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Fer. The ditty does remember my drown'd father; This is no mortal bufiness, nor no found That the earth owns : I hear it now above me. Pro. The fringed curtains of thine eyes
advance, And say, what thou feeft yond.
Mira. What is't, a spirit?
Pro.No wench, it eats, and seeps, and hath such senses
Mira. I might call him
Fer. Most sure, the Goddess
Mira. No wonder, Sir,
Fer. My language ! heav'as!
Pro. How is the best ?
Fer. A single thing, as I am now, that wonders To hear thee speak of Naples. He does hear me ; And, that he does, I wees : myself am Naples, Who, with mine eyes (ne’er since ar ebb). beheld The King my father wreck’t.. Mirqe Alack, for mercy!
Fer. Yes, faith, and all his Lords: the Duke of Milan, And his brave son, being twain. (u)
Pro, The Duke of Milan,
Mira. Why speaks my father so ungently? this
Fer. O, if a virgin,
your affection not gone forth, I'll make you The Queen of Naples.
Pro. Soft, Sir; one word more.
-thou dost here usurp
Fer. No, as I'm a man.
Pro. 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 Mall be The fresh-brook musiels, wither'd roots, and huss Wherein the acorn cradled. Follow.
Fer. No, I will refift such entertainment, 'till (11)
the Duke of Milan, And bis brave fon, being twain,) Here seems a fight forgetfulness in our Poet: No body was lost in this wreck, as is inanifest from leveral paffage6: and yet we have no such character introduc'd in the fable, as the Duke of Milan's son.
Mine enemy has more power.
[He draws, and is charmed from moving. Mira. O dear father, Make not too rash a trial of him ; for He's gentle, and not fearful.
Pro. What, I say,
Mira. Beseech you, father.
Mira. Sir, have pity ;
Pro. Silence: one word more
Mira. My affections
Pro. Come on, obey :
Fer. So they are :
Pro. It works : come on. (Thou hast done wel, fine Ariel :) follow Hark, what thju else shalt do me.
Mira. Be of comfort,
Than he appears by speech : this is unwonted,
Pro. Thou shalt be as free
Ari. To th’syllable.
A CT II. SCENE, another part of the land. Enter Alonso, Sebastian, Anthonio, Gonzalo, Adrian,
Francisco, and others.
you, Sir, be merry : you have cause
Seb. (12) Alon. Po’ytbee peace. All that follows from hence to this
You cram these words into my ears against
The ft mach of my sense. seems to Mr. Pope to have been an interpolation by the Players. For my part, cho'l allow the matter of the dialogue to be very poor and trivial, ( f which, I am loiry to fav, we don't want other innances in our Poet ;) ! cinnoite of wis Centleman's opinion, that it is interpolated. For should we take out this intermediare part, whac would become of thete words of the King?
speech of the King's.
Wouls I had never
Seb. He receives comfort like cold porridge
Seb. Look, he's winding up the watch of his wit,
Gon. When every grief is entertain'd, that's offer'ds comes to the entertainer
Seb. A dollor.
Gon. Dolour comes to him, indeed; you have spoken truer than you propos'd.
Seb. You have taken it wifelier than I meant you should.
Ant. Which of them, he, or Adrian, for a goce wager, first begins to crow?
Seb. The old cock,
we again hear her
Wbat daughter? and, where married ? For it is from this intermedis ate part
of the scene only, that we are told, the King had a daughter nam'd Claribel, whom he had married into Tunis. "Tis true, in a subsequent scene, betwixt Antonio and Sebastian, and Tunis mention'd: but in such a manner, that it would be quite obfcure and unintelligible without this previous information. Mr. Pope's criticism therefore is injudicious and unweigh’d. Besides
, poor and jejune as the matter of the dialogue is, it was certainly defign'd to be of a ridiculous stamp; to divert and unfettle the King'a thoughts from reflecting too deeply on his son's suppos’d drowning.