[386-94] Just what Caliban means here is uncertain.

[387-95] Sty here means confine, as in a sty.

[387-96] This clause means did'st not, savage, know the meaning of thine own words.

[387-97] Rid means destroy.

[388-98] Old here, as often in the writings of Shakespeare's time, is used merely to make stronger the meaning of the word that follows it.

[388-99] Kiss'd the wild waves whist means soothed the wild waves into peace.

[389-100] Ferdinand was suffering, and Shakespeare used the word passion to express the idea as we use it in speaking of the Passion of Christ.

[389-101] This line means without suffering a change from the effects of the sea.

[389-102] Owes here means possesses.

[389-103] Prospero speaking to Miranda says, "Lift up your eyelids and tell me what you see yonder."

[389-104] In this connection brave means fine or noble.

[390-105] Canker means rust or tarnish. Prospero says, "Except for the fact that he's somewhat stained with grief, which tarnishes beauty, you might call him a goodly person."

[390-106] Miranda, it must be remembered, has never seen any other man than her father.

[390-107] Prospero sees his plan going on well and gives Ariel credit for it. Just what the plan is will soon become apparent.

[390-108] Ferdinand speaks somewhat aside when he sees the beautiful Miranda, and then directly addresses her. He is embarrassed, calls her a goddess, asks her how he shall behave, calls her a wonder, but above all, wishes to know if she is mortal or not.

[390-109] The word Miranda means wonderful

[390-110] "She speaks my language!"

[391-111] A single thing means a weak and companionless thing.

[391-112] Myself am Naples means I am now the King of Naples.

[391-113] Notice that this is the only mention of a son to Antonio, the usurping Duke of Milan.

[391-114] Control means here confute, that is, tell you differently.

[391-115] Prospero notices the interest the two young people have taken in each other, and as this furthers his plan he feels more grateful to Ariel.

[391-116] What Prospero says is, "I fear that in claiming to be the King of Naples you have done some wrong to your character."

[392-117] Prospero wishes to test the love he sees in Ferdinand, and make him earn his prize. So he charges the young man with deceit and threatens him.

[392-118] Fearful here means timid.

[393-119] Ward is his position of defense to ward off a blow.

[393-120] Nerves is here used for muscles and sinews.

[394-1] This word means a ship—the merchantman.

[395-2] A visitor in this sense is one who visits the sick to comfort them. Antonio and Sebastian are ridiculing Gonzalo for his efforts to cheer and console them.

[395-3] Tell means keep tally. Sebastian means that the clock of Gonzalo's wit has struck one.

[395-4] Dolour means grief or sadness.

[395-5] Instead of of he or Adrian, we would say merely he or Adrian. Antonio offers to bet a good sum on which will speak first, Gonzalo or Adrian.

[395-6] Gonzalo.

[395-7] A match means I take the bet.

[396-8] Sebastian has lost his bet, and he pays with a laugh.

[396-9] Adrian means temperature when he says temperance.

[396-10] People often named their girls Temperance, Prudence, Faith, etc. It is to this fact that Antonio jokingly alludes.

[396-11] Lush means juicy.

[396-12] Eye here means tint or shade.

[397-13] We would now say for instead of to.

[397-14] Tunis is near the supposed site of Carthage. The story of Dido and AEneas is told in Virgil's AEneid.

[397-15] One of the stories of the god Mercury is that he gave to Amphion, King of Thebes, a magic harp upon which the king played and so charmed the stones that they sprang into place to make the walls of his city.

[398-16] The meaning of stomach in this line is appetite or desire. Alonso says they crowd their words into his ears when his feelings do not relish such nonsense.

[398-17] Rate means estimation.

[398-18] His is used for its and refers to shore.

[398-19] For as, read as if.

[399-20] Who is used for which. This is but another illustration of the changes that have taken place in the use of words since Shakespeare's time.

[399-21] Sebastian tells the King that he alone is responsible for the loss. Even his daughter weighed her wish to be obedient against her loathing of the match.

[399-22] Dearest here means the same as heaviest or worst.

[399-23] Chirurgeon is the old word for surgeon. Antonio says, "And in the most surgeon-like manner."

[400-24] Gonzalo says, literally. "When you are sad, we all share your sorrow."

[400-25] "Had I the colonizing" is what Gonzalo means. Antonio makes it appear that Gonzalo was speaking of planting the island.

[400-26] Succession means inheritance, as a son succeeds to his father's property.

[400-27] Bourn means brook, hence boundary, as of land.

[400-28] Tilth means tillage or cultivation, as of land.

[401-29] He probably means any engine of war.

[401-30] Foison means plenty of grain or fruits.

[401-31] The Golden Age is that period of the world's history when there was no sin, sorrow or suffering, and when all mankind was so good that there was no need of government of any sort. The Greeks, especially, but other peoples to some extent, have mythical tales of such a time.

[401-32] Sensible is here used for sensitive.

[401-33] Gonzalo admits that in witty talk he is nothing in comparison to Antonio and Sebastian.

[401-34] A blow with the flat of a sword is harmless: so is Gonzalo's wit.

[402-35] We would say should instead of would in this case.

[402-36] When they used to hunt birds in the night, they called it bat-fowling. Sometimes at night they took a light into the woods, and while one of the hunters held a net in front of the light, the others would beat the bushes round about. Some of the frightened birds would fly directly at the light and become entangled in the net.

[402-37] Adventure here means put in peril.

[402-38] Ariel is at work again, and in carrying out the plans of Prospero, he causes some to fall asleep that the others may plot.

[402-39] Omit here means neglect. Sebastian suggests that it will be better for Alonso to go to sleep while he can. He has reasons for wishing the King asleep.

[403-40] Alonso grows more sleepy under Ariel's influence, and in these words alludes to what Sebastian has just said—"It is a wondrous heavy offer of sleep."

[404-41] They refers to the other men.

[404-42] Probably we must understand Antonio to mean, "What might you be!" In this way Antonio begins to tempt Sebastian, whom he finds ready to listen.

[404-43] Speaks means proclaims.

[404-44] Antonio says in effect, "You close your eyes when you are awake. You are blind to your opportunity."

[404-45] "If you heed me."

[404-46] Antonio means, "Which if you do, you shall be three times as great as you are now."

[405-47] By I am standing water, Sebastian means that he is like the ocean standing between tides, ready to ebb or flow. That is, he is ready to accept suggestions from Antonio.

[405-48] Antonio says in effect, "The more you ridicule the purpose I suggest, the more you welcome it."

[405-49] Ebbing men, that is, men whose fortunes are at a low ebb.

[405-50] Matter means something of great importance.

[405-51] "It is difficult or painful for you to say what you think." While both have about the same idea in their minds, neither is quite willing to speak of it openly. It is too cruel and murderous a thought.

[405-52] Francisco.

[405-53] That is, "this lord who remembers little of the favors done him, and will be remembered no better."

[405-54] Earth'd means buried.

[406-55] A wink here means the least distance.

[406-56] It is difficult to say just what But doubt discovery there means. Antonio says, "But out of your certainty that Ferdinand is drowned, you have a great hope, a hope so high that ambition cannot see anything greater."

[406-57] This means ten leagues farther away than a man can travel in his life.

[406-58] Can have no note means can receive no word.

[406-59] This clause means unless the sun carried the mail.

[406-60] Though some were cast up again.

[406-61] This sentence means, you and I can manage what is to come.

[407-62] "Measure us back," etc., means the same as Return to us.

[407-63] The word others may be understood after there be.

[407-64] A chough is a bird of the jackdaw kind.

[407-65] This clause means, I myself could breed a bird to talk as sensibly.

[407-66] This is difficult to understand. Perhaps it means. "And how does your present contentment advance or care for your interest?"

[407-67] Feater means more fittingly or more becomingly.

[408-68] A kibe is a sore on the heel.

[408-69] Candied means here the same as crystallized.

[408-70] This means, while you, doing the same thing, might put Gonzalo to continuous sleep forever.

[408-71] Suggestion here means temptation.

[408-72] They'll tell the clock to any business, etc., means they will speak any words we tell them to.

[408-73] Draw together is let us draw our swords together.

[409-74] That is, Why are your swords drawn?

[409-75] This means, Why do you look so ghastly?

[410-1] Inch-meal means piece-meal.

[410-2] Urchin-shows are fairy-shows.

[410-3] Fire-brand refers to will o' the wisp, or dancing balls of light seen sometimes at night in swampy places. People used to think these lights were tended by naughty sprites who lured men into trouble.

[410-4] We would now say sometimes.

[410-5] Mow means make mouths or grin.

[411-6] Pricks, here, means their prickles or sharp quills.

[411-7] Caliban is a monster, part brute, part human, more fish-like than man-like, probably. He works only when Prospero drives him to it, and he hates his master bitterly in spite of all that the latter has done for him. Now Caliban is under punishment for his wickedness.

[411-8] To bear off means to keep off.

[411-9] A bombard is a black jar or jug to hold liquor.

[411-10] Poor-john is an old name for dried and salted hake, a kind of fish.

[411-11] Trinculo means that any strange beast could be exhibited and make a man's fortune.

[412-12] A gaberdine was a coarse outer garment or frock.

[412-13] A swabber is a man who scrubs the decks of a ship.

[412-14] Tang means sharp taste; here it means that Kate spoke sharply.

[413-15] Inde may mean India as we understand it, or West India, that is, America. Stephano probably alludes to the sham wonders from America that were often exhibited by lying showmen.

[413-16] Neat's-leather is calfskin.

[413-17] Stephano means that he will take all he can get.

[413-18] He alludes to an old saying, "Good liquor will make a cat talk."

[414-19] This is probably the nearest to a prayer that Stephano can remember in his fright.

[414-20] This alludes to an old proverb, "He that would eat with the devil must use a long spoon."

[414-21] Siege here means seat.

[414-22] A moon-calf was any shapeless monster; supposed to be made so through the influence of the moon.

[415-23] The superstitious Trinculo is still a little afraid that Stephano may be a ghost.

[415-24] Constant here means settled, from his recent experiences in the sea.

[415-25] The word an may be omitted from before if without altering the meaning. Caliban fears the men may be evil spirits, but thinks Stephano must be a god.

[415-26] Sack is an old-fashioned intoxicating drink. A butt is a big cask holding about two hogsheads.

[416-27] All these things the fanciful used to think they could see in the face of the moon.

[416-28] This probably means that Caliban had taken a long hearty draught at the bottle.

[417-29] Pig-nuts were probably ground-nuts, the small bulbous growths on the roots of certain vines.

[417-30] A staniel is a kestril, a beautiful hawk.

[418-1] Ferdinand says, "Some sports are painful, and the delight we take in them offsets the labor."

[418-2] Baseness here means lowliness, rather than anything base or evil.

[418-3] Prospero has set Ferdinand to carrying logs, a hard task and a lowly one, to test his love for Miranda, to find out how manly he really is.

[419-4] The meaning of this line probably is that when he works the least he is really most wearied because he does not have Miranda's sympathetic words to cheer him, or the sweet thought that he is working for her.

[420-5] Put it to the foil, means put it on the defensive. Foil was a general name for swords.

[420-6] Ferdinand thinks his father has been drowned, but wishes it were not so, even though he is thereby made King.

[422-7] The flesh-fly is the blow-fly, which lays its eggs in meat and helps its decay.

[422-8] Hollowly here means falsely.

[422-9] We would now say, "Whatsoever else."

[422-10] Instead of to want, we would say from wanting.

[423-11] Fellow here means equal.

[423-12] Bondman may be read for bondage. He accepts her as willingly as a slave ever accepted freedom.

[423-13] "A thousand thousand farewells."

[423-14] Prospero desires Ferdinand to love and marry Miranda and has planned for it, but he is surprised at the suddenness and strength of their love.

[423-1] As in a naval battle one ship runs alongside another, and the sailors leap aboard.

[424-2] Set means fixed and staring.

[424-3] Standard may be read standard-bearer.

[424-4] Trinculo means that Caliban is too drunk to stand.

[424-5] Trinculo is always jesting, even at his own expense. He means he is so drunk he would pick a quarrel with a constable.

[424-6] Debosh'd means debauched.

[425-7] A natural is a fool or a simpleton.

[425-8] Stephano means "You shall be hanged on the next tree."

[425-9] As Ariel is invisible, each thinks another has spoken.

[425-10] "This thing" is Caliban himself.

[426-11] The court fools or jesters of that day wore clothes of many colors—were pied, that is, dappled.

[426-12] Patch is another word referring to the parti-colored clothing of the jester.

[426-13] The quick freshes are the running springs of fresh water.

[426-14] Stock-fish is a word used in the writings of that period to mean some kind of a fixture, which men struck with their fists or with cudgels in practicing boxing and fighting.

[427-15] Stephano speaks first to Caliban, then to Trinculo.

[427-16] The weazand is the windpipe or throat.

[427-17] Sot in this place means fool, not drunkard. Caliban thinks Prospero's books are the source of his magic power over such spirits as Ariel and those he commands.

[427-18] Brave here means beautiful or showy.

[428-19] This speech of Ariel's is made aside, that is, out of hearing of the three conspirators.

[428-20] Troll the catch means sing the jolly song.

[428-21] While-ere means awhile since.

[428-22] "I will do anything reasonable," says Stephano.

[428-23] "What is this music I hear?"

[428-24] A common sign in those times was called the picture of Nobody. It consisted of a head upon two legs, with arms.

[429-25] Stephano probably means, "Take a blow from my fist," and speaks to the invisible spirit or devil that he now thinks to be near them, because of Ariel's curious interruptions.

[429-26] Sometime is again used for sometimes.

[430-1] By our lady! was a common exclamation. A diminutive form of this was by our ladykin which was contracted into by our lakin.

[430-2] Forth-rights are straight lines.

[430-3] Meanders are crooked lines.

[430-4] Attach'd with means seized by.

[430-5] Frustrate means defeated or baffled.

[430-6] Throughly means the same as through. Sebastian means that the next time he will carry his purpose through.

[431-7] A drollery was an amusing show of the Punch and Judy kind, where the characters were puppets. In a living drollery, the characters would be alive instead of puppets.

[431-8] The phoenix was a fabled bird of antiquity which lived a hundred years and then died in flames, only to rise young and strong again from its ashes. There was but one such bird in the world, and somewhere in Arabia was a tree, different from any other in the world, in which the phoenix built its nest.

[431-9] Certes means for a certainty.

[432-10] Muse here means wonder at.

[432-11] Probably Prospero alludes to an old saying which meant, "Do not praise your banquet too soon; wait till it is over."

[432-12] Among the strange shapes that danced about the banquet were deformed men from whose throats the flesh hung down in huge pockets, like goitres, and others whose heads grew from their breasts without neck and shoulders.

[432-13] Sometimes in Shakespeare's days they practiced a curious kind of insurance. If a man were going on a long journey, he put out in the hands of agents a sum of money, under the agreement that if he returned he was to have a certain number of times the money he put out. If the journey was perilous, the agreement might call for five times the sum; if a safer journey, perhaps twice the amount. If the traveler did not return, the agents kept the sum put out. Gonzalo uses the phrase "Each putter-out of one for five," to mean each man who goes on a perilous journey. He means that every traveler returning vouches for, or gives good warrant for, the wonders he has seen.

[433-14] Instead of That hath to instrument, we might read That has control of. The whole sentence means: "You are three sinful men whom Destiny, that rules this lower world and what is in it, has caused the never-surfeited sea to throw on shore; yes, and on this island which man does not inhabit; you who are among men the most unfit to live."

[433-15] Water closes immediately over any cut made in it.

[434-16] Dowle means down, and the comparison means, as cut off a single thread of down from my plumes.

[434-17] Requit means here revenged.

[434-18] Whose refers to the word powers six lines before. The meaning of the remainder of Ariel's speech is as follows: "Nothing but repentance and a clear life hereafter can guard you from the wrath that otherwise will fall upon your heads in this desolate isle."

[435-19] The meaning of the preceding clause is: "Thus with the skill of life and keen observance of the ways of men, my humbler servants have done their work, each according to his nature or kind."

[435-20] It refers to his sin against Prospero.

[435-21] That is: "It sang my misdeed in a terrible bass."

[435-22] This clause means: "My son sleeps in the ooze on the bottom of the ocean."

[435-23] Mudded means buried in mud. Alonso threatens to drown himself.

[436-24] There are said to be poisons which will not work until a long time after a person takes them.

[436-25] For ecstasy, read fit of madness.

[437-1] Vanity probably means fine display.

[437-2] With a twink means in the twinkling of an eye.

[437-3] Mop means chattering.

[437-4] Mow means making faces. Mop and mow were words applied to such chattering and grinning as a monkey makes.

[437-5] A corollary here means more than enough.

[437-6] Pertly means alertly.

[437-7] Iris was the fleet messenger of the Greek gods. She had beautiful golden wings, and as she flew across the heavens, she left the many-colored rainbow as her trail.

[437-8] Ceres was the Greek goddess of the earth, who especially watched over the growth of grain and fruits. She it is who brings rich harvests, or when her attention is called away, permits drought to kill the vegetation.

[438-9] Stover is fodder. A mead thatched with stover is a meadow covered with rich grass and hay.

[438-10] The common marsh-marigold was called peony in some localities.

[438-11] Reeds were called twills in some localities.

[438-12] The frequent rains of April make the ground like a water-soaked sponge.

[438-13] This passage means: "Thy banks with edges bordered with marsh-marigolds and reeds which rainy April trims to make cold crowns for chaste nymphs."

[438-14] Lass-lorn means forsaken by his lass.

[438-15] The poles in a vineyard are clipt or embraced by the vines.

[438-16] Juno was Queen of the sky and Iris was her special messenger.

[438-17] Rainbow.

[438-18] Peacocks were sacred to Juno and are represented as accompanying her.

[438-19] Jupiter was the chief god of the ancient Greeks, and Juno was his wife.

[440-20] Bosky means wooded.

[440-21] Unshrubbed downs are tracts of land on which no bushes grow.

[440-22] Venus was the Greek goddess of love and beauty.

[440-23] Dis is another name for Pluto, who according to the Greek mythology ruled in the dismal lower world.

[440-24] By the aid of Venus, Pluto stole Proserpina, the daughter of Ceres and Jupiter, and carried her away to be his queen in Hades.

[440-25] Her blind boy is Cupid, the mischievous little god of love.

[440-26] Paphos was a city in Cyprus, where Venus loved to live.

[440-27] Juno's walk was very stately and dignified.

[440-28] Juno was a large, noble, motherly-looking woman, who is represented in art as attended by the nymphs and the hours, as well as by Iris. The goose and the cuckoo were as much Juno's birds as the peacock. She was the protectress of young married people and infants, and so was worshipped especially by women.

[441-29] Foison and plenty mean about the same thing. The phrase might be read, overflowing plenty, a great plenty.

[441-30] This means, may a new spring come as soon as you have gathered the harvest of the old one. May there be no winter in your lives.

[441-31] Ferdinand is still amazed, and inquires if they are really spirits that he sees.

[442-32] So rare a wonder'd father means, so rarely wonderful a father.

[442-33] Crisp means curled, alluding to the wavelets that the breezes make on the surface of the water.

[442-34] The sicklemen are reapers called from the harvest fields to make merry.

[443-35] Avoid means begone.

[443-36] The thin fleecy clouds, highest in the sky, were called rack.

[443-37] On is here used for of.

[443-38] We would say rounded off or finished.

[444-39] I thank ye is spoken to Ferdinand and Miranda, and is Prospero's reply to their good wishes.

[444-40] Meet with means oppose or counteract.

[444-41] For breathing means because it breathed. In the next line, for kissing means because it kissed.

[444-42] Unback'd means unridden.

[444-43] Advanced means raised.

[445-44] The pool was mantled, or covered over, with filth.

[445-45] For that read so that or insomuch that.

[445-46] Stale means bait. It was a term used by hunters for a bait that would lure birds.

[445-47] Caliban.

[445-48] Nurture can never stick on his nature: that is, he can never be improved by culture or education.

[445-49] Cankers means rusts, or here, eats into itself.

[445-50] It is not known whether line refers to a clothesline or to a line tree. Only Shakespeare himself could tell us to a certainty.

[446-51] Play'd the Jack with us. "Led us astray as a Jack-o'-lantern might."

[446-52] To hoodwink this mischance means to make it forgotten or overlooked.

[446-53] In Hudson's Shakespeare this is explained as an allusion to the old ballad entitled "Take thy old Cloak about thee." The following stanza is quoted:

"King Stephen was a worthy peer, His breeches cost him but a crown: He held them sixpence all too dear. Therefore he called the tailor lown."

[447-54] A frippery was a shop where old clothes were sold. Trinculo has found the clothing Ariel hung upon the line.

[447-55] Under the line. We can imagine that Stephano has pulled the leather jerkin or coat from the line. When he says under the line, he thinks of that as an expression sailors use when they are near the equinoctial line or equator, where the heat is intense, so strong as to take the hair or fur off the coat and make it a bald jerkin.

[447-56] By line and level, that is, as architects build, by plumb line and level. Trinculo picks up the word line and makes a new pun on it.

[448-57] A pass is a thrust; pate is head. Pass of pate is a thrust or sally of wit.

[448-58] Lime is a sticky substance used to catch birds.

[448-59] Barnacles here means barnacle-geese, a kind of geese supposed by the superstitious to be produced when certain barnacles or shell-fish fell into the sea water.

[449-60] Pard is a contraction for leopard; cat-o'-mountain may be another name for wild-cat, though wild-cats are not spotted. Probably the term is loosely used to mean any spotted animal of the cat tribes.

[450-1] Goes upright with his carriage means, goes erectly under his burden, that is, there is time enough to accomplish what Prospero wishes to do.

[450-2] That is, "In the grove of line-trees which protects your cell from the weather."

[450-3] Till your release means till you release them.

[451-4] In this place all has the sense of quite; relish means feel; passion has the sense of suffering. The meaning of the clause is, that feel suffering quite as sharply as they.

[451-5] Neptune, the name of the god of the seas, is used for sea or ocean.

[451-6] "Fairy rings" are green circles in the grass. They were supposed to be caused by fairies dancing in a circle, but are now known to be caused by mushrooms which grow in circles and which enrich the ground as they decay. Because it contained some peculiar quality which Shakespeare calls sourness, the sheep would not eat the grass of the rings.

[452-7] Because mushrooms and toadstools spring up so quickly in the night, they were supposed to be the work of fairies.

[452-8] The curfew rings at night, and the fairies rejoice to hear it, for it is the signal for them to begin their frolics.

[452-9] The fairies are weak masters, that is, they can accomplish little if left to themselves, but under the direction of a human mind like Prospero's they could work such wonders as he describes.

[452-10] The oak was sacred to Jove (Jupiter), and lightning and thunder-bolts were his chief weapons.

[452-11] The spurs are the long roots of the pines and cedars.

[453-12] Boil'd is used for boiling or seething.

[453-13] Sociable to means sympathizing with.

[453-14] Fall fellowly drops means shed tears in sympathy.

[453-15] Rising senses means clearing mental faculties.

[453-16] Ignorant fumes that mantle alludes to the confusion that the charm has caused in their ideas. The whole passage means simply that they are recovering their senses.

[453-17] This sentence means, I will reward thee to the utmost.

[453-18] Remorse here means pity.

[453-19] Nature here means brotherly love.

[454-20] The reasonable shore means the shore of reason. As the tide rises to the shore of the sea, so their clearing thoughts fill their minds.

[454-21] Discase me means remove my disguise.

[454-22] As I was sometime Milan means as I was once, the Duke of Milan.

[454-23] The meaning of the three lines preceding has been much disputed. No one knows exactly what the poet meant. Perhaps Ariel sings with this meaning: "When the owls cry and foretell the approach of winter, I fly on the back of a bat in a merry search for summer."

[456-24] Ariel uses this fanciful way of saying that he will go as fast as human thought.

[456-25] Wher is a contraction of whether.

[456-26] Trifle here means phantom or spirit.

[456-27] This clause means, if this be at all true.

[456-28] My wrongs means the wrongs I have done.

[456-29] He speaks to Gonzalo.

[457-30] Taste some subtilties means feel some deceptions.

[457-31] Justify you traitors means prove that you are traitors.

[457-32] Woe here means sorry.

[458-33] As late means as recent.

[458-34] In this place admire means wonder.

[458-35] Are natural breath means are the breath of a human being. The lords are still amazed; they cannot reason, they can scarcely believe their eyes or that the words they hear come from a living human being.

[458-36] In this connection yet means now or for the present.

[458-37] That is, it is a story to be told day after day.

[459-38] Miranda playfully accuses Ferdinand of cheating in the game.

[459-39] The exact meaning of wrangle has not been determined, and critics still disagree. However, what Miranda says is, "you might cheat me for a score of kingdoms and yet I would call it fair play."

[459-40] Alonzo means that if this sight of Ferdinand is one of the witcheries of the island, he will feel that he has lost his son a second time.

[460-41] And this lady by becoming my wife makes him a second father to me.

[462-42] That is, "all of us have found our senses, when no man was in possession of his own."

[462-43] See Act I—Scene I.

[462-44] This sentence means, "Now you blasphemous man who swore so on board the ship that we could be saved, have you not an oath to swear on shore?"

[463-45] Tricksy means clever.

[463-46] Capering to eye her means dancing with joy at seeing her.

[463-47] Moping here means bewildered.

[463-48] Conduct of is used for conductor or leader of.

[463-49] That is, "some wise man must make it clear to us."

[463-50] This sentence means "Do not trouble your mind by hammering away at the strangeness of these happenings."

[464-51] At pick'd leisure is at a chosen time when we have the opportunity.

[464-52] Single I'll resolve means I will explain singly.

[464-53] Of every these happen'd accidents means how every one of these things happened.

[464-54] Stephano is still a little drunk and his tongue uncertain in its speech. He means, Let us every man shift for himself.

[464-55] Coragio is used for courage!

[464-56] Trinculo means, "If my eyes do not deceive me."

[465-57] Without here means outside of or beyond.

[465-58] Gilded is a word that was commonly applied to a man who was drunk.

[465-59] Meat that is infested with maggots which have hatched from eggs laid by flies is said to be fly-blown. These will not lay their eggs in pickled meat. Trinculo says he has been so pickled, that is drunk, that the flies will not blow him.

[465-60] Stephano is sore from his torments, but as the word sore also means harsh and severe, he makes a good pun in his speech.

[466-61] Retire me means withdraw myself.

[466-62] Prospero has accomplished his purpose; he has recovered his dukedom, has found a suitable husband for his daughter, and now feels that life has little in store for him. So every third thought will be in preparation for his death.

[467-63] The Epilogue is a part spoken by one of the actors after the play is over, and is addressed to the audience. Here Prospero steps forward and speaks.

[467-64] He has dismissed Ariel and laid aside all his magic arts.

[467-65] The audience may hold him on the island or send him to Naples, for he is still under a spell.

[467-66] He asks the audience to applaud, to clap their hands, for noise always breaks charms, and will release him from the enchantment so that he may return to his dukedom.



STUDIES FOR "THE TEMPEST"

THE AUTHOR. Many times we have had occasion to say that an acquaintance with an author has much to do with our liking for his works, and as we read the great plays of our greatest poet, we wish we might know him more intimately. However, when we look for information concerning him, we quickly find that comparatively little is known of the man beyond what we can draw from his writings, and few authors have shown themselves less vividly. After doing our best, we can find only a great, shadowy Author who must have had a broad knowledge, a rare invention, a profound insight into human nature, a penetrating sympathy and a marvelous power of expression. As seen through his works, he appears more than human, but when we look into our histories, we wonder that so great a man could have lived and died, and left so light an impression on his times. In fact, some wise men have felt that the William Shakespeare we know could never have written the great plays that bear his name. That is a question, however, we need not discuss; it is better to leave the credit where it has rested for centuries, and believe that the plays are better evidence of Shakespeare's greatness than his own life is evidence of his ability to write them.

William Shakespeare was born in Stratford-on-Avon, April 23, 1564. His father, John Shakespeare, was a respectable citizen, a wool-dealer and a glover, who at one time possessed considerable means, and was an alderman and a bailiff in the little town, but who later on lost most of his property and ceased to be prominent in the affairs of the village. William's mother was Mary Arden, a gentle, tender woman of Norman descent, who exerted a powerful influence over the lives of her children.

Until William was about fourteen years old he attended the free school in Stratford, and though there are many legends concerning his boyhood pranks and his gift for learning, we know practically nothing for a certainty. In one of the desks at the school, they still show the initials he is supposed to have cut during some idle moment. Of his youth we know still less, except that at about eighteen he married Ann Hathaway, a farmer's daughter who lived in the village of Shottery, a mile or two from Stratford. Ann was eight years older than William, but they seem to have lived happily and to have loved the children that were born to them.

The next thing we can be really certain of is, that about the time William was twenty-three he went to London and soon became connected with a company of actors. Here the genius of the poet began to make itself felt. He wrote some plays, he recast others, and by the time he had been five years in the city, he was prominent among the bright men of his time, and was recognized as a rising man. Unlike most actors and writers of that period, Shakespeare was not a dissipated man, but attended carefully to his duties, saved his money, and ten years after he left Stratford was able to return to his native town and buy a fine estate, to which he added from time to time. His money had not all come from his writings and his acting, however, for he owned a large part of the stock in the two leading theaters in London.

About 1604 he ceased to be an actor, although he continued to write for the stage, and in fact produced his greatest plays after that date. Seven years later he returned finally to Stratford, and there lived a quiet and delightful home life until 1616, when on the anniversary of his birth he died suddenly of a fever. He was buried in the little parish church at Stratford, where his remains rest beside those of his wife. On the flat stone that covers his body is inscribed this epitaph:

"Good frend for Iesus sake forbeare, To digg the dvst encloased heare: Blesse be ye man yt spares thes stones, And Cvrst be he yt moves my bones."

Such are the principal facts that we know concerning the great man, and a simple biography it certainly is. We must not, however, think that he was not popular among his fellows, or that he was merely a successful business man. He counted among his friends the wisest and best men of his time, and some of them have written their impressions of him. Ben Jonson, a rough but sincere and honest man, says: "I loved the man, and do honor his memory, on this side idolatry, as much as any. He was indeed honest, and of an open, free nature; had an excellent phantasy, brave notions and gentle expressions."

THE PLAY. The Tempest was one of the last of the poet's dramas, though not the last, as some writers have contended. It was not printed until 1623, after the poet's death, but it was written, according to Hudson, between 1603 and 1613, and probably between 1610 and 1613.

The story seems to have been original with Shakespeare; at least no satisfactory evidence has been given to show that he borrowed it. This is rather unusual, for Shakespeare showed a fine contempt for originality, and borrowed the plots of his plays from a great variety of sources. His own version of each story, however, was so masterly that no one regrets that he availed himself of all the assistance he could get.

The scene of the play is laid on an island; what island we do not know. Probably it is as mythical as the events that happened on it.

The Tempest is one of Shakespeare's most perfect plays. In form it is perfect, and follows, more closely than was customary with him, the strict laws of the old Greek dramas, the laws which critics still uphold as those governing the highest art. The three unities are here observed: The events all occur in a single day; they happen in a single place; from beginning to end there is one continuous line of thought. Only the last characteristic is still generally observed by dramatic writers.

Beside perfection in form, The Tempest shows the greatest nicety in the way the natural and supernatural move along together without a single interference. It is difficult to think of the magic art of Prospero as more marvelous than the coarse plotting of Sebastian, or to consider the delicate Ariel and the mis-shapen Caliban less human than the manly Ferdinand, or the honest old Gonzalo. Only a great writer could accomplish this, and none but a genius could make of his work a piece so fine that we delight in every line of it. It would be unfair too not to mention the beautiful expressions that abound in it, the high sentiments that prevail, and the great renunciation that Prospero makes when he has in his hands every means for swift and terrible revenge.

CHARACTERS. In reading the drama we become acquainted with the characters, and begin to be indifferent toward some, to have admiration for others and contempt for others. In real life we must not be governed by our first impressions of people. We must study their appearance, their speech, their actions, and make up our minds as to their characters before we decide to make them our friends. It is very unwise to trust every agreeable person we meet, and especially unwise to be suspicious of every person who at first impresses us unfavorably. The older we grow, the keener becomes our power to read character, and the less liable we are to be deceived if we try always to use our best judgment. One of the great benefits literature can offer us is the opportunity to study character, and Shakespeare had such a remarkable insight into human nature, and so great a power of drawing character that in his plays we can see before us almost every type of human being, and from a study of them we can gain a knowledge of humanity that will help us every day of our lives.

Accordingly, let us take up, one after another, the principal characters in The Tempest and study them in such a way that we shall be able to read other plays with greater ease and quickened intelligence.

1. Prospero. The hero of the drama is a man well advanced in years, grave, dignified and serene. As Duke of Milan he was a prince of power, "without a parallel in dignity and knowledge." He was popular with his subjects, for so dear was the love his people bore him, that the conspirators did not dare to destroy him. Yet he was not inclined to rule his dukedom, for he grew a stranger to his estate, so transported and wrapt was he in secret studies. He confesses that his library was dukedom enough for him, and that he had volumes that he prized above his dukedom. This was his weakness, and upon this his false brother preyed, until one night in the dead of darkness the Duke and the crying Miranda were set adrift in the rotten carcass of a boat, which the very rats instinctively had quit.

On the island, with the books Gonzalo had preserved for him, he continued his studies and played the schoolmaster to his gentle child until she was better educated and more highly cultured than other princesses that spend more time in vain enjoyments and have less careful tutors. Prospero's love for his daughter is the strong, central trait in his character. He has raised her judiciously, guarded her zealously, and now when he finds, brought to his very door, all the actors in the tragedy of his life, his one great care is to provide for Miranda's happiness. All his plans lead to that end, and when he has achieved it, the labors of his life are over.

The supernatural powers that Prospero has acquired seem natural to the studious, dignified old gentleman, and amazing as they are, we can discredit none of them. He tells us he caused the storm, and Miranda begs him to save the passengers on the doomed ship with perfect confidence in his ability to do it. He causes sleep to fall on Miranda, and he summons the gentle Ariel, who enters as naturally as a human being, and admits the marvelous acts that he has seen Prospero perform. Caliban testifies to the power of Prospero so convincingly that we know the magician has control of the destinies of every human being on the island, and can wreak a terrible vengeance if he is determined to do it. When Ferdinand draws his sword, the magician by a word makes him powerless as he stands. We see the magic banquet appear and disappear, and Iris, Ceres, Juno, the nymphs and the reapers come and converse, as a proof positive of his more than mortal power. How has he used this power and how will he continue to use it? When first he came upon the island it was full of evil, and the powers of darkness ruled. He has imprisoned and punished the evil spirits; freed the gentle and the good, banished all discord, and filled the island "full of noises, sounds and sweet airs that give delight and hurt not." That in the future he will use his vast power only for good, we feel assured. Only Caliban hates and abuses him, but the testimony of one so wicked rather proves the gentleness, wisdom and justice of the magician.

Prospero's passionate love for his daughter makes him cunning and wise. Before he will trust his daughter to Ferdinand, he tests both the character and the love of the latter most severely. He even feigns anger and appears to be cruel and unjust. That he is feigning, neither suspect, but Miranda says: "Never till this day saw I him touch'd with anger so distemper'd," and "My father's a better nature, sir, than he appears by speech." When he is assured of Ferdinand's worthiness, of the sincerity of his love for Miranda and of her devotion to her young lover, he is delighted, and becomes so interested in the entertainment he is giving them, that he forgets the plot against his life, although the hour of his danger has arrived. It is true the father stoops to listening, but his purpose is so worthy, no one is inclined to cavil at his watchfulness, and, in any event, his exceeding care but justifies the feeling that his love for Miranda is the mainspring of his every act.

On this small island Prospero is little less than a god, and controls affairs with almost supernatural justice and wisdom. Caliban, the ungrateful, terribly wicked monster, is punished unsparingly but with justice, for in the end with repentance he is forgiven, and the tortures cease. Ariel and the other obedient spirits, though reproved at times, are rewarded by freedom and placed beyond the reach of the evil powers of earth and air.

The sufferings Prospero has endured, the intensity of his studies, and the fierceness of his struggles with the supernatural powers of evil, have given a tinge of sadness to his thought, and have led him to feel that the result of all his labors may amount to little. The world is to him but an insubstantial pageant that shall dissolve and fade, leaving not the trace of the thinnest cloud behind. And as for ourselves,

"We are such stuff As dreams are made on, and our little life Is rounded with a sleep."

Yet no sooner does he give way to this feeling than he sees how unkind it is to trouble the young with such musings, and says pathetically to Ferdinand,

"Sir, I am vex'd; Bear with my weakness; my old brain is troubled: Be not disturbed with my infirmity."

It is, however, at the end of the play, when all his plans have been carried out successfully, and enemies and friends are alike at his mercy, that the character of Prospero shines out most gloriously. Rejoicing at the fruition of his hopes, he asks from his enemies only a sincere repentance, and then nobly resigning the great arts which have rendered the plotters powerless, he forgives them one and all: his brother Antonio; the scheming Sebastian; Caliban, the evil spirit; and the two weak but wicked ones, Stephano and Trinculo. Then with generosity unparalleled he restores Ferdinand to his father, the King, who has joined with Antonio, and promises to all "calm seas, auspicious gales and sail so expeditious that shall catch your royal fleet far off." Remembering to set Ariel free, he lays aside his magic gown, breaks his staff, buries it fathoms deep in the earth, and drowns his magic book deeper than did ever plummet sound. Thus he leaves us, only a man once more, but a loving father, a wise and gentle ruler.

2. Miranda. We have seen that the master feeling in Prospero's soul is his love for his daughter. Is she worthy of so great an affection? Let us draw our answers from the drama.

(a) She is beautiful.

Ferdinand says:

"Most sure, the goddess On whom these airs attend!"

And:

"O you wonder! If you be maid or no?"

Caliban says:

"And that most deeply to consider is The beauty of his daughter; he himself Calls her a nonpareil: I ne'er saw woman But only Sycorax my dam and she; But she as far surpasseth Sycorax As great'st does least."

Alonzo says:

"Is she the goddess that hath sever'd us, And brought us thus together?"

(b) She is educated, cultured and refined.

Prospero says:

"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."

(c) She is tender-hearted, sympathetic and compassionate.

She says:

"O, I have suffer'd With those that I saw suffer!"

And:

"O, the cry did knock Against my very heart!"

Prospero speaks of these traits:

"Wipe thou thine eyes; have comfort. The direful spectacle of the wreck, which touch'd The very virtue of compassion in thee,——"

Speaking of the trials which Prospero puts upon Ferdinand, she says:

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

When she learns of her helplessness at the time they were set adrift, she says:

"O, my heart bleeds To think o' the teen that I have turn'd you to."

When Miranda hears how her father was treated by her false uncle, she exclaims:

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

(d) She is brave.

Prospero says of her childhood:

"O, a cherubim Thou wast that did preserve me! Thou didst smile, Infused with a fortitude from Heaven."

(e) She is innocent and unacquainted with mankind and hates the sight of evil.

When she first sees Ferdinand, she asks:

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

Again:

"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 finally:

"How beauteous mankind is! O brave new world, That has such people in't."

She says of Caliban:

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

(f) She is grateful.

When she is told of Gonzalo's services to her and her father, she exclaims:

"Would I might But ever see that man!"

(g) She is a loving, faithful woman:

While Ferdinand is at work she pleads:

"Alas, now, pray you, Work not so hard,—— Pray, set it down, and rest you: when this burns, 'Twill weep for having wearied you."

Again:

"If you'll sit down, I'll bear your logs the while."

Later Ferdinand asks, "Wherefore weep you?" Miranda answers:

"At mine unworthiness,—— ——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."

(h) Lover and father both bestow unqualified praise upon her. Ferdinand says:

"Admired Miranda! Indeed the top of admiration; worth What's dearest to the world!—— ——but you, O you, So perfect and so peerless, are created Of every creature's best!"

Her father says:

"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."

3. Ferdinand. The quotations we have made from the text seem to have answered our question as to Miranda's worthiness. Upon what sort of a man has she set her affections? Will she find in her husband the man she thinks she is to marry? Answer these questions for yourselves by reading the text and setting down the proofs as we did while studying Miranda.

4. Ariel. Prospero's agent Ariel is an interesting study, for the poet has drawn him with lines so clear and exact that he seems a veritable person. Will you not seek to know him, and in doing so follow these suggestions?

(a) Ariel appears in the following scenes:

ACT I SCENE II (three times) ACT II SCENE I (twice) ACT III SCENE II (once) SCENE III (once) ACT IV SCENE I (once) ACT V SCENE I (five times)

How many scenes are there in the play? In how many does Ariel appear? In what scenes does he make no appearance? What characters appear more times? What characters appear more prominently in the play?

(b) Ariel does many different things. Make a list of the things Ariel does in this plays and a second list of the things that it appears Ariel has done elsewhere.

(c) Ariel appears in different forms. What are these forms? Is Ariel ever visible to any of the characters besides Prospero? Does Ariel ever appear visibly to Prospero? If the play were to be acted on the stage, would it be necessary at any time to have a person come upon the stage to represent him?

(d) Ariel has human characteristics. What acts like those of a human being does Ariel commit? What does Ariel say that shows him to have human traits?

(e) Ariel is a spirit. What supernatural things does Ariel do? What does Ariel say that makes him seem more than human?

(f) Ariel has a many-sided character. Find in the play where the following questions are answered: Is he faithful? Does he do his duties well? Does Ariel love music? Does he feel gratitude? Does he always favor the right? Is Ariel merry? Does he love fun? Does he play practical jokes? Does he love warmth and light, or cold and darkness? Is he sympathetic? Does he lessen the grief of any one? Does he lead any one to remorse for evil deeds? Does he assist love in the hearts of Ferdinand and Miranda? Do you think Prospero always treats him fairly? Does he seem so light and inconstant that he needs some discipline? What will he do when he is released from Prospero's control? Finally, does Ariel seem lovable to you, would you like him as a friend and companion as well as a powerful servant?

5. Caliban. It is difficult to tell just what the slave of Prospero looked like, and it is not at all unlikely that the poet intended we should not see him very clearly. He is a hideous spectacle, scarcely human, yet resembling a man in some respects. He is called in various places villain, slave and tortoise; a moon-calf, that is, a shapeless lump; a fish, with legs like a man and fins like arms; a puppy-headed monster; a man monster; half a fish and half a monster; a plain fish; a mis-shaped knave; "as strange a thing as e'er I looked upon;" and it is said of him that his manners are as disproportioned as his shape.

Is the character of Caliban apparently in keeping with his appearance? What does Prospero say of him? Do you place confidence in the opinion of such a man as Prospero, and do you feel that he is not unnecessarily severe? Does Caliban do anything to justify the bad character Prospero gives him early in the play? Why do you suppose Shakespeare introduces into the play such a character? Does such a character heighten the effect of the others?

6. Other Characters. Classify the other characters as good or bad. Where did you place Alonso? Is there any doubt at all as to where Gonzalo should be placed? Are there any redeeming traits in Stephano? Do you think Trinculo's jesting is really funny? Would you like the play better if Stephano and Trinculo were left out of it? What can you find in the boatswain's words to justify the opinion Gonzalo holds of him? Which is the greater scoundrel, Sebastian or Antonio?

THE STORY or PLOT. A certain duke has been by treachery driven from his principality with his infant daughter, and has found refuge on an uninhabited island. After many years those who plotted against him are thrown into his power, he recovers his dukedom and marries his daughter to the son of his king. Such, in brief, is the plot of The Tempest, but how wonderfully it is expanded, and how many characters have been created, how many incidents created to give interest and truthfulness to the narrative. Let us follow the play through, and by studying the relation of the incidents, one to another, learn to appreciate more fully the art of the great magician who wrote the play.

ACT I—SCENE I. Purpose: To introduce the enemies of Prospero. Do we know at the time of such a person as Prospero? Do we know why the persons are on the ship, where they intended to go or where they are now? When do we find out these things? What idea do you get of Gonzalo in the first scene? Why is his conversation with the boatswain put into the play?

ACT I—SCENE II. Purpose: To bring before us all the leading characters in the play, and to tell us enough about them to secure our interest; also to give us the history necessary to an understanding of the plot. When do we first learn that there are miracles and magic in the play? How do we learn what has happened to Prospero before the time of the storm? How do we learn Ariel's history? How are we made acquainted with Caliban? How do we learn that Prospero raised the storm? How were the mariners confused, and by whom were all saved? What did Prospero whisper in the ear of Ariel when the latter came in after Prospero has called Caliban? What incident followed as a result of this command? How did Ariel lead Ferdinand? Are there other places in the play where Ariel leads people in the same way? What do you call the three most important incidents in this scene? What incidents could be left out of this scene without interfering with the development of the plot?

ACT II—SCENE I. Purpose: To account for the presence of the plotters, and to show the character of the men. Is it necessary to the development of the main plot that Sebastian and Antonio should scheme to kill the king? Do any of the incidents of this scene have any direct bearing on the main plot? Could any of the incidents of this scene be omitted without injury to the play?

ACT II—SCENE II. Purpose: To create amusement, lighten the play and by contrast make the fine parts more beautiful. Is any character in the scene absolutely essential to the completion of the story? Would you understand the story as well if the entire scene were omitted?

ACT III—SCENE I. Purpose: To disclose Prospero's purpose more fully, and to secure our interest in Ferdinand and Miranda.

ACT III—SCENE II. What is the purpose of this scene? What bearing do the incidents of this scene have upon the main plot?

ACT III—SCENE III. What effect is the magic banquet to have on the persons who saw it? What was Prospero's purpose in showing it? Did it contribute in any way to the success of his general plan?

ACT IV—SCENE I. What incidents in this scene are necessary, and what are introduced to give light and beauty to the play? What is the effect of introducing Caliban and his companions right after Ariel and the spirits have been entertaining Ferdinand and Miranda? What are Mountain, Silver, Fury and Tyrant, mentioned in this scene?

ACT V—SCENE I. What is the purpose of this scene? Is the plot brought to a satisfactory conclusion? Are there any characters left unaccounted for? Does every character in the play appear in this scene? Are they all on the stage when the curtain falls?

Make a list of the incidents which to you seem unnecessary, which could be left out without injury to the real story. Make another list of incidents that could not be omitted without spoiling the story. Find two little plots that make complete stories in themselves, but that help only in a moderate degree to make the main story clearer.

POETRY AND PROSE. Do any of the characters speak always in prose? Do any speak always in poetry? Do some speak partly in prose and partly in poetry? Can you see any connection between each character and his method of speech? How many songs are sung in the play? Who sings them? Do you like any of the songs? What effect do the songs have upon the play? Can you find rhyming lines anywhere excepting in the songs? Does any character speak in rhyme?

CONCLUSION. If we study a play too long or continue to read it after our interest ceases for a time, we are liable to be prejudiced against it, and to feel that it is not worth the labor we have put upon it. If, however, a person will stop studying when he begins to lose interest and work seems a drudgery, he will come back a little later with renewed interest. Again, when we study a play minutely as we have been doing, and view it from many sides, we may lose sight for a time of the unity and beauty of the whole composition. This is peculiarly unfortunate, for the poet intends us to view his work as a whole, and to produce his effect with the whole. It is The Tempest that we will remember as a work of art, and, if our studies are fruitful, that will draw us back to it at intervals for many years to come. Before we leave it, we must take it and read it through in a leisurely manner, pausing merely to enjoy its beauty, to smile at its playfulness and to feel our hearts expand under the benign influence of the grand old man Prospero. Now Miranda, Ferdinand and Ariel have passed the line of mere acquaintances, and have become to us fast friends, who, though they may be forever silent, have yet given us a fragment of their lives to cheer us on our way.

OTHER PLAYS OF SHAKESPEARE. Shakespeare wrote a great many plays, and all are not equally good; a few seem so inferior that many who study them think they were not written by the same hand that penned The Tempest. Some of the plays are more difficult than others, and some cannot be comprehended until the reader has had some experience in life. There are several, on the other hand, that may be read with great interest and profit by almost any one, while those who have read The Tempest as we have recommended, should find some measure of enjoyment in all. A Midsummer Night's Dream is a charming fairy story; The Merchant of Venice is a good story, contains fine characters and shows some of Shakespeare's most beautiful thoughts, although some people are inclined to believe he has dealt too severely with the Jew. Much Ado About Nothing is a jolly comedy to match with The Comedy of Errors. Julius Caesar, Richard III and Coriolanus are interesting historical plays, and Hamlet, Macbeth and Romeo and Juliet are among the best of his tragedies. If a person would read just the plays mentioned in the thoughtful way we have indicated here, he would gain a benefit whose great value never can be estimated, and thereafter all reading would seem easier and more delightful.



PRONUNCIATION OF PROPER NAMES

NOTE.—The pronunciation of difficult words is indicated by respelling them phonetically. N is used to indicate the French nasal sound; K sound of ch in German; ue the sound of the German ue and French u; oe the sound of oe in foreign languages.

ABOUKIR, ah boo keer' ACHILLES, a kil' leez ACIS, ay' sis AIX, ayx AJAX TELAMON, ay' jacks tel' a mon ALAMO, al' a mo ALAMEDA, ah la may' dah ALAVA, ah' la vah ALGIERS, al jeerz' ALGONQUIN, al gon' kwin ALLOUEZ, al loo ay' ALONSO, a lon' zo ALPUXARRAS, ahl'' poo hahr' ras ALVARADO, ahl vah rah' do ANTIGUA, an tee' gwa APHRODITE, af ro di' tee ARDENNES, ahr den' ARGONAUTA, ahr go naw' tah ARIEL, ay' ry el AYACANORA, i a kahn o' rah BOABDIL, bo ahb deel' CADIZ, kay' diz CANOVA, kah no' vah CASABIANCA, kas'' a bee an' kah CHARLEVOIX, shahr'' lev wah' CHARYBDIS, ka rib' dis COLIGNI, ko'' leen'' yee', or ko leen' yee COMMUNIPAW, kom mun' y paw CORIOLANUS, kor y o lay' nus COROMANTEES, ko ro mahn' teez CUNDINAMARCA, koon'' dee nam ahr' kah DAMFREVILLE, doN freh veel' D'AUMALE, do mahl' DEMARATUS, de mar' a tus DENT BLANCHE, doN bloN' sh DIAZ, dee' ahs, or dee' ath DIOGENES, di oj' ee neez DISCOBOLUS, dis kob' o lus ELIA, ee' ly a EPHIALTES, ef y al' teez EURYALUS, u ri' a lus FERROL, fer role' FINISTERRE, fin'' is tayr' FLIEDNER, fleet' ner FRONTENAC, fron' te nak GALATEA, gal a tee' a GHENT, gent GONZALES, gon zah' leez GONZALO, gon zah' lo GRANADA, gran ah' dah GREVE, grayv' HERNANDO CORTES, her nahn' do kor tays' HERVE RIEL, her vay'' ree el' IVRY, eev ree' JOLIET, zho lee yay' KIKABEAUX, kee ka bo' KORAN, ko' ran, or ko rahn' LA CHINE, lah sheen' LEIGH, AMYAS, lee, a mi' as LEONIDAS, lee on' y das LETHE, lee' thee LOCHIEL, lo keel' LOUVRE, loo' vr' MAELSTROM, mayl' strum MALOUINS, mah loo aN' MARCO BOZZARIS, mahr' ko bo tsa' rees, popularly bo zar' is MAYENNE, mi en' MEGISTIAS, me gis' ty as MIAMIS, mi ah' miz MICHILLIMACKINAC, mee'' shil y mack' in ak MIGUEL, mee gayl' MILAN, mil' an, or mil an' MYCENAE, mi see' nee NACOGDOCHES, nak o do' chez NAVARRE, nah vahr' NOMBRE DE DIOS, nom' bray day de os' NYACK, ni' ak OETA, ee' ta OLMEDO, ol may' do ORCHOMENUS, or kom' ee nus ORDAZ, or dath' PEDRILLO, pay dreel' yo PELOPONNESUS, pel'' o pon nee' sus PERE MARQUETTE, payr mar ket' PHOENICIANS, fee nish' anz PICARDY, pik' ar dy PIZARRO, pee zahr' ro PLATAEA, pla tee' a PLUTARCH, plu' tark PROSPERO, pros' pe ro PUEBLO NUEVA, pweb' lah nuay' va ROCHEFORT, rosh for' ST. GENEVIEVE, saN zhen'' vy ayv' SALTO DE ALVARADO, sahl'' to day ahl vah rah' do SAN ANTONIO DE BEXAR, day bay hahr' SANDOVAL, sahn do vahl' SAN JACINTO, san ja sin' to SANTA FE, san'' ta fay' SAULT SAINTE MARIE, soo saint may' ry SCYLLA, sil' la SEGUIN, se geen' STUYVESANT, sti' ves sant TALADEGA, tah lah day' ga TEGEA, tee' gee a TEMERAIRE, tem e rayr' THERMOPYLAE, thur mop' y lee TLASCALANS, tlahs kah' lahns TOURVILLE, toor veel' TRAFALGAR, traf al gahr' or tra fal' gar TYROLESE, tir ol ees' VIGO, vee' go VILLENEUVE, veel neuv' WILHELMUS KIEFT, vil hel' mus keeft' XENIL, hay' neel XERXES, zurks' eez



Transcriber's Note

Corrections

Page Error 36 bring them to me? changed to bring them to me?' 310 dreadful ery changed to dreadful cry 336 Footnote 6 was skipped in numbering the footnotes in this section. 379 his fortune changed to his fortunes 391 The marker for footnote 391-115 was missing in the original book. It was inserted based on context. 424 CALIBAN drinks. changed to [CALIBAN drinks. 430 Aside to changed to Aside to 430 SEBAS. [Aside changed to Sebas. [Aside 431 The phoenix was changed to The phoenix was 478 cherubim changed to cherubim 490 Demartus changed to Demaratus 491 Plataea was changed to Plataea

Other comments

180 Footnote for 180-3 was printed on 181 340 Footnotes 340-14 and 340-15 were printed on 341 413 Footnote 413-18 was originally printed on 414 440 Footnote 440-28 was originally printed on 441

Inconsistent spelling and hyphenation:

bowsprit / bow-sprit Caesars / Caesars Cortes / Cortes Fe / Fe Hardkoppig / Hard-Koppig hillside / hill-side lifelong / life-long misshapen / mis-shapen Moskoestrom / Moskoe-strom negroes / Negroes Pere / Pere Schermerhorns / Schermerhornes southwest / south-west spiers / spiers Thermopylae / Thermopylae thunderbolt / thunder-bolt thunderbolts / thunderbolts topmast / top-mast upstaring / up-staring waterside / water-side

THE END