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mediately the prince and princess fall in love with each other.

ACT II

The other victims of the shipwreck wander about the island until all except Antonio and Sebastian are lulled to sleep by Ariel's music. These two plan to murder the king, so that if they should be rescued Sebastian may become king of Naples. Ariel frustrates their plot by awakening Gonzalo. In another part of the island Trinculo, a jester, and Stephano, a butler, discover Caliban.

АСТ III

To test Ferdinand's love for Miranda, Prospero sets him to carrying and piling logs. He works faithfully, refusing to let Miranda help him, but telling her of his love for her. Caliban tells Stephano and Trinculo that he is subject to a tyrant and a sorcerer, and the three plan to kill Prospero and have the island for themselves. Alonso, Sebastian, Antonio, and the others wander about until they are nearly overcome with hunger and weariness. Prospero, aided by Ariel, tantalizes them with the vision of a spectral banquet.

ACT IV.

Ferdinand's labors are rewarded by the gift of Miranda's hand from her father, who entertains the lovers with visions of spirits. Their revels are interrupted by the remembrance of Caliban's plot against Prospero's life. The conspirators are frustrated and punished by Ariel and Prospero, who set divers spirits in the shape of dogs and hounds upon them.

ACT V

Ariel brings Alonso and his companions to Prospero's cell. Resolved to forgive them if they should be penitent for the past, Prospero reveals his identity to them. His

dukedom is restored to him. Alonso mourns his son as lost, but Prospero shows him Ferdinand playing at chess with Miranda. Alonso sanctions their troth. Prospero swears to nevermore make use of his magic and the king and his company, with Prospero and his daughter journey to Naples to solemnize the nuptials of Ferdinand and Miranda.

THE TEMPEST

ACT FIRST

SCENE J

On a ship at sea: a tempestuous noise of thunder and lightning heard.

Enter a Ship-Master and a Boatswain.

Mast. Boatswain!

Boats. Here, master: what cheer?

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

Enter Mariners.

[Exit.

Boats. 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!

1. Upon this scene Coleridge finely remarks: "The romance opens with a busy scene admirably appropriate to the kind of drama, and giving, as it were, the key-note to the whole harmony. It is the bustle of a tempest, from which the real horrors are abstracted;therefore it is poetical, though not in strictness natural-(the distinction to which I have so often alluded)—and is purposely restrained from concentering the interest on itself, but is used merely as an induction or tuning for what is to follow."-H. N. H.

3. "Good"; "my good fellow," a persuasive preface to a command. So in vv. 16, 20, etc.-C. H. H.

Enter Alonso, Sebastian, Antonio, Ferdinand, Gonzalo, and others.

Alon. Good boatswain, have care.

Where's 10

the master? Play the men.

Boats. I pray now, keep below.

Ant. Where is the master, boatswain?
Boats. Do you not hear him? You mar our
labor: keep your cabins: you do assist the

storm.

Gon. Nay, good, be patient.

Boats. When the sea is. Hence! What cares

these roarers for the name of king? To
cabin: silence! trouble us not.

20

Gon. Good, yet remember whom thou hast aboard. Boats. None that I more love than myself. You are a counselor; 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, 30 good hearts! Out of our way, I say. [Exit. Gon. 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

19. "roarers"; blusterers.-C. H. H.

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