• The Tempest and the Contemporary Arts
• “The Tempest” Play by St. Louis Shakespeare Theater
• Shakespeare’s “The Tempest” by Savage Rose Theatre
• Shakespeare’s The Tempest: Gender Roles
• Utopia in “The Tempest” by Shakespeare
• Shakespeare’s The Tempest and Image Exploration

Thank you for reading this article! If you haven’t found the perfect title idea, try our topic-generating tool . Any questions left? Check The Tempest QA section !

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The Tempest is one of the most beloved plays written by Shakespeare. The story is about the duke of Milan who had to escape to an island. Prospero uses magic to revenge his brother for betrayal and takes control over the royal party for that. If it sounds intriguing, you...

The Tempest is a unique and beautiful play that focuses on love and forgiveness at the crossroad of betrayal and magic. The main actions happen on a small island somewhere near Italy. The ship crushes there after a storm. An old magician Prospero and his daughter, Miranda, who live there...

Looking for The Tempest characters? Find them all analyzed here! This article by Custom-Writing.org experts contains character descriptions and analysis of Prospero, Miranda, Alonso, and other characters, as well as The Tempest character map. 🗺️ The Tempest Character Map Below you’ll find The Tempest character map. It contains all the...

Shakespeare tends to focus on very specific issues in each of his masterpieces. In The Tempest, the themes of power and magic are the dominant ones. However, a little bit of attention is also drawn to the topic of colonization. Looking for The Tempest themes? Find them all described here!...

In case you are one of those who love getting into details or just a student who needs help with literature assignments, The Tempest analysis section prepared by Custom-Writing.org experts is what you need. Here, we discuss The Tempest genre and some details about the setting. There is also the...

Have you already looked through our complete guide and still have questions? It’s not always easy to grasp the deep meaning of one topic or another just after reading someone else’s opinion. Or do you have an upcoming assignment on Shakespeare’s The Tempest? This section is the best way to...

In The Tempest, Caliban is the local half-monster who was unfortunate enough to become a slave. Prospero was trying to civilize him by giving language lessons. However, the only thing Caliban actually wants is freedom and his rightful land. He even plots against his master, but the murder plan never...

Tempest means a violent and intense storm. It is somewhat significant that The Tempest by Shakespeare opens up with the storm that carries the boat to the island. However, the detailed analysis of the plot and the characters reveals that the title is mainly related to the turmoil of emotions...

In Shakespeare’s play, Miranda is described as an innocent and empathetic girl. She is a relatively passive character and the only female character in The Tempest. She may seem quite naïve and helpless to the audience, but a few scenes can prove them wrong. She transcends her traditional gender role...

When Caliban finds new friends, Stephano and Trinculo, he asks them to help him with the assassination of his master. They plot to take away Prospero’s books to disarm him and kill him when he is taking a nap. To motivate his fellows, he promises that they would get control...

In Shakespeare’s play, Caliban is ultimately seen as Prospero’s slave. Their relationship highlights one of the central themes of The Tempest concerning colonialism and imperialism. He is the only native inhabitant on the island and is not treated well by his master. Caliban wishes ill to Prospero and wants to...

Shakespeare’s play includes characters of different levels of power. However, since the latter is one of the key play’s literary themes, the division between them is pretty straightforward. The characters who use magic are way more potent than the ones that don’t. Moreover, Prospero is considered to be in control...

There are many lines in The Tempest that Shakespeare wrote in iambic pentameter, so it is hard to pick only one. As an example, the line where Miranda says, “O brave new world,” is perhaps the most famous one. Mostly, the noble characters speak in verse while the others use...

Prospero is the main character of Shakespeare’s play, The Tempest. He was betrayed by his brother and had to seek another home. A remote island appeared to be a nice place, so Prospero and his daughter settled there. Over the years, he has been planning revenge with the help of...

In the play, Prospero is presented as a magician who gets his fantastic powers from the books. There are a lot of things that he managed to achieve thanks to that power. However, by the end of The Tempest, Prospero swears to throw away all his books and put an...

In Shakespeare’s play, Ariel is portrayed as a magical spirit under Prospero’s control. Throughout the whole play, he has to complete different tasks the magician gives him. Every time Ariel hopes that it would be the last one, but he doesn’t get his freedom back until the end of The...

Caliban and Ariel live on the remote island which Prospero claimed and took under his control. Both characters of The Tempest have a similar fate since the magician forced them both to serve him. However, the significant difference between them is that Caliban is not treated as respectfully as Ariel....

There seem to be too many things that Prospero does, showing how manipulative he is. The character possessing such a power uses it to alter the events in the play and force others to obey. However, one of his actions shows it most clearly. Prospero uses magic to put his...

Alonso is the king of Naples in the play. Together with the members of the royal party, he gets into the storm and ends up on an unknown island. It appears to be a pretty tragic occurrence since his son, Ferdinand, goes missing. By the end of the play, Alonso...

Caliban is the only islander found by Prospero and Miranda in the play. Even though he shows quite a negative attitude towards other characters throughout the whole story, there is something positive in him. Caliban loves his homeland, and he is ready to share all the knowledge he has about...

It is believed that Shakespeare created his masterpiece in 1610 or 1611. However, it is hard to judge which data is correct. The evidence shows that the first performance of The Tempest was in November 1611. Moreover, it appears to be one of the last plays ever written by Shakespeare....

In the original play, Ariel is a spirit that was trapped on the island. When Prospero freed him, he made Ariel his servant in return. Therefore, throughout The Tempest, the spirit has to attend to the magician’s wishes. In the Balinese production, Ariel resembles an animal and flies around instead...

Gonzalo is a member of the royal party who appears to be on the boat with the others. He is the king’s counselor and the one who is worried about Alonso the most. Throughout the play, he tries to do everything to help the king and protect him from the...

Shakespeare included the themes of colonialism and imperialism in The Tempest for a reason. Moreover, they are most clearly represented through Prospero and Caliban’s relationship in the play. Prospero is pictured as a typical colonizer who doesn’t respect the locals and only wants to take over the land for personal...

It may not appear obvious, but there is an example of linguistic imperialism in Shakespeare’s The Tempest. Prospero and Caliban have a pretty complicated relationship which reflects a typical situation between the colonizer and the locals at the time. It results in the unpleasant occurrence of language barrier and misunderstanding,...

Usually, Shakespeare’s The Tempest is classified as a comedy. There are all the aspects pointing out at it, such as humorous situations and many misunderstandings that end up being clarified. A happy celebration of marriage at the end also aligns with it. However, some of the play’s scenes include tragic...

Among the different productions of Shakespeare’s The Tempest, there are some that can be clearly considered an interpretation. For example, the audience would know that the one in which Prospero shows sympathy to Caliban is far from the original. The magician doesn’t actually act as fair and kind towards his...

Shakespeare’s The Tempest is generally considered a comedy. The plot is based on a series of misunderstandings that turn out to be comic by the end of the play. Moreover, no one dies, even though some of the characters get lost or upset. However, there are some small elements of...

In both the Utah Valley University and Balinese productions, several characters from the play are pictured very similarly. The interpretations of Prospero, Caliban, and Ariel appear to be the same in both perceptions. The main character is shown as a powerful magician who made the islander and the spirit his...

Many important characters in The Tempest appear in the first scene of the play. Sebastian is one of them. It already seems like he and Antonio are up to something, but the audience remains clueless until the play ends. Sebastian is the king’s brother who attempts a murder later on....

Caliban is not presented as the most pleasant character of The Tempest. While Prospero rules over him, Miranda is simply afraid of the islander. Indeed, he is portrayed as an angry, uneducated, and untidy man. The girl feels threatened by him and tries to stay away from him as much...

Shakespeare’s The Tempest raises a few quite important and relevant literary themes. One of them is colonization. It was a popular topic back then, and its main issues are well represented in the play. However, power may be considered the central theme in The Tempest and goes throughout the whole...

Even though Shakespeare’s The Tempest is considered to be a comedy and maybe a romance, there are some elements of a tragedy. It is especially noticeable in the first two acts. Some of the events just don’t align with the standard genre categorization of this play. One of them is...

Shakespeare seems to have a very definite view on colonization which is reflected in The Tempest. All the issues that Prospero has with Caliban, the native to the island, prove the main idea of the play. Unfortunately, Caliban is treated like a handicapped monster by almost every character. There are...

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Most Interesting The Tempest Topics to Write about

• Use of Noise and Music in ”The Tempest” by William Shakespeare
• The Two Different Extremes on the Social Spectrum in The Tempest
• Transformation By Theatre In Shakespeare’s “The Tempest”
• The Primitive and the Civilized in Shakespeare’s “The Tempest”
• The Thematic Role of Mise-en-Scene in Adaptations of The Tempest
• The Story of Joseph in Shakespeare’s The Tempest Vs. The Spirit of Revenge in Montaigne’s Cannibals
• The Theme of Power in the Opening Two Scenes of The Tempest by William Shakespeare
• The Dramatic Uses of Intoxication in Shakespeare’s play The Tempest
• The Significance of Sound and Music in The Tempest
• William Shakespeare’s The Tempest: An Allegorical Tale of Life in the Theater
• Vengeance and Forgiveness in Shakespeare’s The Tempest
• The Concept of Humanism in Giovanni Boccaccio’s Decameron and William Shakespeare’s The Tempest
• The Moral Lessons in Euripides’ “Electra” and William Shakespeare’s “The Tempest”
• The Themes of Manipulation, Power and Playing God in The Tragical History of Dr. Faustus by Christopher Marlowe and William Shakespeare’s The Tempest
• William Shakespeare’s Show of the Development of Prospero’s Character in The Tempest
• The Use of Contrasts in Act One of The Tempest, a Play by William Shakespeare
• Unholy Mothers: Mothers as Negative Characters in Richard III, Cymbeline, Hamlet, Macbeth and The Tempest
• The Role of Language in Shakespeare’s Play The Tempest
• The Power of Magic through Characters in Both The Tempest by William Shakespeare and The Franklin’s Tale by Geofferey Chaucer
• Using Integrated Linguistic and Literary Approaches, Explore the Presentation of Learning and Education in “the Tempest” and “Translations”

Good Research Topics about The Tempest

• The Importance of Caliban in William Shakespeare’s The Tempest
• The Contrasting Characters of Ferdinand and Caliban in the Tempest, a Play by William Shakespeare
• The Significance of Time and Place: Comparing ‘The Tempest’ and ‘The Winter’s Tale’
• The Role of the Calibans in the Tempest by William Shakespeare
• The Tempest: Natural Disasters, Early Shocks and Children’s Short- and Long-Run Development
• The Utopian Solution In The Tempest
• The Portrayal of Duality Between Nature and Society in The Tempest
• The Depiction of Nature and Man’s Relationship with Nature in The Tempest by William Shakespeare
• Water Symbolism in The Tempest by William Shakespeare
• The Theme of Usurpation In The Tempest By William Shakespeare
• Utopian Society in Shakespeare’s The Tempest
• The Feminist Critical Approach to Shakespeare’s The Tempest
• William Shakespeare’s The Tempest and Relationships Between Master and Slave
• The Relationship Between Master and Slave in The Tempest by William Shakespeare
• The Use of Music’s Power in William Shakespeare’s Play The Tempest
• The Series of Treacheries and Rebellions in the play The Tempest
• The Effect of the Changed Gender of Prospero in the Movie Adaptation of William Shakespeare’s The Tempest
• The Development and Transformation of Prospero in The Tempest, a Play by William Shakespeare
• The Similarities in Bradford’s of Plymouth Plantation and Shakespeare’s The Tempest
• The Culture of The And The Tempest By William Shakespeare
• The Tension Between Humanity and Nature in the Tempest and the Explorers
• The Dream of a Better World and the Three-Fold Theme of Rebirth-Renewal-Redemption in William Shakespeare’s “The Tempest”
• The Role and Contributions of Prospero to The Tempest

The Tempest Essay Questions

• How Does Prospero Change Throughout “The Tempest”?
• Why Did His Brother Condemn Prospero to Death in “The Tempest”?
• How Is Caliban Presented in “The Tempest”?
• How Does Shakespeare Establish the Situation at the Start of “The Tempest”?
• Why Did Prospero Decide to Give Up Magical Powers in “The Tempest”?
• How Does Shakespeare Present Control and Power in Act Two Scene One of “The Tempest”?
• Isn’t Caliban an Ironic Reflection of Prospero in “The Tempest”?
• How Vital Are Audio Impressions and Noises in “The Tempest”?
• How Does Shakespeare Present Parent-Child Relationships in “The Tempest”?
• What Is the Reason for Prospero’s Expulsion in “The Tempest”?
• How Does Shakespeare Present the Character of Prospero in “The Tempest”?
• How Does the Composer Create Meaning in “The Tempest”?
• What Do You Consider to Be Engaging About the Way Shakespeare Represents Prospero?
• How Does the Relationship Between Prospero and Ariel Change During “The Tempest”?
• What Is Miranda’s Function in the Play “The Tempest”?
• How Effectively Does Shakespeare Present Caliban in “The Tempest”?
• What Do You Find Interesting About the Way Magic Is Used to Manipulate and Intimidate Characters in “The Tempest”?
• How Do Loyalty and Betrayal Affect “The Tempest”?
• What Is the Role of Comic Scenes in the Play’s Plot?
• How Does Prospero Use Magic in Shakespeare’s “The Tempest”?
• How Did Shakespeare Capture the Audience’s Attention in Act One Scene One of “The Tempest”?
• How Does “The Tempest” Reflect the Religious, Political, and Social Environment of the Jacobean Period?
• What Roles Does Prospero Take On, and What Is Their Significance?
• How Does Shakespeare Use the Masque Genre in “The Tempest”?
• How Did Shakespeare Portray the Character of Caliban in “The Tempest”?
• How Does “The Tempest” Show the Human Condition?
• How Does Prospero’s Magic Differ From That of the Witch, Sycorax?
• How Does Shakespeare Present the Idea of Forgiveness at the End of “The Tempest”?
• How Far Do You Agree That “The Tempest” Is a Play About the Use and Abuse of Power?

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Sample Essay

Here is an example of a complete essay written on the subject of The Tempest.

‘ The Tempest has been seen amongst other things as a statement by Shakespeare about the end of his writing life, as an allegory about the effects of colonialism and as an illustration of the difficulty or real communication. The variety of interpretations of The Tempest show that texts are capable of being explored in different ways.’

Explore The Tempest and your other play in the light of the idea that texts are capable of a ‘variety of interpretations’.

Texts are most certainly capable of being interpreted in different ways, and these interpretations will vary from person to person and in fact, throughout time. For instance, Shakespeare’s contemporary audience would have interpreted ‘The Tempest’ differently than a modern day audience, as morals and ideals have changed dramatically. Similarly, due to the ambiguous nature of Friel’s play ‘Translations,’ this could also be viewed in many different ways and each audience member may apply their own experiences to the situations in the play.

Some people have interpreted the plays ‘The Tempest’ by William Shakespeare and ‘Translations’ by Brian Friel as a means of reflecting the writers’ own views and beliefs. For instance, many critics believe that ‘The Tempest’ was one of the last plays to be written by Shakespeare, and so it has been suggested that the play is a statement by him about the end of his writing life.

Firstly, this may be due to the fact that Prospero seems to be an allegorical figure for Shakespeare himself, particularly through his control over the characters and events in the play, much like a playwright. For example, it was Prospero that ordered Ariel to create the tempest that shipwrecks the characters on the island, and it was Prospero that brought Ferdinand and Miranda together. He also seems to have an element of control over all of the characters in the play in one way or another, whether it be directly or through Ariel. In fact, it could be argued that Prospero controls the characters in the play like pieces on a chess board, which is significant, as Ferdinand and Miranda are ‘playing at chess’ in Act 5, Scene 1. Therefore, whatever is said by Prospero could be interpreted as being what Shakespeare wants to say to the audience.

This includes a speech concerning Prospero’s magic, which could refer to Shakespeare’s writing. During this speech, Prospero states how ‘the great globe itself…shall dissolve’ and that, ‘We are such stuff as dreams are made on.’ The reference to the ’globe’ could be alluding to Shakespeare’s theatre, which he knows will fade and eventually vanish. At the time the play was performed in 1611, Shakespeare would have been about 45 years old. Although this does not seem old today, it was considered fairly old in the Jacobean period, and Shakespeare faced competition from younger playwrights. There is evidence in the play to suggest that Shakespeare realised this, which includes Prospero stating, ‘my old brain is troubled’ and how he wishes ‘To still [his] beating mind.’ Therefore, these suggest that Shakespeare is tired of writing and feels it has become ‘insubstantial,’ like the ‘actors’ and ‘baseless fabric’ of a play. Later on in the play, Prospero even states, ‘I’ll break my staff’ and ‘I’ll drown my book,’ which suggests that like Prospero is giving up his magic, Shakespeare is giving up his writing.

In ‘Translations,’ it is unclear which character best represents Friel’s views, as their attitudes vary, which allows the audience to interpret the play in different ways. Some may argue that Friel has included such characters as the Donnelly twins and Doalty to show that violence is the best way to fight against colonisation. For instance, Doalty states: ‘I’ve damned little to defend but he’ll not put me out without a fight. And there’ll be others who think the same as me.’ Some people may see this as heroic and patriotic, and the only way these characters can respond to the English. On the other hand, it could be argued that Friel in fact shows violence to be a negative way to respond, as it simply leads to more and more violence, such as the actions of Lancey in the play and by the IRA today.

It has however been suggested that the character of Hugh reflects Friel’s view most efficiently, as he is a realist character that acknowledges the fact he should hold onto his culture, but also accepts the fact that he must change with the environment around him in order to survive. For instance, although Hugh constantly dismisses the English language and culture, stating how it is used ‘usually for the purposes of commerce’ and it is a language that ‘couldn’t really express’ them, he does attempt to prepare for the future by accepting the job at the new English speaking National School, and acknowledges the fact that ‘a civilisation can be imprisoned in a linguistic contour which no longer matches the landscape of…fact,’ if they are unwilling to move forward.

Another interpretation of these plays can be that they are allegories about the effects of colonialism. Colonisation is a contextual issue for ‘The Tempest,’ as many people were travelling to America, or ‘The New World’ at the time the play was performed. In fact, Sir Walter Raleigh’s expedition was financed by King James I, and many of the English thought they had a natural right to colonise other countries and their populations.

‘The Tempest’ supports this view, and the character of Caliban indicates how other civilisations were viewed as savages who accepted the fact they were to become slaves to the English colonisers. For example, Caliban is often portrayed as being less than human, and is associated with animalistic imagery, such as, ‘tortoise,’ ‘a fish,’ ‘mooncalf’ and even a ‘monster.’ He is also portrayed as being a ‘natural servant,’ as he does not wish to be free of a ‘master’ in the play, but instead wishes for a better one, and even says to Stephano, ’Let me lick thy shoe.’

Prospero is shown to control Caliban through threats of physical pain and suffering, such as,

          ‘If thou neglect’st, or dost unwillingly

          What I command, I’ll rack thee with old cramps.’

Prospero also controls Ariel, though it is done in a less violent way than that used to control Caliban. Instead, Prospero promises Ariel his freedom in return for his services, such as when he states,

         ‘Do so, and after two days

          I will discharge thee.’  

In ‘Translations’, the English treat the Irish in a similar way, and threaten them in order to get them to do what they want. For instance, Lancey states that if George is not found, he will ‘shoot all livestock in Bally Beg,’ ‘embark on a series of evictions and levelling of every abode’ ’until a complete clearance is made of’ their parish.

Although Caliban does what Prospero asks, there is evidence in the play to suggest that Shakespeare was influenced by a contemporary essay called ’On Cannibals’ by Montaigne. This discussed the writer’s views on apparent ‘savages’ in countries not yet colonised. He felt that there was ‘nothing barbarous or savage’ about then, which may be shown by the eloquent language spoken by Caliban. This includes the poetic language spoken in Act 3, Scene 2, where Caliban states,

          ‘the isle is full of noises,

          Sounds, and sweet airs…

          Sometimes a thousand twangling instruments.’

In fact, the language spoken by Caliban is often more eloquent than that spoken by the ‘civilised’ characters and contrasts to the prose spoken by Stephano and Trinculo. It also shows how Caliban is more concerned with natural beauty than possessions and power, stating, ‘it is but trash’ about Prospero’s cloak.

The colonising characters in both ’The Tempest’ and ‘Translations’ think that their actions are best for those they are forcing their language and culture onto. For instance, in ’The Tempest,’ Prospero and Miranda think that Caliban has benefited from use of their language, which is shown when Miranda states,

          ‘Took pains to make thee speak, taught thee each hour

          One thing or another. When thou…

          …wouldst gabble like

          A thing most brutish.’

Similarly, in ’Translations,’ the English think that ‘Ireland is privileged’ to have them come and take over, and they also think that they have the right to order the local people about, shown through the threats Lancey makes to them.

A quote from a Roman general, which is included in the play, sums up the attitude of the English and many other colonisers: ‘It’s easier to stamp out learning than to recall it,’ basically means that it is easier for the English to make the Irish learn their language than to take the time to learn the Irish language and way of life, which is evident throughout the play.

Manus in ‘Translations’ can be compared to the character Caliban in ‘The Tempest,’ as both reject the language of the coloniser. For example, in ’The Tempest,’ Caliban states,

          ‘You taught me your language, and my profit on’t

          Is, I know how to curse. The red plague rid you

          For learning me your language!’

Similarly, in Translations, Manus refuses to speak English ’for the benefit of the colonist,’ even though Yolland is a nice person.

Also, both characters are treated like slaves, Caliban by Prospero and Stephano, and Manus by his father, Hugh. This is shown by the way that Hugh speaks to Manus, ‘as if to a footman,’ ordering him to make his tea and fetch ‘a slice of soda bread.’ Both Manus and Caliban receive no signs of appreciation for their work.

Owen and Caliban could even be compared to one another, as their situations with the colonisers are similar. They both complied with the colonisers at first, but later regretted this when they realised that the colonisers were taking over unfairly.

Caliban states how,

          ‘When thou cam’st first

          Thou strok’st me, and made much of me,’

          ‘And then I loved thee,

          And showed thee all the qualities o’th’isle,’ but he regrets this, stating, ‘Cursed be I that did so!’

As well as this, Owen in ‘Translations’ worked for the English, and felt that they were only ‘taking place-names that were riddled with confusion’ and ‘standardising those names,’ not realising that names have culture and history attached to them. Towards the end however, Owen does realise that it was ‘a mistake,’ and appreciates the implications of changing the names, such as the violence it has caused amongst his family and friends.

The two plays have also been interpreted as illustrations of the difficulty of real communication, which is particularly evident in the play ‘Translations.’

In fact, Act 2 Scene 2 is very effective in showing the differences between Maire and Yolland, as Friel has juxtaposed their cultures in order to highlight the difficulty they experience in communicating with each other. This speech shows how not only do they speak different languages, but the two also want different things. For instance, the way they express their love for one another varies. Whereas Maire speaks of the physical aspects she finds attractive, Yolland is more passionate. Also, a huge conflict of interests is revealed when Yolland states how he is ‘not going to leave here,’ and Maire states, ‘Take me away with you George.’ This could therefore be suggesting that the English and the Irish could never communicate properly as they come from different cultures and want different things.

On the other hand, this scene could imply that it is not important for the lovers to understand one another, but that the language barrier can be overcome if they work together to find a common means of communication. It may even suggest that the two need not communicate fully to enjoy their company, which is shown by the way they both state, ‘I love the sound of your speech,’ and by the way they are brought together at the end by stating the Irish place names.

Lancey in ‘Translations’ is another character that effectively shows the difficulty of communication between the English and Irish. An example of this is when Lancey attempts to tell the local people of Baile Beag what his plans are for the town, though he must use Owen to translate so they can understand what he is saying. However, he ‘speaks as if he was addressing children,’ and thinks Jimmy is speaking Gaelic when he is in fact speaking Latin. This shows how the English are ignorant of the Irish language and culture, which makes it impossible to communicate effectively.

Manus is a character that shows difficulty in communication between both English and Irish characters. As he is unwilling to speak English ‘for the benefit of the colonist,’ he cannot speak to them properly, such as when he shouted at Yolland and later realised it was ‘The wrong gesture in the wrong language,’ as Yolland did not even understand what he was saying.

Manus is clinging to his language and culture so much that he fails to recognise Maire’s ambition to move forward. He therefore does not listen to her needs, such as her need for a man to support her, which is why she asked, ‘Did you apply for that job in the new national school?’ This results in Maire becoming frustrated at Manus and ultimately falling for Yolland.

Hugh and Manus also have no form of real communication, as Hugh talks to Manus ‘as if to a footman,’ and sees him more as his servant than his son.

Jimmy is so engrossed in his books that he cannot communicate effectively with any other characters, which leads to him being ridiculed and alienated. For example, as Jimmy is not living in reality, he gives advice on agriculture from Virgil, a poem thousands of years old, stating, ‘Black soil for corn. That’s what you should have in that upper field of yours - corn, not spuds.’ He therefore, gets replies such as, ‘Agh, g’way back home to Greece, son’ and ‘would you take a run at yourself Jimmy Jack Cassie!’

Similarly, in ‘The Tempest,’ Prospero was also engrossed in study of magic, which meant that he failed to detect his brother’s ambition and plotting to usurp him of his position as Duke of Milan. Prospero admits,

          ‘The government I cast upon my brother,

          And to my state grew stranger, being transported

          And rapt in secret studies.’

This led to Prospero and Miranda being cast out to sea in the hope that they would die there, which shows how a lack of communication can lead to violence.

The most obvious characters however that seem to have difficulty in communicating are Prospero and Miranda. For example, in Act 1, Scene 2, we see that Prospero is only telling Miranda the reason why she is on the island after 12 years of living there. He states,

          ‘’Tis time

          I should inform thee father,’

Which makes us wonder why he did not tell her earlier, or why she failed to ask before. He also seems to hide a lot of other things from Miranda, such as the reason he caused the storm. Instead, he tells her there is, ‘No harm’ and states ‘I have done nothing but in care of thee,’ which is unconvincing, as we know that it was actually for his own means entirely. He also does not allow Miranda to see Ariel, but puts her to sleep before calling him.

Throughout this scene, Prospero constantly asks Miranda, ‘Dost thou attend me?’ and ‘Dost thou hear?’ which suggests that it is Prospero always talking and Miranda listening, which is not an effective way to communicate.

Also, the relationship between Miranda and Ferdinand is manufactured by Prospero as a way to aid his own plans, which may cause problems.

The two seem to fall in love at first sight. This could be due to the fact that Ferdinand may think he is marooned on the island with no chance of leaving, and falls for Miranda because he thinks she is a ‘goddess.’ It may also be due to the fact that Ferdinand is the first man outside of the island that Miranda has ever seen, and so she is likely to be fascinated by him.

Miranda also fails to make any connection between her father’s story of betrayal and Ferdinand’s promise,

          ‘I’ll make you

          The Queen of Naples,’ which shows a lack of communication.

Caliban cannot communicate the frustration he feels towards Prospero effectively, which leads to him seeking to ‘violate…the honour’ of Miranda, or in other words, trying to rape her. This again shows how a breakdown of communication can lead to violence.

In conclusion, it has become clear that both ‘The Tempest’ by William Shakespeare and ‘Translations’ by Brian Friel are capable of a variety of interpretations and contain a number of ideas. These ideas can be explored in a range of ways, which results from the ambiguity of each play. The interpretations will also vary from person to person and the significance of these interpretations may depend on contextual issues of the reader.

Tempest Essay Questions

By julie cross, essay questions.

These notes were contributed by members of the GradeSaver community. We are thankful for their contributions and encourage you to make your own.

Written by Timothy Sexton

What is the Tempus gene?

Short answer: the whole reason the story exists. Long answer: the Tempus gene is the in-universe explanation for how time traveling is possible. Time travel is plot device that like the power of invisibility absolutely seems for some reason to require an elaborate explanation instead of expecting the reader or audience to just be cool and go along with it. In this particular case, time travel is possible for the small percentage of the population born with the Tempus gene. This recessive gene mutation has actually been known to exist for centuries, but it is impossible to determine just prevalent because most take great pains to keep it a secret. For obvious reason and well as not so obvious ones.

What is the most disquieting not-so-obvious reason to keep having the Tempus gene a secret in this story?

In addition to being a science fiction story with the focus on time travel, the novel also dips its toes into the genre of spy story. The protagonist is forced to amp up any natural suspicions of the CIA with a secret time police unit of sorts sporting the really unfortunately cheesy name Enemies of Time. So, in addition to all the obvious reasons one might want to keep their ability to travel through time a secret, those with the Tempus gene must also be on guard against agents of their own government making things really quite uncomfortable.

In addition to being part science fiction and part spy novel, what other literary genre gets mashed up into the mix in a major way?

Although the major characters are all graduated from high school, they are only just barely out of it. Despite occasionally being written as if they were more mature, the younger characters here are definitely intended to be the kind that younger readers find relatable. And there is a tragic romance at the center of the story. (That’s not a spoiler because it is actually a marketing ploy.) The result of this teen-ish romance being the driving force of the plot has it reading very much like novel that would be found in the Young Adult Romance section even before the science fiction and well before the espionage section in a bookstore.

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Tempest Questions and Answers

The Question and Answer section for Tempest is a great resource to ask questions, find answers, and discuss the novel.

Study Guide for Tempest

Tempest study guide contains a biography of Julie Cross, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Tempest
• Tempest Summary
• Character List

101 The Tempest Essay Topic Ideas & Examples

🏆 best the tempest topic ideas & essay examples, 📌 most interesting the tempest topics to write about, 👍 good research topics about the tempest, ❓ the tempest essay questions.

• Ronald Takaki’s “The Tempest in the Wilderness” Using The Tempest and other plays by Shakespeare, Ronald Takaki tried to show the examples of the attitude of the citizens of New England to Indians. One of the main reasons for Indians to be […]
• The Tempest and the Rape of the Rock On the other hand, the poem the rape of the lock by Alexander Pope ridicules the habits of the upper-class people. We will write a custom essay specifically for you by our professional experts 808 writers online Learn More
• Claiming Caliban: “The Tempest” by William Shakespeare The character of Caliban is an opposition to that of Ariel, the other servant of prospero, in that Caliban is a human figure while Ariel is a spirit.
• Comparison of Shakespeare The Tempest, T.S. Eliot The Wasteland, and Chinua Achebe Things Fall Apart Magic In the opening of the play Prospero is the one who, had conjured the storm in a desire to entice his, brother Antonio and the king of Naples, Alonso.
• Narrative Techniques Used in Shakespeare’s The Tempest A density of narrative elements used in the play creates dynamics between the character and the plot, motif and problem by including techniques implied by the sources.
• William Shakespeare: Father-Daughter Relationship in “The Tempest” One of the main conditions according to which a daughter is going to be protected in the future is the strong assuredness that a daughter is in good and loving hands, protected like under the […]
• Perception of Satire in Gulliver’s Travels, The Tempest, and Diderot’s One of the most effective methods to ensure the satirical sounding of a particular episode in the work of literature, is to overplay the idea that people are actually quite capable of not even noticing […]
• Post-Colonial Theory in “The Epic of Gilgamesh” and “The Tempest” In “The Epic of Gilgamesh”, the main character is shown to be sure of his own strength and righteousness of feelings and thoughts.
• “The Epic of Gilgamesh” and “The Tempest” Analysis The Epic of Gilgamesh and The Tempest are two masterpieces, which reflect the life of people who lived in the times when the works were created.
• The Theme of Servitude in “The Tempest” In addition, Ferdinand is used to show the theme of ‘service to duty’. In this case, it is clear that the reference to Caliban is used to show the different forms of servitude.
• W. Shakespeare’s “The Tempest” and Its Main Characters For instance, he instructs Aerial to fly around the boat in which Antonio, Alonso and their acquaintances are, to cause a storm and consequent shipwreck, but finally manages to save all the occupants of the […]
• The Tempest: Characters, Theme, and Personal Opinion Shakespeare’s play The Tempest is a story of the magical loss and restoration of the man’s power, wherein actions develop in the unchronological order, simultaneously showing past and present events.
• “The Tempest” by William Shakespeare There is no doubt in the audience’s mind that all the tricks that Antonio thinks of are his own and he only expects to have all the riches to himself.
• The Means in Shakespeare’s “The Tempest” However, in Ferdinand’s case, the emotional pain was the result of a misunderstanding after the ship wrecked, Ferdinand came to the assumption that he was the only survival completely on his own.
• “The Tempest” by William Shakespeare Literature Analysis This is one of the main arguments that can be put forward. In particular, Ferdinand discovers that he can be committed to the needs of another person.
• The Tempest and Wonder by Anthony Esolen Literature Analysis In this talk, Professor Esolen discusses the importance of wonder as one of the main themes in Shakespeare’s play The Tempest.
• Shakespeare’s “The Tempest” Play Scene by Scene The scene opens with the frantic efforts of the master and the boatswain to save the ship and the people therein.
• Shakespeare’s “The Tempest” by Blackfriars Playhouse By mimicking the style of performance that scholars and historians have established to have existed at the end of the 16th century in England, the staging brings forward certain originality.
• Themes in “The Tempest” Play by W. Shakespeare The primary themes of The Tempest discussed in this paper are power dynamics, colonialism, and the concept of illusion and reality.
• Analysis of “The Tempest” Picture by Giorgione The painting’s texture and medium are also relevant to the timeframe of its production, as the vast majority of the paintings were made on canvas with the help of oil paint, creating a somehow simulated […]
• The Tempest: Ferdinand’s Self-Discovery For instance, Ferdinand promises to make Miranda “the queen of Naples” and it does not even occur to him that he may not be able to fulfill his promise.
• Medieval and Classical Traditions in Shakespeare’s “The Tempest” In an introduction to The Tempest, Virginia Vaughan, and Alden Vaughan explore the theme of semantic similarity between Shakespeare and Virgil’s plays even to a further extent: “Shakespeare’s play is an imitation of the main […]
• The Tempest by William Shakespeare: Symbol of Isolation In The Tempest, the sea is presented as a strict and impartial element: “When the sea is. In The Tempest, an island is a place of isolation for several people: great magician Prospero and his […]
• Language Analysis of The Tempest by William Shakespeare Context: The boatswain of the ship carrying the Italian dignitaries is wrestling with the storm that threatens to destroy the entire ship and all its crew.
• William Shakespeare’s Play “The Tempest” Considering that this character is not a person but a spirit, one should consider character traits and external features in revealing the character in the staged play.
• Balinese Interpretation of Shakespeare’s “The Tempest” The Balinese performance was more impressive than the Utah Valley University play because Shakespeare would have chosen the far more delicate quality of this performance to emphasize his ideas on the colonialism theme in “The […]
• Play Analysis: The Postcolonial Interpretation of “The Tempest” This particular reading of the play implies that Shakespeare was deliberately expressing a view of colonialism in the New World in the guise of Prospero the magician, usurping Caliban, the slave.
• A Literary Analysis of “A Modest Proposal” and “The Tempest” For example, the mother in the family in the 2019 remake is presented as a kind woman without any sins, with her daughters claiming that she is never angry and her partly corroborating this statement, […]
• Use of Noise and Music in ”The Tempest” by William Shakespeare
• The Two Different Extremes on the Social Spectrum in ”The Tempest”
• Transformation by Theatre In Shakespeare’s “The Tempest”
• The Primitive and the Civilized in Shakespeare’s “The Tempest”
• The Thematic Role of Mise-en-Scene in Adaptations of “The Tempest”
• The Story of Joseph in Shakespeare’s “The Tempest” vs. the Spirit of Revenge in Montaigne’s “Of Cannibals”
• The Theme of Power in the Opening Two Scenes of “The Tempest” by William Shakespeare
• The Dramatic Uses of Intoxication in Shakespeare’s play “The Tempest”
• The Significance of Sound and Music in “The Tempest”
• William Shakespeare’s “The Tempest”: An Allegorical Tale of Life in the Theater
• Vengeance and Forgiveness in Shakespeare’s “The Tempest”
• The Concept of Humanism in Giovanni Boccaccio’s “Decameron” and William Shakespeare’s “The Tempest”
• The Moral Lessons in Euripides’ “Electra” and William Shakespeare’s “The Tempest”
• The Themes of Manipulation, Power, and Playing God in the Tragical History of “Dr. Faustus” by Christopher Marlowe and William Shakespeare’s “The Tempest”
• William Shakespeare’s Show of the Development of Prospero’s Character in “The Tempest”
• The Use of Contrasts in Act One of “The Tempest” by William Shakespeare
• Unholy Mothers: Mothers as Negative Characters in “Richard III,” “Cymbeline,” “Hamlet,” “Macbeth,” and “The Tempest”
• The Role of Language in Shakespeare’s Play “The Tempest”
• The Power of Magic Through Characters in Both “The Tempest” by William Shakespeare and “The Franklin’s Tale” by Geofferey Chaucer
• The Presentation of Learning and Education in “The Tempest” and ‘Translations”
• Colonialism and Slavery in “The Tempest” by William Shakespeare
• The Contrasting Characters of Ferdinand and Caliban in “The Tempest” by William Shakespeare
• The Significance of Time and Place: Comparing “The Tempest” and “The Winter’s Tale”
• The Role of the Calibans in “The Tempest” by William Shakespeare
• “The Tempest”: Natural Disasters, Early Shocks, and Children’s Short- and Long-Run Development
• The Utopian Solution in “The Tempest”
• The Portrayal of Duality Between Nature and Society in “The Tempest”
• Discussion of the Historical Context of “The Tempest” With the Focus on Colonization
• Water Symbolism in “The Tempest” by William Shakespeare
• The Theme of Usurpation in “The Tempest” by William Shakespeare
• Utopian Society in Shakespeare’s “The Tempest”
• The Feminist Critical Approach to Shakespeare’s “The Tempest”
• William Shakespeare’s “The Tempest” and Relationships Between Master and Slave
• Non-Human Beings in “The Tempest” by William Shakespeare
• The Use of Music’s Power in William Shakespeare’s Play “The Tempest”
• The Series of Treacheries and Rebellions in “The Tempest”
• The Effect of the Changed Gender of Prospero in the Movie Adaptation of William Shakespeare’s “The Tempest”
• The Development and Transformation of Prospero in “The Tempest” by William Shakespeare
• The Similarities in Bradford’s “Of Plymouth Plantation” and Shakespeare’s “The Tempest”
• The Analysis of Shakespeare’s Messages Hidden Behind the Central Themes in “The Tempest
• The Tension Between Humanity and Nature in “The Tempest”
• The Dream of a Better World and the Three-Fold Theme of Rebirth-Renewal-Redemption in William Shakespeare’s “The Tempest”
• The Role and Contributions of Prospero to “The Tempest”
• How Does Prospero Change Throughout “The Tempest”?
• Why Did His Brother Condemn Prospero to Death in “The Tempest”?
• How Is Caliban Presented in “The Tempest”?
• How Does Shakespeare Establish the Situation at the Start of “The Tempest”?
• Why Did Prospero Decide to Give Up Magical Powers in “The Tempest”?
• How Does Shakespeare Present Control and Power in Act Two Scene One of “The Tempest”?
• Isn’t Caliban an Ironic Reflection of Prospero in “The Tempest”?
• How Vital Are Audio Impressions and Noises in “The Tempest”?
• How Does Shakespeare Present Parent-Child Relationships in “The Tempest”?
• What Is the Reason for Prospero’s Expulsion in “The Tempest”?
• How Does Shakespeare Present the Character of Prospero in “The Tempest”?
• Why Does Ariel, Possessing Powerful Spells, Carry Out Prospero’s Instructions in “The Tempest”?
• How Does the Composer Create Meaning in “The Tempest”?
• What Do You Consider to Be Engaging About the Way Shakespeare Represents Prospero in “The Tempest”?
• How Does the Relationship Between Prospero and Ariel Change During “The Tempest”?
• What Is Miranda’s Function in the Play “The Tempest”?
• How Effectively Does Shakespeare Present Caliban in “The Tempest”?
• What Do You Find Interesting About the Way Magic Is Used to Manipulate and Intimidate Characters in “The Tempest”?
• How Do Loyalty and Betrayal Affect “The Tempest”?
• What Is the Role of Comic Scenes in the Play’s Plot of “The Tempest”?
• How Does Prospero Use Magic in Shakespeare’s “The Tempest”?
• How Did Shakespeare Capture the Audience’s Attention in Act One Scene One of “The Tempest”?
• How Does “The Tempest” Reflect the Religious, Political, and Social Environment of the Jacobean Period?
• What Roles Does Prospero Take on in “The Tempest”?
• How Does Shakespeare Use the Masque Genre in “The Tempest”?
• How Did Shakespeare Portray the Character of Caliban in “The Tempest”?
• How Does “The Tempest” Show the Human Condition?
• How Does Prospero’s Magic Differ From That of the Witch Sycorax in “The Tempest”?
• How Does Shakespeare Present the Idea of Forgiveness at the End of “The Tempest”?
• How Far Do You Agree That “The Tempest” Is a Play About the Use and Abuse of Power?
• Chicago (A-D)
• Chicago (N-B)

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Home — Essay Samples — Literature — Writers — The Tempest

Essays on The Tempest

The Tempest is a timeless play by William Shakespeare that offers a myriad of themes, characters, and plot points to explore. Choosing the right essay topic is crucial to producing a compelling and insightful piece of writing. In this guide, we will discuss the importance of selecting the right topic, offer advice on how to choose one, and provide a detailed list of recommended essay topics.

The Importance of Choosing the Right Topic

Choosing the right topic is crucial when writing an essay about The Tempest. The play is rich in symbolism, themes, and complex characters, offering a wide range of potential topics to explore. A well-chosen topic can make the writing process more enjoyable and help you produce a more engaging and insightful essay.

When selecting a topic for your essay on The Tempest, consider your interests, the themes you find most compelling, and the aspects of the play you want to explore in-depth. It's also important to consider the requirements of the assignment and the audience for your essay. Aim to choose a topic that allows you to demonstrate your understanding of the play and offers ample opportunities for analysis and interpretation.

30+ The Tempest Essay Topics for Your Academic Writing

Are you looking for an interesting and unique topic for your essay on The Tempest? Look no further! We have compiled a list of over 30 essay topics that cover a wide range of themes and elements from this classic play by William Shakespeare.

Themes and Motifs

• The use of magic and supernatural elements in The Tempest
• The theme of power and control in the play
• Colonialism and imperialism in The Tempest
• The concept of freedom and servitude in the play
• The role of forgiveness and reconciliation in the play
• Familial relationships and the theme of forgiveness
• Nature versus nurture in the character of Caliban
• The theme of colonization and imperialism

Characters Analysis

• An analysis of Prospero's character and his role as a father and a ruler
• The portrayal of Ariel as a symbol of freedom and captivity
• Caliban as a representation of the oppressed and the other
• The role of Miranda in the play and her relationships with other characters
• Exploring the character development of Ferdinand throughout the play
• The role of Caliban as a symbol of colonialism
• The portrayal of power and authority through the character of Alonso

Symbolism and Imagery

• An exploration of the significance of the tempest in the play
• The use of music and sound as a symbol in The Tempest
• The significance of the island as a setting in the play
• The portrayal of the masque as a reflection of the play's themes
• An analysis of the use of clothing and disguise in the play
• The use of symbolism in The Tempest
• The significance of the storm in the opening scene
• Shakespeare's use of language and imagery in the play
• The role of music and sound in The Tempest
• The use of comedy and humor in the play

Plot and Structure

• An examination of the role of the storm in the opening scene
• The use of the supernatural elements to drive the plot forward
• An analysis of the resolution and the restoration of order in the play
• The role of the subplot involving Stephano, Trinculo, and Caliban
• An exploration of the play's use of comedy and tragedy

Comparative Essays

• Comparing The Tempest with other Shakespearean plays
• The Tempest and the theme of revenge in other literary works
• Comparing the portrayal of magic in The Tempest and other works of literature
• The Tempest and its relation to the genre of tragicomedy

With these diverse and thought-provoking essay topics, you are sure to find the perfect inspiration for your academic writing on The Tempest. Whether you're interested in analyzing the play's themes, characters, symbolism, or plot, there are numerous avenues for exploration within the text. By choosing a topic that resonates with you and allows for in-depth analysis, you can produce a compelling and insightful essay that showcases your understanding of Shakespeare's timeless play. Happy writing!

Shakespearean Principles in The Tempest: Information, Integrity, and Compassion

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Analysis of How Caliban is Presented in The Tempest

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Analysis of Prospero Portrayed as a Victim in The Tempest

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The Ulterior Theme in The Character of Miranda from The Tempest

Analysis of prospero's behavior in the tempest, daughters: the principal driving force in the tempest, the power over "the other": isolation and injustice in literature, elemental powers in shakespeare’s the tempest, shakespeare’s criticism of colonialism in acts 1 and 2 of the tempest, analysis of prospero and ariel relationship in the tempest, "creator" and "creature" monsters in the tempest and frankenstein, the obsessive creativity of prospero in the tempest, the refinement of caliban in the tempest, comic elements in our country's good and the tempest, the combination of love and witchcraft in the tempest, the story of joseph in shakespeare’s the tempest vs. the spirit of revenge in montaigne’s cannibals, significance of the menacing force of the sea in the tempest, the use of stories as a literary device in the tempest and othello, a cinematic perspective of the relationship between art and nature in the tempest, another version of prosperity: undermining the authority of prospero, the influence of caliban and ariel on prospero, the shakespearean dystopia of aldous huxley, power in doctor faustus and the tempest.

November 1, 1611

• William Shakespeare

Shakespearean Comedy, Tragicomedy

Prospero, Miranda, Ariel, Caliban, Alonso, Sebastian, Antonio, Ferdinand, Gonzalo, Adrian, Francisco, Trinculo, Stephano, Juno, Ceres, Iris, Master, Mariners, Boatswain, Nymphs, Reapers

c.1611 by William Shakespeare

Shakespeare’s tragicomedy is about a major act of betrayal, ill treatment, the development of magic arts and a plot of revenge.

Prospero, Miranda, Ariel, Caliban, Alonso, Sebastian, Antonio, Ferdinand, Gonzalo, Adrian, Francisco, Trinculo, Stephano, Juno, Ceres

The play is set on a remote island and Prospero's home is near the shore. The island is inhabited by spirits, lead by Ariel, who have magical powers.

Prospero uses magic to conjure a storm and torment the survivors of a shipwreck, including the King of Naples and Prospero’s treacherous brother, Antonio. The King’s young son Ferdinand, thought to be dead, falls in love with Prospero’s daughter Miranda. Their celebrations are cut short when Prospero confronts his brother and reveals his identity as the usurped Duke of Milan. The families are reunited and all conflict is resolved. Prospero grants Ariel his freedom and prepares to leave the island.

“Hell is empty and all the devils are here.” “We are such stuff as dreams are made on, and our little life is rounded with a sleep.” “What's past is prologue.”

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100 The Tempest Essay Topics

🏆 best essay topics on the tempest, 🎓 interesting the tempest essay topics, 📌 easy the tempest essay topics, 💡 simple the tempest essay ideas, ❓ the tempest research questions.

• Gender Roles in The Tempest
• “The Tempest” by William Shakespeare
• The Tempest: Prospero’s Character Analysis
• Utopia in “The Tempest” by Shakespeare
• Ferdinand and Miranda in Shakespeare’s “The Tempest” in Terms of Postcolonial Theory
• Shakespeare’s The Tempest and Image Exploration
• The Epic of Gilgamesh and The Tempest: Being “Civilized” or “Uncivilized”
• Shakespeare’s “The Tempest” by Savage Rose Theatre The present research will review the play named The Tempest, which was performed by the Savage Rose Theatre in 2014.
• The Tempest Play at Savage Rose Classical Theater The purpose of this paper is to reflect on the performance of Savage Rose classical theater company regarding the use of the staging and the overall performance of the actors.
• The Tempest by William Shakespeare: Viewing and Reflection St. Louis Shakespeare’s production of Shakespeare’s The Tempest was staged in 2010 and performed at the Grandel Theatre in St. Louis, Missouri.
• The Tempest by Shakespeare: A Play Review The Tempest, written by William Shakespeare, has numerous words that while making the poem sound sophisticated, are intricate to the readers.
• Shakespeare’s The Tempest Directed by Gregory Doran The Tempest is a remarkable play that united classics with modern technology to transform viewers’ experiences into something new.
• “The Tempest”: Viewing and Reflection The Tempest performed by the Savage Rose Theater Company is a classical period drama performance of the Shakespearean classic. It is a faithful adaptation of the text.
• “The Tempest” a Play by William Shakespeare In the Tempest, Shakespeare, portrays Caliban as an uncultured half- man, half beast, who is enslaved in his own land by a foreign intruder.
• Shakespeare’s The Tempest in the Savage Rose Theater For a comprehensive assessment of a theatrical performance, I have chosen the online play The Tempest created by William Shakespeare and revised by the Savage Rose Theater.
• Performances of W. Shakespeare’s The Tempest Play The play The Tempest by William Shakespeare is one of the author’s most iconic literary works. Due to insufficient information, it is assumed that it was written in 1610-1611.
• Prospero’s Rulership in “The Tempest” by William Shakespeare Shakespeare’s The Tempest is a non-historical drama that focuses mainly on an act of injustice. One analyzes Prospero’s brother’s takeover of the crown.
• ”The Tempest” Performance in St. Louis Review The performance shows that nowadays, in the age of movies and series, a thoroughly prepared live theatrical performance can be captivating and evoke strong emotions.
• Shakespeare’s “The Tempest” and Sandars’ “The Epics of Gigamesh” In this paper, the author will apply postcolonial theories to evaluate Caliban from “The Tempest” and Enkidu from the “Epic of Gilgamesh”.
• Shakespeare’s “The Tempest” – Viewing and Reflection Classical interpretation can convey the mood of the era of Shakespeare’s life, and one of such performances is the staging of the play “The Tempest” by Savage Rose Theater Company.
• Ahab from Moby Dick and Prospero from the Tempest The paper presents a panel discussion with two main participants, Ahab, a character from Moby Dick, and Prospero, from The Tempest.
• The Phaedrus and The Tempest: Compare & Contrast If we try to draw the parallels between these two works, we may say that both Shakespeare and Plato show that we often create illusion for ourselves.
• The Tempest and the Contemporary Arts The Tempest is one of the most famous plays of the final period of Shakespearean creative work. The problems that the author revealed in this play to be rather topical for the present day.
• “The Tempest” Play by St. Louis Shakespeare Theater This performance of The Tempest by St. Louis Shakespeare theater covered the text of the Shakespearean play, making it a full-length production.
• “The Tempest” Play at St. Louis Shakespeare Festival This paper aims to explain the viewing experience of the play “The Tempest” at the St. Louis Shakespeare Festival.
• Analysis of “The Tempest” Play During the St. Louis Shakespeare Festival The play “The Tempest” written in the very beginning of the seventeenth century influences the canons of dramatic arts and their role in the modern performing culture.
• “The Tempest” at Shakespeare Festival in St. Louis A version of The Tempest performed at the St. Louis Shakespeare Festival is a historical period drama performance of the popular Shakespearean classic.
• “The Tempest” Performance by Savage Rose Theater The performance The Tempest was running in the Savage Rose Theater. Although it is a modern theatre company, it adheres to classical drama and does not experiment.
• Shakespeare’s “The Tempest” at Savage Rose Theatre The Tempest staged by the Savage Rose Theatre Company represents a fresh look at the known performance and a proper combination of tragedy with comedic elements.
• “The Tempest” Performance by St. Louis Shakespeare St. Louis Shakespeare performed a version of The Tempest using a period drama approach to the adaptation of the popular play.
• Exotic Setting And Its Relevance In Shakespeare’s The Tempest
• The Ways Shakespeare Presents Ideas of Society in ‘The Tempest’
• The Tension Between Humanity and Nature in ‘The Tempest’
• The Battle for Political Power in ‘The Tempest’
• William Shakespeare’s ‘The Tempest’ and Relationships Between Master and Slave
• Feminism and the Treatment of Women in William Shakespeare’s ‘The Tempest’
• Demonic and Pure Women in Shakespeares ‘The Tempest’: Miranda Versus Sycorax Essays
• The Two Different Extremes on the Social Spectrum in ‘The Tempest’
• How Shakespere Portrayed the Charactor of Caliban in ‘The Tempest’
• Lost Illusions, Bitter Wisdom and Fragile Hope in ‘The Tempest’
• William Shakespeare’s ‘The Tempest’ as a Consideration of the Important Social Issues of Its Time
• The Relationship Between Servants and Masters in ‘The Tempest’
• European Colonialism and Imperialism in Shakespeare’s ‘The Tempest’
• Prospero Constructs ‘The Tempest’ Hierarchy and Returns Affairs to a Natural State
• The Conflict Between Passion and Intellect in ‘The Tempest’
• How Does the Relationship Between Prospero and Ariel Change During ‘The Tempest’
• The Relationship Between Miranda and Prospero in ‘The Tempest’
• Shakespeare’s “The Tempest”: Colonization and the Brave New World
• The Feminist Critical Approach to Shakespeare’s ‘The Tempest’
• The Duality Between Nature and Society in The Tempest by William Shakespeare
• How Does Shakespeare Establish the Situation at the Start of ‘The Tempest’
• The Relation Between Prospero and Ariel in Shakespeare’s ‘The Tempest’
• The Tempest – Comparison, and Contrast of Ferdinand and Caliban
• Distorting the Natural Laws of the World in Frankenstein by Mary Shelley and ‘The Tempest’ by William Shakespeare
• Temperature Art vs. Nature in Shakespeare’s ‘The Tempest’
• The Development and Transformation of Prospero in ‘The Tempest’, a Play by William Shakespeare
• Colonization and ‘The Tempest’ by William Shakespeare
• Common Themes and Characters in Shakespeare’s Comedy of Errors, Twelfth Night, and ‘The Tempest’
• Colonialism, Race, and Class in William Shakespeare’s ‘The Tempest’ and Patrick Chamoiseau’s Solibo Magnificent
• Caliban Inside and Out in Shakespeare’s ‘The Tempest’
• Shakespeare Review: The Tempest, Joseph Story, and Cannibalism
• Opposition Between Art and Reality in Shakespeare’s ‘The Tempest’
• Shakespeare Uses His Play ‘The Tempest’ to Depict a Microcosm of His Society
• Romance and Anti Romance in Shakespeare’s ‘The Tempest’
• Apparitions and the Supernatural in Shakespeare’s ‘The Tempest’
• Overview of the Many Roles of Prospero in Shakespeare ‘The Tempest’
• The Beneficial and Abusive Use of Power in Shakespeare’s Play ‘The Tempest’
• Human Relationships Between the Central Characters in William Shakespeare’s ‘The Tempest’
• Caliban’s Original Love for Prospero and Miranda in the Story ‘The Tempest’
• The Relationship Between Master and Slave in ‘The Tempest’ by William Shakespeare
• What Is the Story of Shakespeare’s ‘The Tempest’?
• What Is the Main Idea of ‘The Tempest’?
• Why Is Shakespeare’s Play Called ‘The Tempest’?
• Is ‘The Tempest’ a Comedy or Tragedy?
• How Does Shakespeare Present Control and Power in Act Two Scene One of ‘The Tempest’?
• What Happens at the End of ‘The Tempest’?
• What Are Three Themes in ‘The Tempest’?
• Why Is ‘The Tempest’ Relevant Today?
• Why Is ‘The Tempest’ Different From Other Shakespeare Plays?
• How Does Shakespeare Present the Idea of Forgiveness at the End of the Play ‘The Tempest’?
• Who Is the Main Character in ‘The Tempest’?
• What Are the Symbols in ‘The Tempest’?
• What Is a Good Thesis Statement for ‘The Tempest’?
• How Is Betrayal Shown in ‘The Tempest’?
• What Happens to Caliban at the End of ‘The Tempest’?
• What Is Shakespeare Saying About Power in ‘The Tempest’?
• Who Does Miranda Fall in Love With in ‘The Tempest’?
• What Is the Role of Marriage in ‘The Tempest’?
• How Is Miranda and Ferdinand’s Relationship Important to ‘The Tempest’?
• Is ‘The Tempest’ About Colonialism?
• Why Does Shakespeare Start ‘The Tempest’ With a Storm?
• What Is the Historical Context of ‘The Tempest’?
• Is ‘The Tempest’ a Historical Play?
• What Is ‘The Tempest’ a Metaphor For?
• Is ‘The Tempest’ Shakespeare’s Final Play?
• What Is the Tone of the Play ‘The Tempest’?
• What Does the End of ‘The Tempest’ Mean?
• What Technique Does Shakespeare Use in ‘The Tempest’?
• What Is the Setting of ‘The Tempest’?
• What Happens When Ariel Lures Ferdinand to Prospero in ‘The Tempest’?

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These essay examples and topics on The Tempest were carefully selected by the StudyCorgi editorial team. They meet our highest standards in terms of grammar, punctuation, style, and fact accuracy. Please ensure you properly reference the materials if you’re using them to write your assignment.

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The Tempest Extract Analysis Booklet and Practice Exam Questions

Subject: English

Age range: 14-16

Resource type: Assessment and revision

Last updated

8 March 2024

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An extract analysis booklet which contains 24 examination-length extracts from The Tempest and guidance as to what to look for when analysing the extract in Edexcel Paper 1, Section A (can also be used for AQA, Paper 1, Section A by using the second part of the question and adapting the wording).

Also included are the accompanying questions, and a lesson plan with suggestions for usage.

This resource can be used throughout the teaching of the unit. You could use this to teach students how to analyse sections of the text closely, or as short assessment pieces. The guidance for analysis is aimed at students who are aiming for grade 5 and above, but could easily be simplified.

You could also use the booklet as an A Level teaching resource for retrieval practice and development of analysis skills.

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SCENE I. On a ship at sea: a tempestuous noise

of thunder and lightning heard. Enter a Master and a Boatswain

Here, master: what cheer?

Good, speak to the mariners: fall to't, yarely, or we run ourselves aground: bestir, bestir. Exit Enter Mariners

Heigh, my hearts! cheerly, cheerly, my hearts! yare, yare! Take in the topsail. Tend to the master's whistle. Blow, till thou burst thy wind, if room enough! Enter ALONSO, SEBASTIAN, ANTONIO, FERDINAND, GONZALO, and others

Good boatswain, have care. Where's the master? Play the men.

I pray now, keep below.

Where is the master, boatswain?

Do you not hear him? You mar our labour: keep your cabins: you do assist the storm.

Nay, good, be patient.

When the sea is. Hence! What cares these roarers for the name of king? To cabin: silence! trouble us not.

Good, yet remember whom thou hast aboard.

None that I more love than myself. You are a counsellor; if you can command these elements to silence, and work the peace of the present, we will not hand a rope more; use your authority: if you cannot, give thanks you have lived so long, and make yourself ready in your cabin for the mischance of the hour, if it so hap. Cheerly, good hearts! Out of our way, I say. Exit

I have great comfort from this fellow: methinks he hath no drowning mark upon him; his complexion is perfect gallows. Stand fast, good Fate, to his hanging: make the rope of his destiny our cable, for our own doth little advantage. If he be not born to be hanged, our case is miserable. Exeunt Re-enter Boatswain

Down with the topmast! yare! lower, lower! Bring her to try with main-course. A cry within A plague upon this howling! they are louder than the weather or our office. Re-enter SEBASTIAN, ANTONIO, and GONZALO Yet again! what do you here? Shall we give o'er and drown? Have you a mind to sink?

A pox o' your throat, you bawling, blasphemous, incharitable dog!

Work you then.

Hang, cur! hang, you whoreson, insolent noisemaker! We are less afraid to be drowned than thou art.

I'll warrant him for drowning; though the ship were no stronger than a nutshell and as leaky as an unstanched wench.

Lay her a-hold, a-hold! set her two courses off to sea again; lay her off. Enter Mariners wet

All lost! to prayers, to prayers! all lost!

What, must our mouths be cold?

The king and prince at prayers! let's assist them, For our case is as theirs.

I'm out of patience.

We are merely cheated of our lives by drunkards: This wide-chapp'd rascal--would thou mightst lie drowning The washing of ten tides!

He'll be hang'd yet, Though every drop of water swear against it And gape at widest to glut him. A confused noise within: 'Mercy on us!'-- 'We split, we split!'--'Farewell, my wife and children!'-- 'Farewell, brother!'--'We split, we split, we split!'

Let's all sink with the king.

Let's take leave of him. Exeunt ANTONIO and SEBASTIAN

Now would I give a thousand furlongs of sea for an acre of barren ground, long heath, brown furze, any thing. The wills above be done! but I would fain die a dry death. Exeunt

SCENE II. The island. Before PROSPERO'S cell.

Enter PROSPERO and MIRANDA

If by your art, my dearest father, you have Put the wild waters in this roar, allay them. The sky, it seems, would pour down stinking pitch, But that the sea, mounting to the welkin's cheek, Dashes the fire out. O, I have suffered With those that I saw suffer: a brave vessel, Who had, no doubt, some noble creature in her, Dash'd all to pieces. O, the cry did knock Against my very heart. Poor souls, they perish'd. Had I been any god of power, I would Have sunk the sea within the earth or ere It should the good ship so have swallow'd and The fraughting souls within her.

Be collected: No more amazement: tell your piteous heart There's no harm done.

O, woe the day!

No harm. I have done nothing but in care of thee, Of thee, my dear one, thee, my daughter, who Art ignorant of what thou art, nought knowing Of whence I am, nor that I am more better Than Prospero, master of a full poor cell, And thy no greater father.

More to know Did never meddle with my thoughts.

'Tis time I should inform thee farther. Lend thy hand, And pluck my magic garment from me. So: Lays down his mantle Lie there, my art. Wipe thou thine eyes; have comfort. The direful spectacle of the wreck, which touch'd The very virtue of compassion in thee, I have with such provision in mine art So safely ordered that there is no soul-- No, not so much perdition as an hair Betid to any creature in the vessel Which thou heard'st cry, which thou saw'st sink. Sit down; For thou must now know farther.

You have often Begun to tell me what I am, but stopp'd And left me to a bootless inquisition, Concluding 'Stay: not yet.'

The hour's now come; The very minute bids thee ope thine ear; Obey and be attentive. Canst thou remember A time before we came unto this cell? I do not think thou canst, for then thou wast not Out three years old.

Certainly, sir, I can.

By what? by any other house or person? Of any thing the image tell me that Hath kept with thy remembrance.

'Tis far off And rather like a dream than an assurance That my remembrance warrants. Had I not Four or five women once that tended me?

Thou hadst, and more, Miranda. But how is it That this lives in thy mind? What seest thou else In the dark backward and abysm of time? If thou remember'st aught ere thou camest here, How thou camest here thou mayst.

But that I do not.

Twelve year since, Miranda, twelve year since, Thy father was the Duke of Milan and A prince of power.

Sir, are not you my father?

Thy mother was a piece of virtue, and She said thou wast my daughter; and thy father Was Duke of Milan; and thou his only heir And princess no worse issued.

O the heavens! What foul play had we, that we came from thence? Or blessed was't we did?

Both, both, my girl: By foul play, as thou say'st, were we heaved thence, But blessedly holp hither.

O, my heart bleeds To think o' the teen that I have turn'd you to, Which is from my remembrance! Please you, farther.

My brother and thy uncle, call'd Antonio-- I pray thee, mark me--that a brother should Be so perfidious!--he whom next thyself Of all the world I loved and to him put The manage of my state; as at that time Through all the signories it was the first And Prospero the prime duke, being so reputed In dignity, and for the liberal arts Without a parallel; those being all my study, The government I cast upon my brother And to my state grew stranger, being transported And rapt in secret studies. Thy false uncle-- Dost thou attend me?

Sir, most heedfully.

Being once perfected how to grant suits, How to deny them, who to advance and who To trash for over-topping, new created The creatures that were mine, I say, or changed 'em, Or else new form'd 'em; having both the key Of officer and office, set all hearts i' the state To what tune pleased his ear; that now he was The ivy which had hid my princely trunk, And suck'd my verdure out on't. Thou attend'st not.

O, good sir, I do.

I pray thee, mark me. I, thus neglecting worldly ends, all dedicated To closeness and the bettering of my mind With that which, but by being so retired, O'er-prized all popular rate, in my false brother Awaked an evil nature; and my trust, Like a good parent, did beget of him A falsehood in its contrary as great As my trust was; which had indeed no limit, A confidence sans bound. He being thus lorded, Not only with what my revenue yielded, But what my power might else exact, like one Who having into truth, by telling of it, Made such a sinner of his memory, To credit his own lie, he did believe He was indeed the duke; out o' the substitution And executing the outward face of royalty, With all prerogative: hence his ambition growing-- Dost thou hear?

Your tale, sir, would cure deafness.

To have no screen between this part he play'd And him he play'd it for, he needs will be Absolute Milan. Me, poor man, my library Was dukedom large enough: of temporal royalties He thinks me now incapable; confederates-- So dry he was for sway--wi' the King of Naples To give him annual tribute, do him homage, Subject his coronet to his crown and bend The dukedom yet unbow'd--alas, poor Milan!-- To most ignoble stooping.

O the heavens!

Mark his condition and the event; then tell me If this might be a brother.

I should sin To think but nobly of my grandmother: Good wombs have borne bad sons.

Now the condition. The King of Naples, being an enemy To me inveterate, hearkens my brother's suit; Which was, that he, in lieu o' the premises Of homage and I know not how much tribute, Should presently extirpate me and mine Out of the dukedom and confer fair Milan With all the honours on my brother: whereon, A treacherous army levied, one midnight Fated to the purpose did Antonio open The gates of Milan, and, i' the dead of darkness, The ministers for the purpose hurried thence Me and thy crying self.

Alack, for pity! I, not remembering how I cried out then, Will cry it o'er again: it is a hint That wrings mine eyes to't.

Hear a little further And then I'll bring thee to the present business Which now's upon's; without the which this story Were most impertinent.

Wherefore did they not That hour destroy us?

Well demanded, wench: My tale provokes that question. Dear, they durst not, So dear the love my people bore me, nor set A mark so bloody on the business, but With colours fairer painted their foul ends. In few, they hurried us aboard a bark, Bore us some leagues to sea; where they prepared A rotten carcass of a boat, not rigg'd, Nor tackle, sail, nor mast; the very rats Instinctively had quit it: there they hoist us, To cry to the sea that roar'd to us, to sigh To the winds whose pity, sighing back again, Did us but loving wrong.

Alack, what trouble Was I then to you!

O, a cherubim Thou wast that did preserve me. Thou didst smile. Infused with a fortitude from heaven, When I have deck'd the sea with drops full salt, Under my burthen groan'd; which raised in me An undergoing stomach, to bear up Against what should ensue.

How came we ashore?

By Providence divine. Some food we had and some fresh water that A noble Neapolitan, Gonzalo, Out of his charity, being then appointed Master of this design, did give us, with Rich garments, linens, stuffs and necessaries, Which since have steaded much; so, of his gentleness, Knowing I loved my books, he furnish'd me From mine own library with volumes that I prize above my dukedom.

Would I might But ever see that man!

Now I arise: Resumes his mantle Sit still, and hear the last of our sea-sorrow. Here in this island we arrived; and here Have I, thy schoolmaster, made thee more profit Than other princesses can that have more time For vainer hours and tutors not so careful.

Heavens thank you for't! And now, I pray you, sir, For still 'tis beating in my mind, your reason For raising this sea-storm?

Know thus far forth. By accident most strange, bountiful Fortune, Now my dear lady, hath mine enemies Brought to this shore; and by my prescience I find my zenith doth depend upon A most auspicious star, whose influence If now I court not but omit, my fortunes Will ever after droop. Here cease more questions: Thou art inclined to sleep; 'tis a good dulness, And give it way: I know thou canst not choose. MIRANDA sleeps Come away, servant, come. I am ready now. Approach, my Ariel, come. Enter ARIEL

All hail, great master! grave sir, hail! I come To answer thy best pleasure; be't to fly, To swim, to dive into the fire, to ride On the curl'd clouds, to thy strong bidding task Ariel and all his quality.

Hast thou, spirit, Perform'd to point the tempest that I bade thee?

To every article. I boarded the king's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement: sometime I'ld divide, And burn in many places; on the topmast, The yards and bowsprit, would I flame distinctly, Then meet and join. Jove's lightnings, the precursors O' the dreadful thunder-claps, more momentary And sight-outrunning were not; the fire and cracks Of sulphurous roaring the most mighty Neptune Seem to besiege and make his bold waves tremble, Yea, his dread trident shake.

My brave spirit! Who was so firm, so constant, that this coil Would not infect his reason?

Not a soul But felt a fever of the mad and play'd Some tricks of desperation. All but mariners Plunged in the foaming brine and quit the vessel, Then all afire with me: the king's son, Ferdinand, With hair up-staring,--then like reeds, not hair,-- Was the first man that leap'd; cried, 'Hell is empty And all the devils are here.'

Why that's my spirit! But was not this nigh shore?

Close by, my master.

But are they, Ariel, safe?

Not a hair perish'd; On their sustaining garments not a blemish, But fresher than before: and, as thou badest me, In troops I have dispersed them 'bout the isle. The king's son have I landed by himself; Whom I left cooling of the air with sighs In an odd angle of the isle and sitting, His arms in this sad knot.

Of the king's ship The mariners say how thou hast disposed And all the rest o' the fleet.

Safely in harbour Is the king's ship; in the deep nook, where once Thou call'dst me up at midnight to fetch dew From the still-vex'd Bermoothes, there she's hid: The mariners all under hatches stow'd; Who, with a charm join'd to their suffer'd labour, I have left asleep; and for the rest o' the fleet Which I dispersed, they all have met again And are upon the Mediterranean flote, Bound sadly home for Naples, Supposing that they saw the king's ship wreck'd And his great person perish.

Ariel, thy charge Exactly is perform'd: but there's more work. What is the time o' the day?

Past the mid season.

At least two glasses. The time 'twixt six and now Must by us both be spent most preciously.

Is there more toil? Since thou dost give me pains, Let me remember thee what thou hast promised, Which is not yet perform'd me.

How now? moody? What is't thou canst demand?

My liberty.

Before the time be out? no more!

I prithee, Remember I have done thee worthy service; Told thee no lies, made thee no mistakings, served Without or grudge or grumblings: thou didst promise To bate me a full year.

Dost thou forget From what a torment I did free thee?

Thou dost, and think'st it much to tread the ooze Of the salt deep, To run upon the sharp wind of the north, To do me business in the veins o' the earth When it is baked with frost.

I do not, sir.

Thou liest, malignant thing! Hast thou forgot The foul witch Sycorax, who with age and envy Was grown into a hoop? hast thou forgot her?

Thou hast. Where was she born? speak; tell me.

Sir, in Argier.

O, was she so? I must Once in a month recount what thou hast been, Which thou forget'st. This damn'd witch Sycorax, For mischiefs manifold and sorceries terrible To enter human hearing, from Argier, Thou know'st, was banish'd: for one thing she did They would not take her life. Is not this true?

This blue-eyed hag was hither brought with child And here was left by the sailors. Thou, my slave, As thou report'st thyself, wast then her servant; And, for thou wast a spirit too delicate To act her earthy and abhorr'd commands, Refusing her grand hests, she did confine thee, By help of her more potent ministers And in her most unmitigable rage, Into a cloven pine; within which rift Imprison'd thou didst painfully remain A dozen years; within which space she died And left thee there; where thou didst vent thy groans As fast as mill-wheels strike. Then was this island-- Save for the son that she did litter here, A freckled whelp hag-born--not honour'd with A human shape.

Yes, Caliban her son.

Dull thing, I say so; he, that Caliban Whom now I keep in service. Thou best know'st What torment I did find thee in; thy groans Did make wolves howl and penetrate the breasts Of ever angry bears: it was a torment To lay upon the damn'd, which Sycorax Could not again undo: it was mine art, When I arrived and heard thee, that made gape The pine and let thee out.

I thank thee, master.

If thou more murmur'st, I will rend an oak And peg thee in his knotty entrails till Thou hast howl'd away twelve winters.

Pardon, master; I will be correspondent to command And do my spiriting gently.

Do so, and after two days I will discharge thee.

That's my noble master! What shall I do? say what; what shall I do?

Go make thyself like a nymph o' the sea: be subject To no sight but thine and mine, invisible To every eyeball else. Go take this shape And hither come in't: go, hence with diligence! Exit ARIEL Awake, dear heart, awake! thou hast slept well; Awake!

The strangeness of your story put Heaviness in me.

Shake it off. Come on; We'll visit Caliban my slave, who never Yields us kind answer.

'Tis a villain, sir, I do not love to look on.

But, as 'tis, We cannot miss him: he does make our fire, Fetch in our wood and serves in offices That profit us. What, ho! slave! Caliban! Thou earth, thou! speak.

[Within] There's wood enough within.

Come forth, I say! there's other business for thee: Come, thou tortoise! when? Re-enter ARIEL like a water-nymph Fine apparition! My quaint Ariel, Hark in thine ear.

My lord it shall be done. Exit

Thou poisonous slave, got by the devil himself Upon thy wicked dam, come forth! Enter CALIBAN

As wicked dew as e'er my mother brush'd With raven's feather from unwholesome fen Drop on you both! a south-west blow on ye And blister you all o'er!

For this, be sure, to-night thou shalt have cramps, Side-stitches that shall pen thy breath up; urchins Shall, for that vast of night that they may work, All exercise on thee; thou shalt be pinch'd As thick as honeycomb, each pinch more stinging Than bees that made 'em.

I must eat my dinner. This island's mine, by Sycorax my mother, Which thou takest from me. When thou camest first, Thou strokedst me and madest much of me, wouldst 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 loved thee And show'd thee all the qualities o' the isle, The fresh springs, brine-pits, barren place and fertile: Cursed be I that did so! All the charms Of Sycorax, toads, beetles, bats, light on you! For I am all the subjects that you have, Which first was mine own king: and here you sty me In this hard rock, whiles you do keep from me The rest o' the island.

Thou most lying slave, Whom stripes may move, not kindness! I have used thee, Filth as thou art, with human care, and lodged thee In mine own cell, till thou didst seek to violate The honour of my child.

O ho, O ho! would't had been done! Thou didst prevent me; I had peopled else This isle with Calibans.

Abhorred slave, Which any print of goodness wilt not take, Being capable of all ill! I pitied thee, Took pains to make thee speak, taught thee each hour One thing or other: when thou didst not, savage, Know thine own meaning, but wouldst gabble like A thing most brutish, I endow'd thy purposes With words that made them known. But thy vile race, Though thou didst learn, had that in't which good natures Could not abide to be with; therefore wast thou Deservedly confined into this rock, Who hadst deserved more than a prison.

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!

Hag-seed, hence! Fetch us in fuel; and be quick, thou'rt 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.

No, pray thee. Aside I must obey: his art is of such power, It would control my dam's god, Setebos, and make a vassal of him.

So, slave; hence! Exit CALIBAN Re-enter ARIEL, invisible, playing and singing; FERDINAND following ARIEL'S song. Come unto these yellow sands, And then take hands: Courtsied when you have and kiss'd The wild waves whist, Foot it featly here and there; And, sweet sprites, the burthen bear. Hark, hark! Burthen [dispersedly, within The watch-dogs bark! Burthen Bow-wow Hark, hark! I hear The strain of strutting chanticleer Cry, Cock-a-diddle-dow.

Where should this music be? i' the air or the earth? It sounds no more: and sure, it waits upon Some god o' the 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 passion With its sweet air: thence I have follow'd it, Or it hath drawn me rather. But 'tis gone. No, it begins again. ARIEL sings Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell Burthen Ding-dong Hark! now I hear them,--Ding-dong, bell.

The ditty does remember my drown'd father. This is no mortal business, nor no sound That the earth owes. I hear it now above me.

The fringed curtains of thine eye advance And say what thou seest yond.

What is't? a spirit? Lord, how it looks about! Believe me, sir, It carries a brave form. But 'tis a spirit.

No, wench; it eats and sleeps and hath such senses As we have, such. This gallant which thou seest Was in the wreck; and, but he's something stain'd With grief that's beauty's canker, thou mightst call him A goodly person: he hath lost his fellows And strays about to find 'em.

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

[Aside] It goes on, I see, As my soul prompts it. Spirit, fine spirit! I'll free thee Within two days for this.

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 maid or no?

No wonder, sir; But certainly a maid.

My language! heavens! I am the best of them that speak this speech, Were I but where 'tis spoken.

How? the best? What wert thou, if the King of Naples heard thee?

A single thing, as I am now, that wonders To hear thee speak of Naples. He does hear me; And that he does I weep: myself am Naples, Who with mine eyes, never since at ebb, beheld The king my father wreck'd.

Alack, for mercy!

Yes, faith, and all his lords; the Duke of Milan And his brave son being twain.

[Aside] The Duke of Milan And his more braver daughter could control thee, If now 'twere fit to do't. At the first sight They have changed eyes. Delicate Ariel, I'll set thee free for this. To FERDINAND A word, good sir; I fear you have done yourself some wrong: a word.

Why speaks my father so ungently? This Is the third man that e'er I saw, the first That e'er I sigh'd for: pity move my father To be inclined my way!

O, if a virgin, And your affection not gone forth, I'll make you The queen of Naples.

Soft, sir! one word more. Aside They are both in either's powers; but this swift business I must uneasy make, lest too light winning Make the prize light. To FERDINAND One word more; I charge thee That thou attend me: thou dost here usurp The name thou owest not; and hast put thyself Upon this island as a spy, to win it From me, the lord on't.

No, as I am a man.

There's nothing ill can dwell in such a temple: If the ill spirit have so fair a house, Good things will strive to dwell with't.

Follow me. Speak not you for him; he's a traitor. Come; I'll manacle thy neck and feet together: Sea-water shalt thou drink; thy food shall be The fresh-brook muscles, wither'd roots and husks Wherein the acorn cradled. Follow.

No; I will resist such entertainment till Mine enemy has more power. Draws, and is charmed from moving

O dear father, Make not too rash a trial of him, for He's gentle and not fearful.

What? I say, My foot my tutor? Put thy sword up, traitor; Who makest a show but darest not strike, thy conscience Is so possess'd with guilt: come from thy ward, For I can here disarm thee with this stick And make thy weapon drop.

Beseech you, father.

Hence! hang not on my garments.

Sir, have pity; I'll be his surety.

Silence! one word more Shall make me chide thee, if not hate thee. What! An advocate for an imposter! hush! Thou think'st there is no more such shapes as he, Having seen but him and Caliban: foolish wench! To the most of men this is a Caliban And they to him are angels.

My affections Are then most humble; I have no ambition To see a goodlier man.

Come on; obey: Thy nerves are in their infancy again And have no vigour in them.

So they are; My spirits, as in a dream, are all bound up. My father's loss, the weakness which I feel, The wreck of all my friends, nor this man's threats, To whom I am subdued, are but light to me, Might I but through my prison once a day Behold this maid: all corners else o' the earth Let liberty make use of; space enough Have I in such a prison.

[Aside] It works. To FERDINAND Come on. Thou hast done well, fine Ariel! To FERDINAND Follow me. To ARIEL Hark what thou else shalt do me.

Be of comfort; My father's of a better nature, sir, Than he appears by speech: this is unwonted Which now came from him.

Thou shalt be free As mountain winds: but then exactly do All points of my command.

To the syllable.

Come, follow. Speak not for him. Exeunt

SCENE I. Another part of the island.

Enter ALONSO, SEBASTIAN, ANTONIO, GONZALO, ADRIAN, FRANCISCO, and others

Beseech you, sir, be merry; you have cause, So have we all, of joy; for our escape Is much beyond our loss. Our hint of woe Is common; every day some sailor's wife, The masters of some merchant and the merchant Have just our theme of woe; but for the miracle, I mean our preservation, few in millions Can speak like us: then wisely, good sir, weigh Our sorrow with our comfort.

Prithee, peace.

He receives comfort like cold porridge.

The visitor will not give him o'er so.

Look he's winding up the watch of his wit; by and by it will strike.

When every grief is entertain'd that's offer'd, Comes to the entertainer--

Dolour comes to him, indeed: you have spoken truer than you purposed.

You have taken it wiselier than I meant you should.

Therefore, my lord,--

Fie, what a spendthrift is he of his tongue!

I prithee, spare.

Well, I have done: but yet,--

He will be talking.

Which, of he or Adrian, for a good wager, first begins to crow?

The old cock.

The cockerel.

Done. The wager?

A laughter.

Though this island seem to be desert,--

Ha, ha, ha! So, you're paid.

Uninhabitable and almost inaccessible,--

He could not miss't.

It must needs be of subtle, tender and delicate temperance.

Temperance was a delicate wench.

Ay, and a subtle; as he most learnedly delivered.

The air breathes upon us here most sweetly.

As if it had lungs and rotten ones.

Or as 'twere perfumed by a fen.

Here is everything advantageous to life.

True; save means to live.

Of that there's none, or little.

How lush and lusty the grass looks! how green!

The ground indeed is tawny.

With an eye of green in't.

He misses not much.

No; he doth but mistake the truth totally.

But the rarity of it is,--which is indeed almost beyond credit,--

As many vouched rarities are.

That our garments, being, as they were, drenched in the sea, hold notwithstanding their freshness and glosses, being rather new-dyed than stained with salt water.

If but one of his pockets could speak, would it not say he lies?

Ay, or very falsely pocket up his report

Methinks our garments are now as fresh as when we put them on first in Afric, at the marriage of the king's fair daughter Claribel to the King of Tunis.

'Twas a sweet marriage, and we prosper well in our return.

Tunis was never graced before with such a paragon to their queen.

Not since widow Dido's time.

Widow! a pox o' that! How came that widow in? widow Dido!

What if he had said 'widower AEneas' too? Good Lord, how you take it!

'Widow Dido' said you? you make me study of that: she was of Carthage, not of Tunis.

This Tunis, sir, was Carthage.

I assure you, Carthage.

His word is more than the miraculous harp; he hath raised the wall and houses too.

What impossible matter will he make easy next?

I think he will carry this island home in his pocket and give it his son for an apple.

And, sowing the kernels of it in the sea, bring forth more islands.

Why, in good time.

Sir, we were talking that our garments seem now as fresh as when we were at Tunis at the marriage of your daughter, who is now queen.

And the rarest that e'er came there.

Bate, I beseech you, widow Dido.

O, widow Dido! ay, widow Dido.

Is not, sir, my doublet as fresh as the first day I wore it? I mean, in a sort.

That sort was well fished for.

When I wore it at your daughter's marriage?

You cram these words into mine ears against The stomach of my sense. Would I had never Married my daughter there! for, coming thence, My son is lost and, in my rate, she too, Who is so far from Italy removed I ne'er again shall see her. O thou mine heir Of Naples and of Milan, what strange fish Hath made his meal on thee?

Sir, he may live: I saw him beat the surges under him, And ride upon their backs; he trod the water, Whose enmity he flung aside, and breasted The surge most swoln that met him; his bold head 'Bove the contentious waves he kept, and oar'd Himself with his good arms in lusty stroke To the shore, that o'er his wave-worn basis bow'd, As stooping to relieve him: I not doubt He came alive to land.

No, no, he's gone.

Sir, you may thank yourself for this great loss, That would not bless our Europe with your daughter, But rather lose her to an African; Where she at least is banish'd from your eye, Who hath cause to wet the grief on't.

You were kneel'd to and importuned otherwise By all of us, and the fair soul herself Weigh'd between loathness and obedience, at Which end o' the beam should bow. We have lost your son, I fear, for ever: Milan and Naples have More widows in them of this business' making Than we bring men to comfort them: The fault's your own.

So is the dear'st o' the loss.

My lord Sebastian, The truth you speak doth lack some gentleness And time to speak it in: you rub the sore, When you should bring the plaster.

And most chirurgeonly.

It is foul weather in us all, good sir, When you are cloudy.

Foul weather?

Had I plantation of this isle, my lord,--

He'ld sow't with nettle-seed.

Or docks, or mallows.

And were the king on't, what would I do?

'Scape being drunk for want of wine.

I' the commonwealth I would by contraries Execute all things; for no kind of traffic Would I admit; no name of magistrate; Letters should not be known; riches, poverty, And use of service, none; contract, succession, Bourn, bound of land, tilth, vineyard, none; No use of metal, corn, or wine, or oil; No occupation; all men idle, all; And women too, but innocent and pure; No sovereignty;--

Yet he would be king on't.

The latter end of his commonwealth forgets the beginning.

All things in common nature should produce Without sweat or endeavour: treason, felony, Sword, pike, knife, gun, or need of any engine, Would I not have; but nature should bring forth, Of its own kind, all foison, all abundance, To feed my innocent people.

No marrying 'mong his subjects?

None, man; all idle: whores and knaves.

I would with such perfection govern, sir, To excel the golden age.

God save his majesty!

Long live Gonzalo!

And,--do you mark me, sir?

Prithee, no more: thou dost talk nothing to me.

I do well believe your highness; and did it to minister occasion to these gentlemen, who are of such sensible and nimble lungs that they always use to laugh at nothing.

'Twas you we laughed at.

Who in this kind of merry fooling am nothing to you: so you may continue and laugh at nothing still.

What a blow was there given!

An it had not fallen flat-long.

You are gentlemen of brave metal; you would lift the moon out of her sphere, if she would continue in it five weeks without changing. Enter ARIEL, invisible, playing solemn music

We would so, and then go a bat-fowling.

Nay, good my lord, be not angry.

No, I warrant you; I will not adventure my discretion so weakly. Will you laugh me asleep, for I am very heavy?

Go sleep, and hear us. All sleep except ALONSO, SEBASTIAN, and ANTONIO

What, all so soon asleep! I wish mine eyes Would, with themselves, shut up my thoughts: I find They are inclined to do so.

Please you, sir, Do not omit the heavy offer of it: It seldom visits sorrow; when it doth, It is a comforter.

We two, my lord, Will guard your person while you take your rest, And watch your safety.

Thank you. Wondrous heavy. ALONSO sleeps. Exit ARIEL

What a strange drowsiness possesses them!

It is the quality o' the climate.

Why Doth it not then our eyelids sink? I find not Myself disposed to sleep.

Nor I; my spirits are nimble. They fell together all, as by consent; They dropp'd, as by a thunder-stroke. What might, Worthy Sebastian? O, what might?--No more:-- And yet me thinks I see it in thy face, What thou shouldst be: the occasion speaks thee, and My strong imagination sees a crown Dropping upon thy head.

What, art thou waking?

Do you not hear me speak?

I do; and surely It is a sleepy language and thou speak'st Out of thy sleep. What is it thou didst say? This is a strange repose, to be asleep With eyes wide open; standing, speaking, moving, And yet so fast asleep.

Noble Sebastian, Thou let'st thy fortune sleep--die, rather; wink'st Whiles thou art waking.

Thou dost snore distinctly; There's meaning in thy snores.

I am more serious than my custom: you Must be so too, if heed me; which to do Trebles thee o'er.

Well, I am standing water.

I'll teach you how to flow.

Do so: to ebb Hereditary sloth instructs me.

O, If you but knew how you the purpose cherish Whiles thus you mock it! how, in stripping it, You more invest it! Ebbing men, indeed, Most often do so near the bottom run By their own fear or sloth.

Prithee, say on: The setting of thine eye and cheek proclaim A matter from thee, and a birth indeed Which throes thee much to yield.

Thus, sir: Although this lord of weak remembrance, this, Who shall be of as little memory When he is earth'd, hath here almost persuade,-- For he's a spirit of persuasion, only Professes to persuade,--the king his son's alive, 'Tis as impossible that he's undrown'd And he that sleeps here swims.

I have no hope That he's undrown'd.

O, out of that 'no hope' What great hope have you! no hope that way is Another way so high a hope that even Ambition cannot pierce a wink beyond, But doubt discovery there. Will you grant with me That Ferdinand is drown'd?

Then, tell me, Who's the next heir of Naples?

She that is queen of Tunis; she that dwells Ten leagues beyond man's life; she that from Naples Can have no note, unless the sun were post-- The man i' the moon's too slow--till new-born chins Be rough and razorable; she that--from whom? We all were sea-swallow'd, though some cast again, And by that destiny to perform an act Whereof what's past is prologue, what to come In yours and my discharge.

What stuff is this! how say you? 'Tis true, my brother's daughter's queen of Tunis; So is she heir of Naples; 'twixt which regions There is some space.

A space whose every cubit Seems to cry out, 'How shall that Claribel Measure us back to Naples? Keep in Tunis, And let Sebastian wake.' Say, this were death That now hath seized them; why, they were no worse Than now they are. There be that can rule Naples As well as he that sleeps; lords that can prate As amply and unnecessarily As this Gonzalo; I myself could make A chough of as deep chat. O, that you bore The mind that I do! what a sleep were this For your advancement! Do you understand me?

Methinks I do.

And how does your content Tender your own good fortune?

I remember You did supplant your brother Prospero.

True: And look how well my garments sit upon me; Much feater than before: my brother's servants Were then my fellows; now they are my men.

But, for your conscience?

Ay, sir; where lies that? if 'twere a kibe, 'Twould put me to my slipper: but I feel not This deity in my bosom: twenty consciences, That stand 'twixt me and Milan, candied be they And melt ere they molest! Here lies your brother, No better than the earth he lies upon, If he were that which now he's like, that's dead; Whom I, with this obedient steel, three inches of it, Can lay to bed for ever; whiles you, doing thus, To the perpetual wink for aye might put This ancient morsel, this Sir Prudence, who Should not upbraid our course. For all the rest, They'll take suggestion as a cat laps milk; They'll tell the clock to any business that We say befits the hour.

Thy case, dear friend, Shall be my precedent; as thou got'st Milan, I'll come by Naples. Draw thy sword: one stroke Shall free thee from the tribute which thou payest; And I the king shall love thee.

Draw together; And when I rear my hand, do you the like, To fall it on Gonzalo.

O, but one word. They talk apart Re-enter ARIEL, invisible

My master through his art foresees the danger That you, his friend, are in; and sends me forth-- For else his project dies--to keep them living. Sings in GONZALO's ear While you here do snoring lie, Open-eyed conspiracy His time doth take. If of life you keep a care, Shake off slumber, and beware: Awake, awake!

Then let us both be sudden.

Now, good angels Preserve the king. They wake

Why, how now? ho, awake! Why are you drawn? Wherefore this ghastly looking?

What's the matter?

Whiles we stood here securing your repose, Even now, we heard a hollow burst of bellowing Like bulls, or rather lions: did't not wake you? It struck mine ear most terribly.

I heard nothing.

O, 'twas a din to fright a monster's ear, To make an earthquake! sure, it was the roar Of a whole herd of lions.

Heard you this, Gonzalo?

Upon mine honour, sir, I heard a humming, And that a strange one too, which did awake me: I shaked you, sir, and cried: as mine eyes open'd, I saw their weapons drawn: there was a noise, That's verily. 'Tis best we stand upon our guard, Or that we quit this place; let's draw our weapons.

Lead off this ground; and let's make further search For my poor son.

Heavens keep him from these beasts! For he is, sure, i' the island.

Prospero my lord shall know what I have done: So, king, go safely on to seek thy son. Exeunt

SCENE II. Another part of the island.

Enter CALIBAN with a burden of wood. A noise of thunder heard

All the infections that the sun sucks up From bogs, fens, flats, on Prosper fall and make him By inch-meal a disease! His spirits hear me And yet I needs must curse. But they'll nor pinch, Fright me with urchin--shows, pitch me i' the mire, Nor lead me, like a firebrand, in the dark Out of my way, unless he bid 'em; but For every trifle are they set upon me; Sometime like apes that mow and chatter at me And after bite me, then like hedgehogs which Lie tumbling in my barefoot way and mount Their pricks at my footfall; sometime am I All wound with adders who with cloven tongues Do hiss me into madness. Enter TRINCULO Lo, now, lo! Here comes a spirit of his, and to torment me For bringing wood in slowly. I'll fall flat; Perchance he will not mind me.

Here's neither bush nor shrub, to bear off any weather at all, and another storm brewing; I hear it sing i' the wind: yond same black cloud, yond huge one, looks like a foul bombard that would shed his liquor. If it should thunder as it did before, I know not where to hide my head: yond same cloud cannot choose but fall by pailfuls. What have we here? a man or a fish? dead or alive? A fish: he smells like a fish; a very ancient and fish- like smell; a kind of not of the newest Poor- John. A strange fish! Were I in England now, as once I was, and had but this fish painted, not a holiday fool there but would give a piece of silver: there would this monster make a man; any strange beast there makes a man: when they will not give a doit to relieve a lame beggar, they will lazy out ten to see a dead Indian. Legged like a man and his fins like arms! Warm o' my troth! I do now let loose my opinion; hold it no longer: this is no fish, but an islander, that hath lately suffered by a thunderbolt. Thunder Alas, the storm is come again! my best way is to creep under his gaberdine; there is no other shelter hereabouts: misery acquaints a man with strange bed-fellows. I will here shroud till the dregs of the storm be past. Enter STEPHANO, singing: a bottle in his hand

I shall no more to sea, to sea, Here shall I die ashore-- This is a very scurvy tune to sing at a man's funeral: well, here's my comfort. Drinks Sings The master, the swabber, the boatswain and I, The gunner and his mate Loved Mall, Meg and Marian and Margery, But none of us cared for Kate; For she had a tongue with a tang, Would cry to a sailor, Go hang! She loved not the savour of tar nor of pitch, Yet a tailor might scratch her where'er she did itch: Then to sea, boys, and let her go hang! This is a scurvy tune too: but here's my comfort. Drinks

Do not torment me: Oh!

What's the matter? Have we devils here? Do you put tricks upon's with savages and men of Ind, ha? I have not scaped drowning to be afeard now of your four legs; for it hath been said, As proper a man as ever went on four legs cannot make him give ground; and it shall be said so again while Stephano breathes at's nostrils.

The spirit torments me; Oh!

This is some monster of the isle with four legs, who hath got, as I take it, an ague. Where the devil should he learn our language? I will give him some relief, if it be but for that. if I can recover him and keep him tame and get to Naples with him, he's a present for any emperor that ever trod on neat's leather.

Do not torment me, prithee; I'll bring my wood home faster.

He's in his fit now and does not talk after the wisest. He shall taste of my bottle: if he have never drunk wine afore will go near to remove his fit. If I can recover him and keep him tame, I will not take too much for him; he shall pay for him that hath him, and that soundly.

Thou dost me yet but little hurt; thou wilt anon, I know it by thy trembling: now Prosper works upon thee.

Come on your ways; open your mouth; here is that which will give language to you, cat: open your mouth; this will shake your shaking, I can tell you, and that soundly: you cannot tell who's your friend: open your chaps again.

I should know that voice: it should be--but he is drowned; and these are devils: O defend me!

Four legs and two voices: a most delicate monster! His forward voice now is to speak well of his friend; his backward voice is to utter foul speeches and to detract. If all the wine in my bottle will recover him, I will help his ague. Come. Amen! I will pour some in thy other mouth.

Doth thy other mouth call me? Mercy, mercy! This is a devil, and no monster: I will leave him; I have no long spoon.

Stephano! If thou beest Stephano, touch me and speak to me: for I am Trinculo--be not afeard--thy good friend Trinculo.

If thou beest Trinculo, come forth: I'll pull thee by the lesser legs: if any be Trinculo's legs, these are they. Thou art very Trinculo indeed! How camest thou to be the siege of this moon-calf? can he vent Trinculos?

I took him to be killed with a thunder-stroke. But art thou not drowned, Stephano? I hope now thou art not drowned. Is the storm overblown? I hid me under the dead moon-calf's gaberdine for fear of the storm. And art thou living, Stephano? O Stephano, two Neapolitans 'scaped!

Prithee, do not turn me about; my stomach is not constant.

[Aside] These be fine things, an if they be not sprites. That's a brave god and bears celestial liquor. I will kneel to him.

How didst thou 'scape? How camest thou hither? swear by this bottle how thou camest hither. I escaped upon a butt of sack which the sailors heaved o'erboard, by this bottle; which I made of the bark of a tree with mine own hands since I was cast ashore.

I'll swear upon that bottle to be thy true subject; for the liquor is not earthly.

Here; swear then how thou escapedst.

Swum ashore. man, like a duck: I can swim like a duck, I'll be sworn.

Here, kiss the book. Though thou canst swim like a duck, thou art made like a goose.

O Stephano. hast any more of this?

The whole butt, man: my cellar is in a rock by the sea-side where my wine is hid. How now, moon-calf! how does thine ague?

Hast thou not dropp'd from heaven?

Out o' the moon, I do assure thee: I was the man i' the moon when time was.

I have seen thee in her and I do adore thee: My mistress show'd me thee and thy dog and thy bush.

Come, swear to that; kiss the book: I will furnish it anon with new contents swear.

By this good light, this is a very shallow monster! I afeard of him! A very weak monster! The man i' the moon! A most poor credulous monster! Well drawn, monster, in good sooth!

I'll show thee every fertile inch o' th' island; And I will kiss thy foot: I prithee, be my god.

By this light, a most perfidious and drunken monster! when 's god's asleep, he'll rob his bottle.

I'll kiss thy foot; I'll swear myself thy subject.

Come on then; down, and swear.

I shall laugh myself to death at this puppy-headed monster. A most scurvy monster! I could find in my heart to beat him,--

Come, kiss.

But that the poor monster's in drink: an abominable monster!

I'll show thee the best springs; I'll pluck thee berries; I'll fish for thee and get thee wood enough. A plague upon the tyrant that I serve! I'll bear him no more sticks, but follow thee, Thou wondrous man.

A most ridiculous monster, to make a wonder of a Poor drunkard!

I prithee, let me bring thee where crabs grow; And I with my long nails will dig thee pignuts; Show thee a jay's nest and instruct thee how To snare the nimble marmoset; I'll bring thee To clustering filberts and sometimes I'll get thee Young scamels from the rock. Wilt thou go with me?

I prithee now, lead the way without any more talking. Trinculo, the king and all our company else being drowned, we will inherit here: here; bear my bottle: fellow Trinculo, we'll fill him by and by again.

[Sings drunkenly] Farewell master; farewell, farewell!

A howling monster: a drunken monster!

No more dams I'll make for fish Nor fetch in firing At requiring; Nor scrape trencher, nor wash dish 'Ban, 'Ban, Cacaliban Has a new master: get a new man. Freedom, hey-day! hey-day, freedom! freedom, hey-day, freedom!

O brave monster! Lead the way. Exeunt

SCENE I. Before PROSPERO'S Cell.

Enter FERDINAND, bearing a log

There be some sports are painful, and their labour Delight in them sets off: some kinds of baseness Are nobly undergone and most poor matters Point to rich ends. This my mean task Would be as heavy to me as odious, but The mistress which I serve quickens what's dead And makes my labours pleasures: O, she is Ten times more gentle than her father's crabbed, And he's composed of harshness. I must remove Some thousands of these logs and pile them up, Upon a sore injunction: my sweet mistress Weeps when she sees me work, and says, such baseness Had never like executor. I forget: But these sweet thoughts do even refresh my labours, Most busy lest, when I do it. Enter MIRANDA; and PROSPERO at a distance, unseen

Alas, now, pray you, Work not so hard: I would the lightning had Burnt up those logs that you are enjoin'd to pile! Pray, set it down and rest you: when this burns, 'Twill weep for having wearied you. My father Is hard at study; pray now, rest yourself; He's safe for these three hours.

O most dear mistress, The sun will set before I shall discharge What I must strive to do.

If you'll sit down, I'll bear your logs the while: pray, give me that; I'll carry it to the pile.

No, precious creature; I had rather crack my sinews, break my back, Than you should such dishonour undergo, While I sit lazy by.

It would become me As well as it does you: and I should do it With much more ease; for my good will is to it, And yours it is against.

Poor worm, thou art infected! This visitation shows it.

You look wearily.

No, noble mistress;'tis fresh morning with me When you are by at night. I do beseech you-- Chiefly that I might set it in my prayers-- What is your name?

Miranda.--O my father, I have broke your hest to say so!

Admired Miranda! Indeed the top of admiration! worth What's dearest to the world! Full many a lady I have eyed with best regard and many a time The harmony of their tongues hath into bondage Brought my too diligent ear: for several virtues Have I liked several women; never any With so fun soul, but some defect in her Did quarrel with the noblest grace she owed And put it to the foil: but you, O you, So perfect and so peerless, are created Of every creature's best!

I do not know One of my sex; no woman's face remember, Save, from my glass, mine own; nor have I seen More that I may call men than you, good friend, And my dear father: how features are abroad, I am skilless of; but, by my modesty, The jewel in my dower, I would not wish Any companion in the world but you, Nor can imagination form a shape, Besides yourself, to like of. But I prattle Something too wildly and my father's precepts I therein do forget.

I am in my condition A prince, Miranda; I do think, a king; I would, not so!--and would no more endure This wooden slavery than to suffer The flesh-fly blow my mouth. Hear my soul speak: The very instant that I saw you, did My heart fly to your service; there resides, To make me slave to it; and for your sake Am I this patient log--man.

Do you love me?

O heaven, O earth, bear witness to this sound And crown what I profess with kind event If I speak true! if hollowly, invert What best is boded me to mischief! I Beyond all limit of what else i' the world Do love, prize, honour you.

I am a fool To weep at what I am glad of.

Fair encounter Of two most rare affections! Heavens rain grace On that which breeds between 'em!

Wherefore weep you?

At mine unworthiness that dare not offer What I desire to give, and much less take What I shall die to want. But this is trifling; And all the more it seeks to hide itself, The bigger bulk it shows. Hence, bashful cunning! And prompt me, plain and holy innocence! I am your wife, if you will marry me; If not, I'll die your maid: to be your fellow You may deny me; but I'll be your servant, Whether you will or no.

My mistress, dearest; And I thus humble ever.

My husband, then?

Ay, with a heart as willing As bondage e'er of freedom: here's my hand.

And mine, with my heart in't; and now farewell Till half an hour hence.

A thousand thousand! Exeunt FERDINAND and MIRANDA severally

So glad of this as they I cannot be, Who are surprised withal; but my rejoicing At nothing can be more. I'll to my book, For yet ere supper-time must I perform Much business appertaining. Exit

Enter CALIBAN, STEPHANO, and TRINCULO

Tell not me; when the butt is out, we will drink water; not a drop before: therefore bear up, and board 'em. Servant-monster, drink to me.

Servant-monster! the folly of this island! They say there's but five upon this isle: we are three of them; if th' other two be brained like us, the state totters.

Drink, servant-monster, when I bid thee: thy eyes are almost set in thy head.

Where should they be set else? he were a brave monster indeed, if they were set in his tail.

My man-monster hath drown'd his tongue in sack: for my part, the sea cannot drown me; I swam, ere I could recover the shore, five and thirty leagues off and on. By this light, thou shalt be my lieutenant, monster, or my standard.

Your lieutenant, if you list; he's no standard.

We'll not run, Monsieur Monster.

Nor go neither; but you'll lie like dogs and yet say nothing neither.

Moon-calf, speak once in thy life, if thou beest a good moon-calf.

How does thy honour? Let me lick thy shoe. I'll not serve him; he's not valiant.

Thou liest, most ignorant monster: I am in case to justle a constable. Why, thou deboshed fish thou, was there ever man a coward that hath drunk so much sack as I to-day? Wilt thou tell a monstrous lie, being but half a fish and half a monster?

Lo, how he mocks me! wilt thou let him, my lord?

'Lord' quoth he! That a monster should be such a natural!

Lo, lo, again! bite him to death, I prithee.

Trinculo, keep a good tongue in your head: if you prove a mutineer,--the next tree! The poor monster's my subject and he shall not suffer indignity.

I thank my noble lord. Wilt thou be pleased to hearken once again to the suit I made to thee?

Marry, will I kneel and repeat it; I will stand, and so shall Trinculo. Enter ARIEL, invisible

As I told thee before, I am subject to a tyrant, a sorcerer, that by his cunning hath cheated me of the island.

Thou liest.

Thou liest, thou jesting monkey, thou: I would my valiant master would destroy thee! I do not lie.

Trinculo, if you trouble him any more in's tale, by this hand, I will supplant some of your teeth.

Why, I said nothing.

Mum, then, and no more. Proceed.

I say, by sorcery he got this isle; From me he got it. if thy greatness will Revenge it on him,--for I know thou darest, But this thing dare not,--

That's most certain.

Thou shalt be lord of it and I'll serve thee.

How now shall this be compassed? Canst thou bring me to the party?

Yea, yea, my lord: I'll yield him thee asleep, Where thou mayst knock a nail into his bead.

Thou liest; thou canst not.

What a pied ninny's this! Thou scurvy patch! I do beseech thy greatness, give him blows And take his bottle from him: when that's gone He shall drink nought but brine; for I'll not show him Where the quick freshes are.

Trinculo, run into no further danger: interrupt the monster one word further, and, by this hand, I'll turn my mercy out o' doors and make a stock-fish of thee.

Why, what did I? I did nothing. I'll go farther off.

Didst thou not say he lied?

Do I so? take thou that. Beats TRINCULO As you like this, give me the lie another time.

I did not give the lie. Out o' your wits and bearing too? A pox o' your bottle! this can sack and drinking do. A murrain on your monster, and the devil take your fingers!

Ha, ha, ha!

Now, forward with your tale. Prithee, stand farther off.

Beat him enough: after a little time I'll beat him too.

Stand farther. Come, proceed.

Why, as I told thee, 'tis a custom with him, I' th' afternoon to sleep: there thou mayst brain him, Having first seized his books, or with a log Batter his skull, or paunch him with a stake, Or cut his wezand with thy knife. Remember First to possess his books; for without them He's but a sot, as I am, nor hath not One spirit to command: they all do hate him As rootedly as I. Burn but his books. He has brave utensils,--for so he calls them-- Which when he has a house, he'll deck withal And that most deeply to consider is The beauty of his daughter; he himself Calls her a nonpareil: I never saw a woman, But only Sycorax my dam and she; But she as far surpasseth Sycorax As great'st does least.

Is it so brave a lass?

Ay, lord; she will become thy bed, I warrant. And bring thee forth brave brood.

Monster, I will kill this man: his daughter and I will be king and queen--save our graces!--and Trinculo and thyself shall be viceroys. Dost thou like the plot, Trinculo?

Give me thy hand: I am sorry I beat thee; but, while thou livest, keep a good tongue in thy head.

Within this half hour will he be asleep: Wilt thou destroy him then?

Ay, on mine honour.

This will I tell my master.

Thou makest me merry; I am full of pleasure: Let us be jocund: will you troll the catch You taught me but while-ere?

At thy request, monster, I will do reason, any reason. Come on, Trinculo, let us sing. Sings Flout 'em and scout 'em And scout 'em and flout 'em Thought is free.

That's not the tune. Ariel plays the tune on a tabour and pipe

What is this same?

This is the tune of our catch, played by the picture of Nobody.

If thou beest a man, show thyself in thy likeness: if thou beest a devil, take't as thou list.

O, forgive me my sins!

He that dies pays all debts: I defy thee. Mercy upon us!

Art thou afeard?

No, monster, not I.

Be not afeard; the isle is full of noises, Sounds and sweet airs, that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears, and sometime voices That, if I then had waked after long sleep, Will make me sleep again: and then, in dreaming, The clouds methought would open and show riches Ready to drop upon me that, when I waked, I cried to dream again.

This will prove a brave kingdom to me, where I shall have my music for nothing.

When Prospero is destroyed.

That shall be by and by: I remember the story.

The sound is going away; let's follow it, and after do our work.

Lead, monster; we'll follow. I would I could see this tabourer; he lays it on.

Wilt come? I'll follow, Stephano. Exeunt

SCENE III. Another part of the island.

By'r lakin, I can go no further, sir; My old bones ache: here's a maze trod indeed Through forth-rights and meanders! By your patience, I needs must rest me.

Old lord, I cannot blame thee, Who am myself attach'd with weariness, To the dulling of my spirits: sit down, and rest. Even here I will put off my hope and keep it No longer for my flatterer: he is drown'd Whom thus we stray to find, and the sea mocks Our frustrate search on land. Well, let him go.

[Aside to SEBASTIAN] I am right glad that he's so out of hope. Do not, for one repulse, forego the purpose That you resolved to effect.

[Aside to ANTONIO] The next advantage Will we take throughly.

[Aside to SEBASTIAN] Let it be to-night; For, now they are oppress'd with travel, they Will not, nor cannot, use such vigilance As when they are fresh.

[Aside to ANTONIO] I say, to-night: no more. Solemn and strange music

What harmony is this? My good friends, hark!

Marvellous sweet music! Enter PROSPERO above, invisible. Enter several strange Shapes, bringing in a banquet; they dance about it with gentle actions of salutation; and, inviting the King, & c. to eat, they depart

Give us kind keepers, heavens! What were these?

A living drollery. Now I will believe That there are unicorns, that in Arabia There is one tree, the phoenix' throne, one phoenix At this hour reigning there.

I'll believe both; And what does else want credit, come to me, And I'll be sworn 'tis true: travellers ne'er did lie, Though fools at home condemn 'em.

If in Naples I should report this now, would they believe me? If I should say, I saw such islanders-- For, certes, these are people of the island-- Who, though they are of monstrous shape, yet, note, Their manners are more gentle-kind than of Our human generation you shall find Many, nay, almost any.

[Aside] Honest lord, Thou hast said well; for some of you there present Are worse than devils.

I cannot too much muse Such shapes, such gesture and such sound, expressing, Although they want the use of tongue, a kind Of excellent dumb discourse.

[Aside] Praise in departing.

They vanish'd strangely.

No matter, since They have left their viands behind; for we have stomachs. Will't please you taste of what is here?

Faith, sir, you need not fear. When we were boys, Who would believe that there were mountaineers Dew-lapp'd like bulls, whose throats had hanging at 'em Wallets of flesh? or that there were such men Whose heads stood in their breasts? which now we find Each putter-out of five for one will bring us Good warrant of.

I will stand to and feed, Although my last: no matter, since I feel The best is past. Brother, my lord the duke, Stand to and do as we. Thunder and lightning. Enter ARIEL, like a harpy; claps his wings upon the table; and, with a quaint device, the banquet vanishes

You are three men of sin, whom Destiny, That hath to instrument this lower world And what is in't, the never-surfeited sea Hath caused to belch up you; and on this island Where man doth not inhabit; you 'mongst men Being most unfit to live. I have made you mad; And even with such-like valour men hang and drown Their proper selves. ALONSO, SEBASTIAN & c. draw their swords You fools! I and my fellows Are ministers of Fate: the elements, Of whom your swords are temper'd, may as well Wound the loud winds, or with bemock'd-at stabs Kill the still-closing waters, as diminish One dowle that's in my plume: my fellow-ministers Are like invulnerable. If you could hurt, Your swords are now too massy for your strengths And will not be uplifted. But remember-- For that's my business to you--that you three From Milan did supplant good Prospero; Exposed unto the sea, which hath requit it, Him and his innocent child: for which foul deed The powers, delaying, not forgetting, have Incensed the seas and shores, yea, all the creatures, Against your peace. Thee of thy son, Alonso, They have bereft; and do pronounce by me: Lingering perdition, worse than any death Can be at once, shall step by step attend You and your ways; whose wraths to guard you from-- Which here, in this most desolate isle, else falls Upon your heads--is nothing but heart-sorrow And a clear life ensuing. He vanishes in thunder; then, to soft music enter the Shapes again, and dance, with mocks and mows, and carrying out the table

Bravely the figure of this harpy hast thou Perform'd, my Ariel; a grace it had, devouring: Of my instruction hast thou nothing bated In what thou hadst to say: so, with good life And observation strange, my meaner ministers Their several kinds have done. My high charms work And these mine enemies are all knit up In their distractions; they now are in my power; And in these fits I leave them, while I visit Young Ferdinand, whom they suppose is drown'd, And his and mine loved darling. Exit above

I' the name of something holy, sir, why stand you In this strange stare?

O, it is monstrous, monstrous: Methought the billows spoke and told me of it; The winds did sing it to me, and the thunder, That deep and dreadful organ-pipe, pronounced The name of Prosper: it did bass my trespass. Therefore my son i' the ooze is bedded, and I'll seek him deeper than e'er plummet sounded And with him there lie mudded. Exit

But one fiend at a time, I'll fight their legions o'er.

I'll be thy second. Exeunt SEBASTIAN, and ANTONIO

All three of them are desperate: their great guilt, Like poison given to work a great time after, Now 'gins to bite the spirits. I do beseech you That are of suppler joints, follow them swiftly And hinder them from what this ecstasy May now provoke them to.

Follow, I pray you. Exeunt

SCENE I. Before PROSPERO'S cell.

Enter PROSPERO, FERDINAND, and MIRANDA

If I have too austerely punish'd you, Your compensation makes amends, for I Have given you here a third of mine own life, Or that for which I live; who once again I tender to thy hand: all thy vexations Were but my trials of thy love and thou Hast strangely stood the test here, afore Heaven, I ratify this my rich gift. O Ferdinand, Do not smile at me that I boast her off, For thou shalt find she will outstrip all praise And make it halt behind her.

I do believe it Against an oracle.

Then, as my gift and thine own acquisition Worthily purchased take my daughter: but If thou dost break her virgin-knot before All sanctimonious ceremonies may With full and holy rite be minister'd, No sweet aspersion shall the heavens let fall To make this contract grow: but barren hate, Sour-eyed disdain and discord shall bestrew The union of your bed with weeds so loathly That you shall hate it both: therefore take heed, As Hymen's lamps shall light you.

As I hope For quiet days, fair issue and long life, With such love as 'tis now, the murkiest den, The most opportune place, the strong'st suggestion. Our worser genius can, shall never melt Mine honour into lust, to take away The edge of that day's celebration When I shall think: or Phoebus' steeds are founder'd, Or Night kept chain'd below.

Fairly spoke. Sit then and talk with her; she is thine own. What, Ariel! my industrious servant, Ariel! Enter ARIEL

What would my potent master? here I am.

Thou and thy meaner fellows your last service Did worthily perform; and I must use you In such another trick. Go bring the rabble, O'er whom I give thee power, here to this place: Incite them to quick motion; for I must Bestow upon the eyes of this young couple Some vanity of mine art: it is my promise, And they expect it from me.

Ay, with a twink.

Before you can say 'come' and 'go,' And breathe twice and cry 'so, so,' Each one, tripping on his toe, Will be here with mop and mow. Do you love me, master? no?

Dearly my delicate Ariel. Do not approach Till thou dost hear me call.

Well, I conceive. Exit

Look thou be true; do not give dalliance Too much the rein: the strongest oaths are straw To the fire i' the blood: be more abstemious, Or else, good night your vow!

I warrant you sir; The white cold virgin snow upon my heart Abates the ardour of my liver.

Well. Now come, my Ariel! bring a corollary, Rather than want a spirit: appear and pertly! No tongue! all eyes! be silent. Soft music Enter IRIS

Ceres, most bounteous lady, thy rich leas Of wheat, rye, barley, vetches, oats and pease; Thy turfy mountains, where live nibbling sheep, And flat meads thatch'd with stover, them to keep; Thy banks with pioned and twilled brims, Which spongy April at thy hest betrims, To make cold nymphs chaste crowns; and thy broom -groves, Whose shadow the dismissed bachelor loves, Being lass-lorn: thy pole-clipt vineyard; And thy sea-marge, sterile and rocky-hard, Where thou thyself dost air;--the queen o' the sky, Whose watery arch and messenger am I, Bids thee leave these, and with her sovereign grace, Here on this grass-plot, in this very place, To come and sport: her peacocks fly amain: Approach, rich Ceres, her to entertain. Enter CERES

Hail, many-colour'd messenger, that ne'er Dost disobey the wife of Jupiter; Who with thy saffron wings upon my flowers Diffusest honey-drops, refreshing showers, And with each end of thy blue bow dost crown My bosky acres and my unshrubb'd down, Rich scarf to my proud earth; why hath thy queen Summon'd me hither, to this short-grass'd green?

A contract of true love to celebrate; And some donation freely to estate On the blest lovers.

Tell me, heavenly bow, If Venus or her son, as thou dost know, Do now attend the queen? Since they did plot The means that dusky Dis my daughter got, Her and her blind boy's scandal'd company I have forsworn.

Of her society Be not afraid: I met her deity Cutting the clouds towards Paphos and her son Dove-drawn with her. Here thought they to have done Some wanton charm upon this man and maid, Whose vows are, that no bed-right shall be paid Till Hymen's torch be lighted: but vain; Mars's hot minion is returned again; Her waspish-headed son has broke his arrows, Swears he will shoot no more but play with sparrows And be a boy right out.

High'st queen of state, Great Juno, comes; I know her by her gait. Enter JUNO

How does my bounteous sister? Go with me To bless this twain, that they may prosperous be And honour'd in their issue. They sing:

Honour, riches, marriage-blessing, Long continuance, and increasing, Hourly joys be still upon you! Juno sings her blessings upon you.

Earth's increase, foison plenty, Barns and garners never empty, Vines and clustering bunches growing, Plants with goodly burthen bowing; Spring come to you at the farthest In the very end of harvest! Scarcity and want shall shun you; Ceres' blessing so is on you.

This is a most majestic vision, and Harmoniously charmingly. May I be bold To think these spirits?

Spirits, which by mine art I have from their confines call'd to enact My present fancies.

Let me live here ever; So rare a wonder'd father and a wife Makes this place Paradise. Juno and Ceres whisper, and send Iris on employment

Sweet, now, silence! Juno and Ceres whisper seriously; There's something else to do: hush, and be mute, Or else our spell is marr'd.

You nymphs, call'd Naiads, of the windring brooks, With your sedged crowns and ever-harmless looks, Leave your crisp channels and on this green land Answer your summons; Juno does command: Come, temperate nymphs, and help to celebrate A contract of true love; be not too late. Enter certain Nymphs You sunburnt sicklemen, of August weary, Come hither from the furrow and be merry: Make holiday; your rye-straw hats put on And these fresh nymphs encounter every one In country footing. Enter certain Reapers, properly habited: they join with the Nymphs in a graceful dance; towards the end whereof PROSPERO starts suddenly, and speaks; after which, to a strange, hollow, and confused noise, they heavily vanish

[Aside] I had forgot that foul conspiracy Of the beast Caliban and his confederates Against my life: the minute of their plot Is almost come. To the Spirits Well done! avoid; no more!

This is strange: your father's in some passion That works him strongly.

Never till this day Saw I him touch'd with anger so distemper'd.

You do look, my son, in a moved sort, As if you were dismay'd: be cheerful, sir. Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itself, Ye all which it inherit, shall dissolve And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep. Sir, I am vex'd; Bear with my weakness; my, brain is troubled: Be not disturb'd with my infirmity: If you be pleased, retire into my cell And there repose: a turn or two I'll walk, To still my beating mind.

We wish your peace. Exeunt

Come with a thought I thank thee, Ariel: come. Enter ARIEL

Thy thoughts I cleave to. What's thy pleasure?

Spirit, We must prepare to meet with Caliban.

Ay, my commander: when I presented Ceres, I thought to have told thee of it, but I fear'd Lest I might anger thee.

Say again, where didst thou leave these varlets?

I told you, sir, they were red-hot with drinking; So fun of valour that they smote the air For breathing in their faces; beat the ground For kissing of their feet; yet always bending Towards their project. Then I beat my tabour; At which, like unback'd colts, they prick'd their ears, Advanced their eyelids, lifted up their noses As they smelt music: so I charm'd their ears That calf-like they my lowing follow'd through Tooth'd briers, sharp furzes, pricking goss and thorns, Which entered their frail shins: at last I left them I' the filthy-mantled pool beyond your cell, There dancing up to the chins, that the foul lake O'erstunk their feet.

This was well done, my bird. Thy shape invisible retain thou still: The trumpery in my house, go bring it hither, For stale to catch these thieves.

I go, I go. Exit

A devil, a born devil, on whose nature Nurture can never stick; on whom my pains, Humanely taken, all, all lost, quite lost; And as with age his body uglier grows, So his mind cankers. I will plague them all, Even to roaring. Re-enter ARIEL, loaden with glistering apparel, & c Come, hang them on this line. PROSPERO and ARIEL remain invisible. Enter CALIBAN, STEPHANO, and TRINCULO, all wet

Pray you, tread softly, that the blind mole may not Hear a foot fall: we now are near his cell.

Monster, your fairy, which you say is a harmless fairy, has done little better than played the Jack with us.

Monster, I do smell all horse-piss; at which my nose is in great indignation.

So is mine. Do you hear, monster? If I should take a displeasure against you, look you,--

Thou wert but a lost monster.

Good my lord, give me thy favour still. Be patient, for the prize I'll bring thee to Shall hoodwink this mischance: therefore speak softly. All's hush'd as midnight yet.

Ay, but to lose our bottles in the pool,--

There is not only disgrace and dishonour in that, monster, but an infinite loss.

That's more to me than my wetting: yet this is your harmless fairy, monster.

I will fetch off my bottle, though I be o'er ears for my labour.

Prithee, my king, be quiet. Seest thou here, This is the mouth o' the cell: no noise, and enter. Do that good mischief which may make this island Thine own for ever, and I, thy Caliban, For aye thy foot-licker.

Give me thy hand. I do begin to have bloody thoughts.

O king Stephano! O peer! O worthy Stephano! look what a wardrobe here is for thee!

Let it alone, thou fool; it is but trash.

O, ho, monster! we know what belongs to a frippery. O king Stephano!

Put off that gown, Trinculo; by this hand, I'll have that gown.

Thy grace shall have it.

The dropsy drown this fool I what do you mean To dote thus on such luggage? Let's alone And do the murder first: if he awake, From toe to crown he'll fill our skins with pinches, Make us strange stuff.

Be you quiet, monster. Mistress line, is not this my jerkin? Now is the jerkin under the line: now, jerkin, you are like to lose your hair and prove a bald jerkin.

Do, do: we steal by line and level, an't like your grace.

I thank thee for that jest; here's a garment for't: wit shall not go unrewarded while I am king of this country. 'Steal by line and level' is an excellent pass of pate; there's another garment for't.

Monster, come, put some lime upon your fingers, and away with the rest.

I will have none on't: we shall lose our time, And all be turn'd to barnacles, or to apes With foreheads villanous low.

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.

Ay, and this. A noise of hunters heard. Enter divers Spirits, in shape of dogs and hounds, and hunt them about, PROSPERO and ARIEL setting them on

Hey, Mountain, hey!

Silver I there it goes, Silver!

Fury, Fury! there, Tyrant, there! hark! hark! CALIBAN, STEPHANO, and TRINCULO, are driven out 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.

Hark, they roar!

Let them be hunted soundly. At this hour Lie 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

Enter PROSPERO in his magic robes, and ARIEL

Now does my project gather to a head: My charms crack not; my spirits obey; and time Goes upright with his carriage. How's the day?

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

I did say so, When first I raised the tempest. Say, my spirit, How fares the king and's followers?

Confined together In the same fashion as you gave in charge, Just as you left them; all prisoners, sir, In the line-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, Brimful of sorrow and dismay; but chiefly Him that you term'd, sir, 'The good old lord Gonzalo;' His tears run down his beard, like winter's drops From eaves of reeds. Your charm so strongly works 'em That if you now beheld them, your affections Would become tender.

Dost thou think so, spirit?

Mine would, sir, were I human.

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 moved than thou art? Though with their high wrongs I am struck to the quick, Yet with my nobler reason 'gaitist 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: My charms I'll break, their senses I'll restore, And they shall be themselves.

I'll fetch them, sir. Exit

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 demi-puppets that By moonshine do the green sour ringlets make, 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 though ye be, I have bedimm'd The noontide sun, call'd forth the mutinous winds, And 'twixt the green sea and the azured vault Set roaring war: to the dread rattling thunder Have I given fire and rifted Jove's stout oak With his own bolt; the strong-based promontory Have I made shake and by the spurs pluck'd up The pine and cedar: graves at my command Have waked their sleepers, oped, and let 'em forth By my so potent art. But this rough magic I here abjure, and, when I have required Some heavenly music, which even now I do, To work mine end upon their senses that This airy charm is for, I'll break my staff, Bury it certain fathoms in the earth, And deeper than did ever plummet sound I'll drown my book. Solemn music Re-enter ARIEL before: then ALONSO, with a frantic gesture, attended by GONZALO; SEBASTIAN and ANTONIO in like manner, attended by ADRIAN and FRANCISCO they all enter the circle which PROSPERO had made, and there stand charmed; which PROSPERO observing, speaks: A solemn air and the best comforter To an unsettled fancy cure thy brains, Now useless, boil'd within thy skull! There stand, For you are spell-stopp'd. Holy Gonzalo, honourable man, Mine eyes, even sociable to the show of thine, Fall fellowly drops. The charm dissolves apace, And as the morning steals upon the night, Melting the darkness, so their rising senses Begin to chase the ignorant fumes that mantle Their clearer reason. O good Gonzalo, My true preserver, and a loyal sir To him you follow'st! I will pay thy graces Home both in word and deed. Most cruelly Didst thou, Alonso, use me and my daughter: Thy brother was a furtherer in the act. Thou art pinch'd fort 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 understanding Begins to swell, and the approaching tide Will shortly fill the reasonable shore That now lies foul and muddy. Not one of them That yet looks on me, or would know me Ariel, Fetch me the hat and rapier in my cell: I will discase me, and myself present As I was sometime Milan: quickly, spirit; Thou shalt ere long be free. ARIEL sings and helps to attire him Where the bee sucks. there suck I: In a cowslip's bell I lie; There I couch when owls do cry. On the bat's back I do fly After summer merrily. Merrily, merrily shall I live now Under the blossom that hangs on the bough.

Why, that's my dainty Ariel! I shall miss thee: But yet thou shalt have freedom: so, so, so. To the king's ship, invisible as thou art: There shalt thou find the mariners asleep Under the hatches; the master and the boatswain Being awake, enforce them to this place, And presently, I prithee.

I drink the air before me, and return Or ere your pulse twice beat. Exit

All torment, trouble, wonder and amazement Inhabits here: some heavenly power guide us Out of this fearful country!

Behold, sir king, The wronged Duke of Milan, Prospero: For more assurance that a living prince Does now speak to thee, I embrace thy body; And to thee and thy company I bid A hearty welcome.

Whether thou best he or no, Or some enchanted trifle to abuse me, As late I have been, I not know: thy pulse Beats as of flesh and blood; and, since I saw thee, The affliction of my mind amends, with which, I fear, a madness held me: this must crave, An if this be at all, a most strange story. Thy dukedom I resign and do entreat Thou pardon me my wrongs. But how should Prospero Be living and be here?

First, noble friend, Let me embrace thine age, whose honour cannot Be measured or confined.

Whether this be Or be not, I'll not swear.

You do yet taste Some subtilties o' the isle, that will not let you Believe things certain. Welcome, my friends all! Aside to SEBASTIAN and ANTONIO But you, my brace of lords, were I so minded, I here could pluck his highness' frown upon you And justify you traitors: at this time I will tell no tales.

[Aside] The devil speaks in him.

No. For you, most wicked sir, whom to call brother Would even infect my mouth, I do forgive Thy rankest fault; all of them; and require My dukedom of thee, which perforce, I know, Thou must restore.

If thou be'st Prospero, Give us particulars of thy preservation; How thou hast met us here, who three hours since Were wreck'd upon this shore; where I have lost-- How sharp the point of this remembrance is!-- My dear son Ferdinand.

I am woe for't, sir.

Irreparable is the loss, and patience Says it is past her cure.

I rather think You have not sought her help, of whose soft grace For the like loss I have her sovereign aid And rest myself content.

You the like loss!

As great to me as late; and, supportable To make the dear loss, have I means much weaker Than you may call to comfort you, for I Have lost my daughter.

A daughter? O heavens, that they were living both in Naples, The king and queen there! that they were, I wish Myself were mudded in that oozy bed Where my son lies. When did you lose your daughter?

In this last tempest. I perceive these lords At this encounter do so much admire That they devour their reason and scarce think Their eyes do offices of truth, their words Are natural breath: but, howsoe'er you have Been justled from your senses, know for certain That I am Prospero and that very duke Which was thrust forth of Milan, who most strangely Upon this shore, where you were wreck'd, was landed, To be the lord on't. No more yet of this; For 'tis a chronicle of day by day, Not a relation for a breakfast nor Befitting this first meeting. Welcome, sir; This cell's my court: here have I few attendants And subjects none abroad: pray you, look in. My dukedom since you have given me again, I will requite you with as good a thing; At least bring forth a wonder, to content ye As much as me my dukedom. Here PROSPERO discovers FERDINAND and MIRANDA playing at chess

Sweet lord, you play me false.

No, my dear'st love, I would not for the world.

Yes, for a score of kingdoms you should wrangle, And I would call it, fair play.

If this prove A vision of the Island, one dear son Shall I twice lose.

A most high miracle!

Though the seas threaten, they are merciful; I have cursed them without cause. Kneels

Now all the blessings Of a glad father compass thee about! Arise, and say how thou camest here.

O, wonder! How many goodly creatures are there here! How beauteous mankind is! O brave new world, That has such people in't!

'Tis new to thee.

What is this maid with whom thou wast at play? Your eld'st acquaintance cannot be three hours: Is she the goddess that hath sever'd us, And brought us thus together?

Sir, she is mortal; But by immortal Providence she's mine: I chose her when I could not ask my father For his advice, nor thought I had one. She Is daughter to this famous Duke of Milan, Of whom so often I have heard renown, But never saw before; of whom I have Received a second life; and second father This lady makes him to me.

I am hers: But, O, how oddly will it sound that I Must ask my child forgiveness!

There, sir, stop: Let us not burthen our remembrance with A heaviness that's gone.

I have inly wept, Or should have spoke ere this. Look down, you god, And on this couple drop a blessed crown! For it is you that have chalk'd forth the way Which brought us hither.

I say, Amen, Gonzalo!

Was Milan thrust from Milan, that his issue Should become kings of Naples? O, rejoice Beyond a common joy, and set it down With gold on lasting pillars: In one voyage Did Claribel her husband find at Tunis, And Ferdinand, her brother, found a wife Where he himself was lost, Prospero his dukedom In a poor isle and all of us ourselves When no man was his own.

[To FERDINAND and MIRANDA] Give me your hands: Let grief and sorrow still embrace his heart That doth not wish you joy!

Be it so! Amen! Re-enter ARIEL, with the Master and Boatswain amazedly following O, look, sir, look, sir! here is more of us: I prophesied, if a gallows were on land, This fellow could not drown. Now, blasphemy, That swear'st grace o'erboard, not an oath on shore? Hast thou no mouth by land? What is the news?

The best news is, that we have safely found Our king and company; the next, our ship-- Which, but three glasses since, we gave out split-- Is tight and yare and bravely rigg'd as when We first put out to sea.

[Aside to PROSPERO] Sir, all this service Have I done since I went.

[Aside to ARIEL] My tricksy spirit!

These are not natural events; they strengthen From strange to stranger. Say, how came you hither?

If I did think, sir, I were well awake, I'ld strive to tell you. We were dead of sleep, And--how we know not--all clapp'd under hatches; Where but even now with strange and several noises Of roaring, shrieking, howling, jingling chains, And more diversity of sounds, all horrible, We were awaked; straightway, at liberty; Where we, in all her trim, freshly beheld Our royal, good and gallant ship, our master Capering to eye her: on a trice, so please you, Even in a dream, were we divided from them And were brought moping hither.

[Aside to PROSPERO] Was't well done?

[Aside to ARIEL] Bravely, my diligence. Thou shalt be free.

This is as strange a maze as e'er men trod And there is in this business more than nature Was ever conduct of: some oracle Must rectify our knowledge.

Sir, my liege, Do not infest your mind with beating on The strangeness of this business; at pick'd leisure Which shall be shortly, single I'll resolve you, Which to you shall seem probable, of every These happen'd accidents; till when, be cheerful And think of each thing well. Aside to ARIEL Come hither, spirit: Set Caliban and his companions free; Untie the spell. Exit ARIEL How fares my gracious sir? There are yet missing of your company Some few odd lads that you remember not. Re-enter ARIEL, driving in CALIBAN, STEPHANO and TRINCULO, in their stolen apparel

Every man shift for all the rest, and let no man take care for himself; for all is but fortune. Coragio, bully-monster, coragio!

If these be true spies which I wear in my head, here's a goodly sight.

O Setebos, these be brave spirits indeed! How fine my master is! I am afraid He will chastise me.

Ha, ha! What things are these, my lord Antonio? Will money buy 'em?

Very like; one of them Is a plain fish, and, no doubt, marketable.

Mark but the badges of these men, my lords, Then say if they be true. This mis-shapen knave, His mother was a witch, and one so strong That could control the moon, make flows and ebbs, And deal in her command without her power. These three have robb'd me; and this demi-devil-- For he's a bastard one--had plotted with them To take my life. Two of these fellows you Must know and own; this thing of darkness! Acknowledge mine.

I shall be pinch'd to death.

Is not this Stephano, my drunken butler?

He is drunk now: where had he wine?

And Trinculo is reeling ripe: where should they Find this grand liquor that hath gilded 'em? How camest thou in this pickle?

I have been in such a pickle since I saw you last that, I fear me, will never out of my bones: I shall not fear fly-blowing.

Why, how now, Stephano!

O, touch me not; I am not Stephano, but a cramp.

You'ld be king o' the isle, sirrah?

I should have been a sore one then.

This is a strange thing as e'er I look'd on. Pointing to Caliban

He is as disproportion'd in his manners As in his shape. Go, sirrah, to my cell; Take with you your companions; as you look To have my pardon, trim it handsomely.

Ay, that I will; and I'll be wise hereafter And seek for grace. What a thrice-double ass Was I, to take this drunkard for a god And worship this dull fool!

Go to; away!

Hence, and bestow your luggage where you found it.

Or stole it, rather. Exeunt CALIBAN, STEPHANO, and TRINCULO

Sir, I invite your highness and your train To my poor cell, where you shall take your rest For this one night; which, part of it, I'll waste With such discourse as, I not doubt, shall make it Go quick away; the story of my life And the particular accidents gone by Since I came to this isle: and in the morn I'll bring you to your ship and so to Naples, Where I have hope to see the nuptial Of these our dear-beloved solemnized; And thence retire me to my Milan, where Every third thought shall be my grave.

I long To hear the story of your life, which must Take the ear strangely.

Aside to ARIEL

• MARKETPLACE

Book Notes: A Visit to ‘The Enchanted Island,’ and a tale of ‘Melodies unheard’

One cold, gray February day, I thought what better play to read than “The Tempest,” what better place to be than on Prospero’s enchanted island? As William Hazlitt says in his1817 essay, the play “is full of grace and grandeur, the human and imaginary characters, the dramatic and the grotesque, are blended together with the greatest art. … He has here given ‘to airy nothing a local habitation and a name.’ (Characters of Shakespeare’s plays).

“The Tempest,” the play that was chosen, so interestingly, by his friends and fellow actors, to be the first in the First Folio, even though it was the last work that he wrote on his own; the play in which Shakespeare has his Prospero, in a speech of glorious lyricism, bid his farewell to the world of the stage - the great Globe Theater itself:

“Our revels now are ended. These our actors,

As I foretold you, were all spirits, and

Are melted into air, into thin air:

And, like the baseless fabric of this vision

The cloud-capped towers, the gorgeous palaces,

The solemn temples, the great globe itself,

Yea, all which it inherit, shall dissolve

And, like this insubstantial pageant faded,

Leave not a rack behind. We are such stuff

As dreams are made on, and our little life

Is rounded with a sleep.” (Act IV: sc. 1 ll. 148-158).

Every generation brings its own readings to Shakespeare’s plays, that is his chameleon genius, his perpetual gift. But even taking into account modern sensibilities - post-colonial questions, Prospero as patriarch - the magic spell cast by the play remains, and at the core of this magic, a thread that weaves the fabric of the play into a harmonious whole, is the music and songs of Ariel, Prospero’s servant and spirit of the air, who promises to “do my spiriting gently.”

Even the bruised spirit of Caliban is soothed by these “Sounds, and sweet airs, that give delight and hurt not.” Such music, as he says, that:

“ Sometimes a thousand twangling instruments

Will hum about mine ears, and sometimes voices

That, if I then had waked after a long sleep,

Will make me sleep again; and then, in dreaming,

The clouds methought would open and show riches

Ready to drop on me, that, when I waked

I cried to dream again.” (Act III: sc.3. ll.143-152).

Again, it is Ariel’s most loved songs with their “sweet air” that bring balm to Prince Ferdinand, grief struck, believing his father to have been drowned in the tempest:

“Come unto these yellow sands,

And then take hands:

Courtsied when you have and kiss’d,

The wild waves whist,[into silence]

Foot it featly here and there;

And, sweet sprites, the burthen[refrain]bear.

Hark, hark!

The watch-dogs bark:

…. …. …. ….

Ferdinand: Where should this music be? i’ the air or the earth?

…. …. …. … ….

This music crept by me upon the waters,

Allaying both their fury and my passion

With its sweet air: thence I have followed it,

Or it hath drawn me rather. But it is gone:

No, it begins again.

Ariel sings:

Full fathom five thy father lies;

Of his bones are coral made;

Those are pearls that were his eyes:

Nothing of him that doth fade

But doth suffer a sea-change

Into something rich and strange.

Sea-nymphs hourly ring his knell:” (Act I: sc. 2. ll 376-402).

And it is Ariel who persuades the vengeful Prospero to abandon his tormenting of the wrecked mariners, his usurping brother and all the crew:

Ariel: “Your charm so strongly works ‘em

That if you now beheld them, your affections

Would become tender.

Prospero: Dost thou think so, spirit?

Ariel: Mine would, sir, were I human.

Prospero: And mine shall.

…. …. …. …. ….

Go release them, Ariel:

My charms I’ll break, their senses I’ll restore,

And they shall be themselves.”

Thus the moment arrives when, left alone, Prospero muses on his powers and all that he has done with his “so potent art”. The time has come to close the chapter with “heavenly music,” “a solemn air and the best comforter/ To an unsettled fancy.”

“But this rough magic

I here abjure, and when I have required

Some heavenly music, which even now I do,

To work mine end upon their senses that

This airy charm is for, I’ll break my staff,

Bury it certain fathoms in the earth,

And deeper than did ever plummet sound

I’ll drown my book.” (Act V: sc. 1 ll. 15-57).

And then, as Ariel attires Prospero in the robes of the Duke of Milan, one of his final tasks as servant before he gains his long promised freedom, he sings:

“Where the bee sucks, there suck I:

In a cowslip bell I lie;

There I couch when owls do cry.

On the bat’s back I do fly

After summer merrily.

Merrily, merrily shall I live now

Under the blossom that hangs on the bough.

Prospero: Why that’s my dainty Ariel! I shall miss thee.”

Ariel, spirit of the air, and his “solemn music,” summon thoughts of the music of the spheres - first conceived of by the Ancient Greek mathematician, Pythagoras. Johannes Kepler, the 17th century astronomer, thought such music could be heard, not by the ear, but by the soul, as did his near contemporary, the physician and divine, Sir Thomas Browne:

“For there is a musicke where-ever there is a harmony, order or proportion; and thus farre we may maintain the musicke of the spheres; for those well ordered motions, and regular paces, though they give no sound unto the eare, yet to the understanding they strike a note most full of harmony.” (Religio Medici: bk.2 section 9).

A thought captured by George Herbert in this line in his sonnet “Prayer 1” - “Music beyond the stars heard”.

Or, in T. S. Eliot’s words:

“the unattended

Moment, the moment in and out of time,

The distraction fit, lost in a shaft of sunlight,

The wild thyme unseen, or the winter lightning

Or the waterfall, or music heard so deeply

That it is not heard at all, …..” (“The Dry Sauvages” ll. 206-212.)

Or again, the deep silence and musical enchantment of Keats’ “Ode to a Grecian Urn” - ever en-chanting, however familiar to our ears it might be:

“Thou still unravished bride of quietness,

Thou foster-child of silence and slow time,

What pipes and timbrels? What wild ecstasy?

Heard melodies are sweet, but those unheard

Are sweeter; therefore, ye soft pipes, play on;

Not to the sensual ear, but, more endeared

Pipe to the spirit ditties of no tone:”

As a coda, let us go to the late 20th Century and another “soft pipe” that delivers another kind of music. “The Rain Stick” is the first poem in Seamus Heaney’s 1996 collection The Spirit Level:

“Upend the rain stick and what happens next

Is a music that you never would have known

To listen for. …..

You stand there like a pipe

Being played by water, you shake it lightly

And dimuendo runs through all its scale

Like a gutter stopping trickling. …….

Who cares if all the music that transpires

Is the fall of grit or dry seeds through a cactus?

You are like a rich man entering heaven

Through the ear of a raindrop. Listen now again.”

Indeed, yes, let us “Listen now again” to these “sounds and sweet airs that give delight and hurt not.”

Belinda de Kay is director emeritus of Stonington Free Library.

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