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 : BURDEN. Ding-dong. Hark! now I hear them,-Ding-dong, bell. FER. The ditty does remember my drown'd father: This is no mortal business, nor no sound As we have, such. This gallant which thou seest And his brave son, being twain. PRO. [Aside.] Is the third man that e'er I saw; the first FER. I must uneasy make, lest too light winning That thou attend me: thou dost here usurp FER. No, as I am a man. ANT. He could not miss it. ADR. It must needs be of subtle, tender, and delicate temperance. ANT. Temperance was a delicate wench. SEB. Ay, and a subtle; as he most learnedly delivered. ADR. The air breathes upon us here most sweetly. SEB. As if it had lungs, and rotten ones. SEB. Of that there's none, or little. GON. How lush and lusty the grass looks! how green! ANT. The ground, indeed, is tawny. SEB. No; he doth but mistake the truth totally. GON. But the rarity of it is-which is indeed almost beyond credit— SEB. As many vouched rarities are. GON. 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. ANT. If but one of his pockets could speak, would it not say, he lies? SEB. Ay, or very falsely pocket up his report. GON. 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. a Which, of he or Adrian,-] So the old text, and rightly; compare the following from "Midsummer Night's Dream," Act III. Sc. 2: "Now follow, if thou dar'st to try whose right, Of thine or mine, is most in Helena." The usual reading is that adopted by Capell, "Which of them, he or Adrian," &c. ; but Mr. Collier's annotator reads,"Which, or he or Adrian," &c. SEB. 'Twas a sweet marriage, and we prosper well in our return. ADR. Tunis was never graced before with such a paragon to their queen. GON. Not since widow Dido's time. ANT. Widow? a pox o' that! How came that widow in? Widow Dido! SEB. What if he had said, widower Eneas too? good lord, how you take it! ADR. Widow Dido, said you? you make me study of that she was of Carthage, not of Tunis. GON. This Tunis, sir, was Carthage. ADR. Carthage? GON. I assure you, Carthage. ANT. His word is more than the miraculous harp. SEB. He hath raised the wall, and houses too. ANT. What impossible matter will he make easy next? SEB. I think he will carry this island home in his pocket, and give it his son for an apple. ANT. And, sowing the kernels of it in the sea, bring forth more islands. ALON. Ay!! ANT. Why, in good time. GON. 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. ANT. And the rarest that e'er came there. SEB. Bate, I beseech you, widow Dido. ANT. O, widow Dido! ay, widow Dido. GON. Is not, sir, my doublet as fresh as the first day I wore it? I mean, in a sort. ANT. That sort was well fish'd for. GON. When I wore it at your daughter's marriage? ALON. You cram these words into mine ears against I ne'er again shall see her. O thou mine heir b Ha, ha, ha! So, you're paid.] In the old copies, "So, you're paid," is given to Antonio, wrongly. Temperance.] That is, temperature. d Lush-] Succulent, juicy. e the miraculous haip.] The harp of Amphion. f Ay! This sigh or exclamation, which the two next speeches show indisputably to have been uttered by the king, upon awaking from his trance of grief, has, hitherto, in both old and modern editions, been assigned to Gonzalo. |