Act II - Scene I

Another part of the island.

[Enter Alonso, Sebastian, Antonio, Gonzalo, Adrian, and Francisco]

GONZ:
[to Alonso] 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(5)
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.
ALONSO:
Prithee, peace.(10)
SEBAST:
He receives comfort like cold porridge.
ANTONIO:
The visitor will not give him o'er so.
SEBAST:
Look, he's winding up the watch of his wit. By and by
it will strike.
GONZ:
[to Alonso] Sir,—(15)
SEBAST:
[to Antonio] One: tell.
GONZ:
[to Alonso] —when every grief is entertained that's
offered,
Comes to th’ entertainer—
SEBAST:
A dollar.(20)
GONZ:
Dolour comes to him indeed. You have spoken truer
than you
purposed.
SEBAST:
You have taken it wiselier than I meant you should.
GONZ:
[to Alonso] Therefore, my lord,—(25)
ANTONIO:
[to Sebastian] Fie, what a spendthrift is he of his
tongue!
ANLONSO:
[to Gonzalo] I prithee, spare.
GONZ:
Well, I have done. But yet—
SEBAST:
[to Antonio] He will be talking.(30)
ANTONIO:
Which, of he or Adrian, for a good wager, first
begins to crow?
SEBAST:
The old cock.
ANTONIO:
The cockerel.
SEBAST:
Done. The wager?(35)
ANTONIO:
A laughter.
SEBAST:
A match!
ADRIAN:
[to Gonzalo] Though this island seem to be
desert,—
ANTONIO:
[to Sebastian] Ha, ha, ha!(40)
SEBAST:
So, you're paid.
ADRIAN:
Uninhabitable, and almost inaccessible—
SEBAST:
[to Antonio] Yet—
ADRIAN:
Yet—
ANTONIO:
[to Sebastian] He could not miss't.(45)
ANDRIAN:
It must needs be of subtle, tender, and delicate
temperance.
ANTONIO:
[to Sebastian] Temperance was a delicate wench.
SEBAST:
Ay, and a subtle, as he most learnedly delivered.
ADRIAN:
[to Gonzalo] The air breathes upon us here most(50)
sweetly.
SEBAST:
[to Antonio] As if it had lungs, and rotten ones.
ANTONIO:
Or as ’twere perfumed by a fen.
GONZ:
[to Adrian] Here is everything advantageous to life.
ANTONIO:
[to Sebastian] True, save means to live.(55)
SEBAST:
Of that there's none, or little.
GONZ:
[to Adrian] How lush and lusty the grass looks!
How green!
ANTONIO:
The ground indeed is tawny.
SEBAST:
With an eye of green in't.(60)
ANTONIO:
He misses not much.
SEBAST:
No, he doth but mistake the truth totally.
GONZ:
[to Adrian] But the rarity of it is, which is indeed
almost beyond credit—
SEBASST:
[to Antonio] As many vouched rarities are.(65)
GONZ:
[to Adrian] 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.
ANTONIO:
[to Sebastian] If but one of his pockets could speak,(70)
would it not say he lies?
SEBAST:
Ay, or very falsely pocket up his report.
GONZ:
[to Adrian] 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.(75)
SEBAST:
’Twas a sweet marriage, and we prosper well in our
return.
ADRIAN:
Tunis was never graced before with such a paragon to
their queen.
GONZ:
Not since widow Dido's time.(80)
ANTONIO:
Widow? A pox o'that! How came that widow in?
Widow Dido!
SEBAST:
What if he had said ‘widower Aeneas’ too? Good Lord,
how you take it!
ADRIAN:
[to Gonzalo] ‘Widow Dido’ said you? You make me(85)
study of that: she was of Carthage, not of Tunis.
GONZ:
This Tunis, sir, was Carthage.
ADRIAN:
Carthage?
GONZ:
I assure you, Carthage.
ANTONIO:
[to Sebastian] His word is more than the miraculous(90)
harp.
SEBAST:
He hath raised the wall, and houses too.
ANTONIO:
What impossible matter will he make easy next?
SEBAST:
I think he will carry this island home in his pocket and
give it his son for an apple.(95)
ANTONIO:
And sowing the kernels of it in the sea, bring forth
more islands.
GONZ:
[to Adrian] Ay.
ANTINIO:
[to Sebastian] Why, in good time.
GONZ:
[to Alonso] Sir, we were talking that our garments seem(100)
now as fresh as when we were at Tunis at the marriage of
your daughter, who is not queen.
ANTONIO:
And the rarest that e'er came there.
SEBAST:
Bate, I beseech you, widow Dido.
ANTONIO:
O, widow Dido! Ay, widow Dido.(105)
GONZ:
[to Alonso] Is not, sir, my doublet as fresh as the first day
I wore it? I mean, in a sort.
ANTONIO:
[to Sebastian] That sort was well fished for.
GONZ:
[to Alonso] When I wore it at your daughter's marriage.
ALONSO:
You cram these words into mine ears against(110)
The stomach of my sense. Would I have 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(115)
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?
FRANCIS:
Sir, he may live.
I saw him beat the surges under him(120)
And ride upon their backs; he trod the water,
Whose enmity he flung aside, and breasted
The surge most swoll'n that met him; his bold head
’Bove the contentious waves he kept, and oared
Himself with his good arms in lusty stroke(125)
To th’ shore, that o'er his wave-worn basis bowed,
As stooping to relieve him: I not doubt
He came alive to land.
ALONSO:
No, no; he's gone.
SEBAST:
[to Alonso] Sir, you may thank yourself for this(130)
great loss,
That would not bless our Europe with your daughter,
But rather lose her to an African,
Where she, at least, is banished from your eye,
Who hath cause to wet the grief on't.(135)
ALONSO:
Prithee, peace.
SEBAST:
You were kneeled to an importuned otherwise
By all of us, and the fair soul herself
Weighed between loathness and obedience at
Which end o'th’ beam should bow. We have lost your(140)
son,
I fear, for ever. Milan and Naples have
More widows in them of this business’ making
Than we bring men to comfort them.
That fault's your own.(145)
ALONSO:
So is the dear'st o'th’ loss.
GONZ:
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.(150)
SEBAST:
Very well.
ANTONIO:
And most chirurgeonly.
GONZ:
[to Alonso] It is foul weather in us all, good sir,
When you are cloudy.
SEBAST:
[to Antonio] Foul weather?(155)
ANTONIO:
Very foul.
GONZ:
[to Alonso] Had I plantation of this isle, my lord,—
ANTONIO:
[to Sebastian] He'd sow't with nettle-seed.
SEBAST:
Or docks, or mallows.
GONZ:
And were the king on't, what would I do?(160)
SEBAST:
[to Antonio] ’Scape being drunk, for want of wine.
GONZ:
I'th’ 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,(165)
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;(170)
No sovereignty—
SEBAST:
[to Antonio] Yet he would be king on't.
ANTONIO:
The latter end of his commonwealth forgets the
beginning.
GONZ:
[to Alonso] All things in common nature should(175)
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 it own kind, all foison, all abundance,(180)
To feed my innocent people.
SEBAST:
[to Antonio] No marrying ’mong his subjects?
ANTONIO:
None, man; all idle: whores and knaves.
GONZ:
[to Alonso] I would with such perfection govern, sir,
T'excel the golden age.(185)
SEBAST:
Save his majesty!
ANTONIO:
Long live Gonzalo!
GONZ:
[to Alonso] And—do you mark me, sir?
ALONSO:
Prithee, no more. Thou dost talk nothing to me.
GONZ:
I do well believe your highness, and did it to minister(190)
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.
GONZ:
Who, in this kind of merry fooling, am nothing to
you; so you may(195)
continue and laugh at nothing still.
ANTONIO:
What a blow was there given!
SEBAST:
An it had not fallen flat-long.
GONZ:
You are gentlemen of brave mettle; you would lift the
moon out of her sphere, if she would continue in it five(200)
weeks without changing.

[Enter Ariel, invisible, playing solemn music]

SEBAST:
We would so, and then go a-bat-fowling..
ANTONIO:
[to Gonzalo] Nay, good my lord, be not angry.
GONZ:
No, I warrant you; I will not adventure my discre-
tion so weakly. Will you laugh me asleep, for I am very(205)
heavy?
ANTONIO:
Go sleep, and hear us.

[All sleep except Alonso, Sebastian, and Antonio]

ALONSO:
What, all so soon asleep? I wish mine eyes
Would, with themselves, shut up my thoughts: I find
They are inclined to do so.(210)
SEBAST:
Please you, sir,
Do not omit the heavy offer of it.
It seldom visits sorrow; when it doth,
It is a comforter.
ANTONIO:
We two, my lord,(215)
Will guard your person while you take your rest,
And watch your safety.
ALONSO:
Thank you. Wondrous heavy.

[Alonso sleeps. Exit Ariel]

SEBAST:
What a strange drowsiness possesses them!
ANTONIO:
It is the quality o'th’ climate.(220)
SEBAST:
Why
Doth it not then our eyelids sink? I find not
Myself disposed to sleep.
ANTONIO:
Nor I; my spirits are nimble.
They fell together all, as by consent;(225)
They dropped, as by a thunder-stroke. What might,
Worthy Sebastian, O, what might–? No more!—
And yet methinks I see it in thy face,
What thou shouldst be. Th’ occasion speaks thee, and
My strong imagination sees a crown(230)
Dropping upon thy head.
SEBAST:
What, art thou waking?
ANTONIO:
Do you not hear me speak?
SEBAST:
I do; and surely
It is a sleepy language and thou speak'st(235)
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.
ANTONIO:
Noble Sebastian,(240)
Thou let'st thy fortune sleep—die rather; wink'st
Whiles thou art waking.
SEBAST:
Thou dost snore distinctly;
There's meaning in thy snores.
ANTONIO:
I am more serious than my custom. You(245)
Must be so too, if heed me; which to do
Trebles thee o'er.
SEBAST:
Well, I am standing water.
ANTONIO:
I'll teach you how to flow.
SEBAST:
Do so: to ebb(250)
Hereditary sloth instructs me.
ANTNIO:
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,(255)
Most often do so near the bottom run
By their own fear or sloth.
SEBAST:
Prithee, say on.
The setting of thine eye and cheek proclaim
A matter from thee, and a birth, indeed,(260)
Which throes thee much to yield.
ANTONIO:
Thus, sir:
Although this lord of weak remembrance, this,
Who shall be of as little memory
When he is earth'd, hath here almost persuaded—(265)
For he's a spirit of persuasion, only
Professes to persuade—the king his son's alive,
’Tis as impossible that he's undrowned
As he that sleeps here swims.
SEBAST:
I have no hope(270)
That he's undrowned.
ANTONIO:
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,(275)
But doubt discovery there. Will you grant with me
That Ferdinand is drowned?
SEBAST:
He's gone.
ANTONIO:
Then, tell me,
Who's the next heir of Naples?(280)
SEBAST:
Claribel.
ANTONIO:
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'th’ moon's too slow—till new-born chins(285)
Be rough and razorable; she that from whom
We all were sea-swallowed, 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.(290)
SEBAST:
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.
ANTONIO:
A space whose every cubit(295)
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(300)
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(305)
For your advancement! Do you understand me?
SEBAST:
Methinks I do.
ANTONIO:
And how does your content
Tender your own good fortune?
SEBAST:
I remember(310)
You did supplant your brother Prospero.
ANTONIO:
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.(315)
SEBAST:
But for your conscience?
ANTONIO:
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(320)
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,(325)
To the perpetual wink of 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(330)
We say befits the hour.
SEBAST:
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,(335)
And I the King shall love thee.
ANTONIO:
Draw together,
And when I rear my hand, do you the like,
To fall it on Gonzalo.
SEBAST:
O, but one word.(340)

[They talk apart]

[Enter Ariel, invisible, with music and song]

ARIEL:
[to Gonzalo] My Master through his art foreess the
danger.
That you, his friend, are in, and sends me forth—
For else his project dies—to keep them living. Through his magic, my master foresees the danger
That you, his friend, are in; and sends me here
To keep you living — because otherwise, his project dies. [Ariel sings in Gonzalo's ear]

While you here do snoring lie,(345)
Open-eyed conspiracy
His time doth take.
If of life you keep a care,
Shake off slumber, and beware.
Awake, awake!(350)
ANTONIO:
[to Sebastian] Then let us both be sudden.
GONZ:
Now, good angels
Preserve the King.
ALONSO:
[waking] Why, how now? Ho, awake!
[to Antonio and Sebastian] Why are you drawn?(355)
[to Gonzalo] Wherefore this ghastly looking?
GONZ:
What's the matter?
SEBAST:
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?(360)
It struck mine ear most terribly.
ALONSO:
I heard nothing.
ANTONIO:
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.(365)
ALONSO:
Heard you this, Gonzalo?
GONZ:
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 opened
I saw their weapons drawn. There was a noise,(370)
That's verily. ’Tis best we stand upon our guard,
Or that we quit this place. Let's draw our weapons.
ALOSNO:
Lead off this ground, and let's make further search
For my poor son.
GONZ:
Heavens keep him from these beasts!(375)
For he is sure i'th’ island.
ALONSO:
Lead away.

[Exeunt all but Ariel]

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

[Exit]

Footnotes

  1. Antonio's claim that "what's past is prologue" is one of Shakespeare's more memorable quotes. In addition to saying that what has happened in the past provides a foreground for the future, this line is also an example of metadrama, meaning that characters in a play discuss their situation as if they were in a theatre. In this way, Antonio views himself as a playwright, manipulating events and people to gain power. This is very similar to his brother’s orchestrations with the storm and commands to Ariel; however, as we will see, Prospero has the real power of storyteller in The Tempest.

    — Wesley, Owl Eyes Editor
  2. Gonzalo imagines a kind of utopian society in which everyone is equal, no one has to work, and there is no conflict. On the one hand, Gonzalo’s ideal world highlights his fair and honorable nature: Gonzalo is not hungry for power and does not wish to enslave people, unlike many other characters in the play. However, Gonzalo’s vision is reminiscent of the larger colonial narrative of the time: to discover a rich, abundant island and govern it as one sees best. European colonizers had a similar way of thinking, which ultimately meant that the native populations were oppressed and enslaved, as the colonizers attempted to create their ideal nations. Gonzalo’s dream society may seem wonderful, but the reality of it is problematic.

    — Kayla, Owl Eyes Staff
  3. Having told Sebastian that with Ferdinand’s death Sebastian is now the heir to the throne of Naples, Antonio claims in this passage that the tempest has provided them with an opportunity to gain more power. His speech reveals his cunning and persuasiveness that he used to betray Prospero before because he avoids telling Sebastian to murder Alonso directly, preferring to plan the idea in Sebastian’s mind to convey the notion that everything is a part of his fate.

    — Wesley, Owl Eyes Editor
  4. A “spendthrift” is a person who spends money profusely or wastefully. To say that Gonzalo is a spendthrift “of his tongue” is to say that he talks too much. Antonio and Sebastian mock Gonzalo for his optimistic attempts to comfort Alonso, which further characterizes Gonzalo as friendly and compassionate in comparison to Antonio and Sebastian.

    — Kayla, Owl Eyes Staff
  5. Ariel has put most of the men to sleep, and during this time Antonio has revealed his plan to murder Alonso and make Sebastian King of Naples. Antonio encourages Sebastian to carry out the plan by referring to his own power grab when he got rid of Prospero and took the title of Duke of Milan for himself. When Sebastian asks if Antonio has any qualms about having done this, Antonio states that "twenty consciences" would “melt ere they molest,” meaning that he has absolutely no remorse. Such a claim reveals Antonio to be a villain with few complications to his character beyond a shameless and simply desire to acquire as much power as possible for himself. The acquisition and perpetuation of power is a theme throughout the play, and Antonio’s ambition provides an example of power taken by force and violence.

    — Wesley, Owl Eyes Editor
  6. In Greek legend, Dido was the first queen and founder of Carthage, an ancient city-state in northern Africa. At the time that Dido is first introduced in Virgil’s Aeneid her husband Sychaeus has already died, which is why the characters refer to her as the “Widow Dido.”

    — Kayla, Owl Eyes Staff
  7. Antonio reminds Sebastian that he has performed a similar power grab before when he took his brother Prospero's title of Duke of Milan. When asked if his conscience is troubled by ousting Prospero, Antonio asks Sebastian to look at how well his clothing fits him. Since clothing is often used as a symbol to reflect station, Antonio’s boast reveals that he has no problems with having taken power by force from his brother.

    — Wesley, Owl Eyes Editor
  8. Antonio and Sebastian continue to mock Gonzalo and Adrian throughout this passage by either making puns or misrepresenting the words spoken. In this case, Antonio and Sebastian contradict Gonzalo and Adrian’s observation that this island is lovely, but suggesting that the air is foul as if it smelled like a “fen,” or swamp.

    — Wesley, Owl Eyes Editor
  9. Antonio’s “what’s past is prologue” translates to the idea that what has occurred sets the scene for the main action or details that are “to come.” More importantly, Antonio believes that he and Sebastian can control the events that will unfold. He attempts to persuade Sebastian to murder his sleeping father, Alonso, the King of Naples, so that Sebastian can take the kingship.

    — Jane, Owl Eyes Staff