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Themes, Motifs & Symbols

Themes

The Illusion of Justice

The Tempest tells a fairly straightforward story involving an unjust act, the usurpation of Prospero’s throne by his brother, and Prospero’s quest to re-establish justice by restoring himself to power. However, the idea of justice that the play works toward seems highly subjective, since this idea represents the view of one character who controls the fate of all the other characters. Though Prospero presents himself as a victim of injustice working to right the wrongs that have been done to him, Prospero’s idea of justice and injustice is somewhat hypocritical—though he is furious with his brother for taking his power, he has no qualms about enslaving Ariel and Caliban in order to achieve his ends. At many moments throughout the play, Prospero’s sense of justice seems extremely one-sided and mainly involves what is good for Prospero. Moreover, because the play offers no notion of higher order or justice to supersede Prospero’s interpretation of events, the play is morally ambiguous.

As the play progresses, however, it becomes more and more involved with the idea of creativity and art, and Prospero’s role begins to mirror more explicitly the role of an author creating a story around him. With this metaphor in mind, and especially if we accept Prospero as a surrogate for Shakespeare himself, Prospero’s sense of justice begins to seem, if not perfect, at least sympathetic. Moreover, the means he uses to achieve his idea of justice mirror the machinations of the artist, who also seeks to enable others to see his view of the world. Playwrights arrange their stories in such a way that their own idea of justice is imposed upon events. In The Tempest, the author is inthe play, and the fact that he establishes his idea of justice and creates a happy ending for all the characters becomes a cause for celebration, not criticism.

By using magic and tricks that echo the special effects and spectacles of the theater, Prospero gradually persuades the other characters and the audience of the rightness of his case. As he does so, the ambiguities surrounding his methods slowly resolve themselves. Prospero forgives his enemies, releases his slaves, and relinquishes his magic power, so that, at the end of the play, he is only an old man whose work has been responsible for all the audience’s pleasure. The establishment of Prospero’s idea of justice becomes less a commentary on justice in life than on the nature of morality in art. Happy endings are possible, Shakespeare seems to say, because the creativity of artists can create them, even if the moral values that establish the happy ending originate from nowhere but the imagination of the artist.

The Difficulty of Distinguishing “Men” from “Monsters”

Upon seeing Ferdinand for the first time, Miranda says that he is “the third man that e’er I saw” (I.ii.449). The other two are, presumably, Prospero and Caliban. In their first conversation with Caliban, however, Miranda and Prospero say very little that shows they consider him to be human. Miranda reminds Caliban that before she taught him language, he gabbled “like / A thing most brutish” (I.ii.359–360) and Prospero says that he gave Caliban “human care” (I.ii.349), implying that this was something Caliban ultimately did not deserve. Caliban’s exact nature continues to be slightly ambiguous later. In Act IV, scene i, reminded of Caliban’s plot, Prospero refers to him as a “devil, a born devil, on whose nature / Nurture can never stick” (IV.i.188–189). Miranda and Prospero both have contradictory views of Caliban’s humanity. On the one hand, they think that their education of him has lifted him from his formerly brutish status. On the other hand, they seem to see him as inherently brutish. His devilish nature can never be overcome by nurture, according to Prospero. Miranda expresses a similar sentiment in Act I, scene ii: “thy vile race, / Though thou didst learn, had that in’t which good natures / Could not abide to be with” (I.ii.361–363). The inhuman part of Caliban drives out the human part, the “good nature,” that is imposed on him.

Caliban claims that he was kind to Prospero, and that Prospero repaid that kindness by imprisoning him (see I.ii.347). In contrast, Prospero claims that he stopped being kind to Caliban once Caliban had tried to rape Miranda (I.ii.347–351). Which character the audience decides to believe depends on whether it views Caliban as inherently brutish, or as made brutish by oppression. The play leaves the matter ambiguous. Caliban balances all of his eloquent speeches, such as his curses in Act I, scene ii and his speech about the isle’s “noises” in Act III, scene ii, with the most degrading kind of drunken, servile behavior. But Trinculo’s speech upon first seeing Caliban (II.ii.18–38), the longest speech in the play, reproaches too harsh a view of Caliban and blurs the distinction between men and monsters. In England, which he visited once, Trinculo says, Caliban could be shown off for money: “There would this monster make a man. Any strange beast there makes a man. When they will not give a doit to relieve a lame beggar, they will lay out ten to see a dead Indian” (II.ii.28–31). What seems most monstrous in these sentences is not the “dead Indian,” or “any strange beast,” but the cruel voyeurism of those who capture and gape at them.

The Allure of Ruling a Colony

The nearly uninhabited island presents the sense of infinite possibility to almost everyone who lands there. Prospero has found it, in its isolation, an ideal place to school his daughter. Sycorax, Caliban’s mother, worked her magic there after she was exiled from Algeria. Caliban, once alone on the island, now Prospero’s slave, laments that he had been his own king (I.ii.344–345). As he attempts to comfort Alonso, Gonzalo imagines a utopian society on the island, over which he would rule (II.i.148–156). In Act III, scene ii, Caliban suggests that Stephano kill Prospero, and Stephano immediately envisions his own reign: “Monster, I will kill this man. His daughter and I will be King and Queen—save our graces!—and Trinculo and thyself shall be my viceroys” (III.ii.101–103). Stephano particularly looks forward to taking advantage of the spirits that make “noises” on the isle; they will provide music for his kingdom for free. All these characters envision the island as a space of freedom and unrealized potential.

The tone of the play, however, toward the hopes of the would-be colonizers is vexed at best. Gonzalo’s utopian vision in Act II, scene i is undercut by a sharp retort from the usually foolish Sebastian and Antonio. When Gonzalo says that there would be no commerce or work or “sovereignty” in his society, Sebastian replies, “yet he would be king on’t,” and Antonio adds, “The latter end of his commonwealth forgets the beginning” (II.i.156–157). Gonzalo’s fantasy thus involves him ruling the island while seeming not to rule it, and in this he becomes a kind of parody of Prospero.

While there are many representatives of the colonial impulse in the play, the colonized have only one representative: Caliban. We might develop sympathy for him at first, when Prospero seeks him out merely to abuse him, and when we see him tormented by spirits. However, this sympathy is made more difficult by his willingness to abase himself before Stephano in Act II, scene ii. Even as Caliban plots to kill one colonial master (Prospero) in Act III, scene ii, he sets up another (Stephano). The urge to rule and the urge to be ruled seem inextricably intertwined.

Motifs

Masters and Servants

Nearly every scene in the play either explicitly or implicitly portrays a relationship between a figure that possesses power and a figure that is subject to that power. The play explores the master-servant dynamic most harshly in cases in which the harmony of the relationship is threatened or disrupted, as by the rebellion of a servant or the ineptitude of a master. For instance, in the opening scene, the “servant” (the Boatswain) is dismissive and angry toward his “masters” (the noblemen), whose ineptitude threatens to lead to a shipwreck in the storm. From then on, master-servant relationships like these dominate the play: Prospero and Caliban; Prospero and Ariel; Alonso and his nobles; the nobles and Gonzalo; Stephano, Trinculo, and Caliban; and so forth. The play explores the psychological and social dynamics of power relationships from a number of contrasting angles, such as the generally positive relationship between Prospero and Ariel, the generally negative relationship between Prospero and Caliban, and the treachery in Alonso’s relationship to his nobles.

Water and Drowning

The play is awash with references to water. The Mariners enter “wet” in Act I, scene i, and Caliban, Stephano, and Trinculo enter “all wet,” after being led by Ariel into a swampy lake (IV.i.193). Miranda’s fear for the lives of the sailors in the “wild waters” (I.ii.2) causes her to weep. Alonso, believing his son dead because of his own actions against Prospero, decides in Act III, scene iii to drown himself. His language is echoed by Prospero in Act V, scene i when the magician promises that, once he has reconciled with his enemies, “deeper than did ever plummet sound / I’ll drown my book” (V.i.56–57).

These are only a few of the references to water in the play. Occasionally, the references to water are used to compare characters. For example, the echo of Alonso’s desire to drown himself in Prospero’s promise to drown his book calls attention to the similarity of the sacrifices each man must make. Alonso must be willing to give up his life in order to become truly penitent and to be forgiven for his treachery against Prospero. Similarly, in order to rejoin the world he has been driven from, Prospero must be willing to give up his magic and his power.

Perhaps the most important overall effect of this water motif is to heighten the symbolic importance of the tempest itself. It is as though the water from that storm runs through the language and action of the entire play—just as the tempest itself literally and crucially affects the lives and actions of all the characters.

Mysterious Noises

The isle is indeed, as Caliban says, “full of noises” (III.ii.130). The play begins with a “tempestuous noise of thunder and lightning” (I.i.1, stage direction), and the splitting of the ship is signaled in part by “a confused noise within” (I.i.54, stage direction). Much of the noise of the play is musical, and much of the music is Ariel’s. Ferdinand is led to Miranda by Ariel’s music. Ariel’s music also wakes Gonzalo just as Antonio and Sebastian are about to kill Alonso in Act II, scene i. Moreover, the magical banquet of Act III, scene iii is laid out to the tune of “Solemn and strange music” (III.iii.18, stage direction), and Juno and Ceres sing in the wedding masque (IV.i.106–117).

The noises, sounds, and music of the play are made most significant by Caliban’s speech about the noises of the island at III.ii.130–138. Shakespeare shows Caliban in the thrall of magic, which the theater audience also experiences as the illusion of thunder, rain, invisibility. The action of The Tempest is very simple. What gives the play most of its hypnotic, magical atmosphere is the series of dreamlike events it stages, such as the tempest, the magical banquet, and the wedding masque. Accompanied by music, these present a feast for the eye and the ear and convince us of the magical glory of Prospero’s enchanted isle.

Symbols

The Tempest

The tempest that begins the play, and which puts all of Prospero’s enemies at his disposal, symbolizes the suffering Prospero endured, and which he wants to inflict on others. All of those shipwrecked are put at the mercy of the sea, just as Prospero and his infant daughter were twelve years ago, when some loyal friends helped them out to sea in a ragged little boat (see I.ii.144–151). Prospero must make his enemies suffer as he has suffered so that they will learn from their suffering, as he has from his. The tempest is also a symbol of Prospero’s magic, and of the frightening, potentially malevolent side of his power.

The Game of Chess

The object of chess is to capture the king. That, at the simplest level, is the symbolic significance of Prospero revealing Ferdinand and Miranda playing chess in the final scene. Prospero has caught the king—Alonso—and reprimanded him for his treachery. In doing so, Prospero has married Alonso’s son to his own daughter without the king’s knowledge, a deft political maneuver that assures Alonso’s support because Alonso will have no interest in upsetting a dukedom to which his own son is heir. This is the final move in Prospero’s plot, which began with the tempest. He has maneuvered the different passengers of Alonso’s ship around the island with the skill of a great chess player.

Caught up in their game, Miranda and Ferdinand also symbolize something ominous about Prospero’s power. They do not even notice the others staring at them for a few lines. “Sweet lord, you play me false,” Miranda says, and Ferdinand assures her that he “would not for the world” do so (V.i.174–176). The theatrical tableau is almost too perfect: Ferdinand and Miranda, suddenly and unexpectedly revealed behind a curtain, playing chess and talking gently of love and faith, seem entirely removed from the world around them. Though he has promised to relinquish his magic, Prospero still seems to see his daughter as a mere pawn in his game.

Prospero’s Books

Like the tempest, Prospero’s books are a symbol of his power. “Remember / First to possess his books,” Caliban says to Stephano and Trinculo, “for without them / He’s but a sot” (III.ii.86–88). The books are also, however, a symbol of Prospero’s dangerous desire to withdraw entirely from the world. It was his devotion to study that put him at the mercy of his ambitious brother, and it is this same devotion to study that has made him content to raise Miranda in isolation. Yet, Miranda’s isolation has made her ignorant of where she came from (see I.ii.33–36), and Prospero’s own isolation provides him with little company. In order to return to the world where his knowledge means something more than power, Prospero must let go of his magic.

http://www.sparknotes.com/shakespeare/tempest/themes.html

Tuesdays Rehearsal

Rehearsal notes

Shakespeare notes

Beginning entrance B

5 specific movements on loop (MOTIF)

To wobble
To be sick
To hold onto the side
To pray
To pick up and move
To clean myself up

Falling left, falling right.

"Have mercy on us, have mercy" "farewell cruel world"

Romeo and Juliet
Essay
Original playing conditions *
Audience sits*
Thrust staging
Scenes graphs bare set
Diagram of globe
Research the text tempest based
Documentary evidence te voyage to the new world America stranded in Caribbean pamphlet form influences

Performance on the
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School - Wednesday 8th
Brighton - 16th Thursday

My lines

The following are all of my lines and cue lines in the original copy of William Shakespeare's The Tempest.

The lines highlighted in YELLOW are the lines in Jack's abridged version of the play.

1	II,2,1131	(stage directions). [Enter STEPHANO, singing: a bottle in his hand] Stephano. I shall no more to sea, to sea, Here shall I die ashore— This is a very scurvy tune to sing at a man's funeral: well, here's my comfort. [Drinks] [Sings]  The master, the swabber, the boatswain and I, The gunner and his mate Loved Mall, Meg and Marian and Margery, But none of us cared for Kate; For she had a tongue with a tang, Would cry to a sailor, Go hang! She loved not the savour of tar nor of pitch, Yet a tailor might scratch her where'er she did itch: Then to sea, boys, and let her go hang! This is a scurvy tune too: but here's my comfort.
2	II,2,1148	Caliban. Do not torment me: Oh! Stephano. What's the matter? Have we devils here? Do you put tricks upon's with savages and men of Ind, ha? I have not scaped drowning to be afeard now of your four legs; for it hath been said, As proper a man as ever went on four legs cannot make him give ground; and it shall be said so again while Stephano breathes at's nostrils.
3	II,2,1156	Caliban. The spirit torments me; Oh! Stephano. This is some monster of the isle with four legs, who hath got, as I take it, an ague. Where the devil should he learn our language? I will give him some relief, if it be but for that. if I can recover him and keep him tame and get to Naples with him, he's a present for any emperor that ever trod on neat's leather.
4	II,2,1163	Caliban. Do not torment me, prithee; I'll bring my wood home faster. Stephano. He's in his fit now and does not talk after the wisest. He shall taste of my bottle: if he have never drunk wine afore will go near to remove his fit. If I can recover him and keep him tame, I will not take too much for him; he shall pay for him that hath him, and that soundly.
5	II,2,1171	Caliban. Thou dost me yet but little hurt; thou wilt anon, I know it by thy trembling: now Prosper works upon thee. Stephano. Come on your ways; open your mouth; here is that which will give language to you, cat: open your mouth; this will shake your shaking, I can tell you, and that soundly: you cannot tell who's your friend: open your chaps again.
6	II,2,1178	Trinculo. I should know that voice: it should be—but he is drowned; and these are devils: O defend me! Stephano. Four legs and two voices: a most delicate monster! His forward voice now is to speak well of his friend; his backward voice is to utter foul speeches and to detract. If all the wine in my bottle will recover him, I will help his ague. Come. Amen! I will pour some in thy other mouth.
7	II,2,1185	Trinculo. Stephano! Stephano. Doth thy other mouth call me? Mercy, mercy! This is a devil, and no monster: I will leave him; I have no long spoon.
8	II,2,1191	Trinculo. Stephano! If thou beest Stephano, touch me and speak to me: for I am Trinculo—be not afeard—thy good friend Trinculo. Stephano. If thou beest Trinculo, come forth: I'll pull thee by the lesser legs: if any be Trinculo's legs, these are they. Thou art very Trinculo indeed! How camest thou to be the siege of this moon-calf? can he vent Trinculos?
9	II,2,1202	Trinculo. I took him to be killed with a thunder-stroke. But art thou not drowned, Stephano? I hope now thou art not drowned. Is the storm overblown? I hid me under the dead moon-calf's gaberdine for fear of the storm. And art thou living, Stephano? O Stephano, two Neapolitans 'scaped! Stephano. Prithee, do not turn me about; my stomach is not constant.
10	II,2,1207	Caliban. [Aside] These be fine things, an if they be not sprites. That's a brave god and bears celestial liquor. I will kneel to him. Stephano. How didst thou 'scape? How camest thou hither? swear by this bottle how thou camest hither. I escaped upon a butt of sack which the sailors heaved o'erboard, by this bottle; which I made of the bark of a tree with mine own hands since I was cast ashore.
11	II,2,1215	Caliban. I'll swear upon that bottle to be thy true subject; for the liquor is not earthly. Stephano. Here; swear then how thou escapedst.
12	II,2,1218	Trinculo. Swum ashore. man, like a duck: I can swim like a duck, I'll be sworn. Stephano. Here, kiss the book. Though thou canst swim like a duck, thou art made like a goose.
13	II,2,1221	Trinculo. O Stephano. hast any more of this? Stephano. The whole butt, man: my cellar is in a rock by the sea-side where my wine is hid. How now, moon-calf! how does thine ague?
14	II,2,1225	Caliban. Hast thou not dropp'd from heaven? Stephano. Out o' the moon, I do assure thee: I was the man i' the moon when time was.
15	II,2,1229	Caliban. I have seen thee in her and I do adore thee: My mistress show'd me thee and thy dog and thy bush. Stephano. Come, swear to that; kiss the book: I will furnish it anon with new contents swear.
16	II,2,1240	Caliban. I'll kiss thy foot; I'll swear myself thy subject. Stephano. Come on then; down, and swear.
17	II,2,1244	Trinculo. I shall laugh myself to death at this puppy-headed monster. A most scurvy monster! I could find in my heart to beat him,— Stephano. Come, kiss.
18	II,2,1259	Caliban. I prithee, let me bring thee where crabs grow; And I with my long nails will dig thee pignuts; Show thee a jay's nest and instruct thee how To snare the nimble marmoset; I'll bring thee To clustering filberts and sometimes I'll get thee Young scamels from the rock. Wilt thou go with me? Stephano. I prithee now, lead the way without any more talking. Trinculo, the king and all our company else being drowned, we will inherit here: here; bear my bottle: fellow Trinculo, we'll fill him by and by again.
19	II,2,1275	Caliban. No more dams I'll make for fish Nor fetch in firing At requiring; Nor scrape trencher, nor wash dish 'Ban, 'Ban, Cacaliban Has a new master: get a new man. Freedom, hey-day! hey-day, freedom! freedom, hey-day, freedom! Stephano. O brave monster! Lead the way.
20	III,2,1396	(stage directions). [Enter CALIBAN, STEPHANO, and TRINCULO] Stephano. Tell not me; when the butt is out, we will drink water; not a drop before: therefore bear up, and board 'em. Servant-monster, drink to me.
21	III,2,1403	Trinculo. Servant-monster! the folly of this island! They say there's but five upon this isle: we are three of them; if th' other two be brained like us, the state totters. Stephano. Drink, servant-monster, when I bid thee: thy eyes are almost set in thy head.
22	III,2,1407	Trinculo. Where should they be set else? he were a brave monster indeed, if they were set in his tail. Stephano. My man-monster hath drown'd his tongue in sack: for my part, the sea cannot drown me; I swam, ere I could recover the shore, five and thirty leagues off and on. By this light, thou shalt be my lieutenant, monster, or my standard.
23	III,2,1413	Trinculo. Your lieutenant, if you list; he's no standard. Stephano. We'll not run, Monsieur Monster.
24	III,2,1416	Trinculo. Nor go neither; but you'll lie like dogs and yet say nothing neither. Stephano. Moon-calf, speak once in thy life, if thou beest a good moon-calf.
25	III,2,1428	Caliban. Lo, lo, again! bite him to death, I prithee. Stephano. Trinculo, keep a good tongue in your head: if you prove a mutineer,—the next tree! The poor monster's my subject and he shall not suffer indignity.
26	III,2,1433	Caliban. I thank my noble lord. Wilt thou be pleased to hearken once again to the suit I made to thee? Stephano. Marry, will I. kneel and repeat it; I will stand, and so shall Trinculo.
27	III,2,1441	Caliban. Thou liest, thou jesting monkey, thou: I would my valiant master would destroy thee! I do not lie. Stephano. Trinculo, if you trouble him any more in's tale, by this hand, I will supplant some of your teeth.
28	III,2,1444	Trinculo. Why, I said nothing. Stephano. Mum, then, and no more. Proceed.
29	III,2,1449	Caliban. I say, by sorcery he got this isle; From me he got it. if thy greatness will Revenge it on him,—for I know thou darest, But this thing dare not,— Stephano. That's most certain.
30	III,2,1451	Caliban. Thou shalt be lord of it and I'll serve thee. Stephano. How now shall this be compassed? Canst thou bring me to the party?
31	III,2,1461	Caliban. What a pied ninny's this! Thou scurvy patch! I do beseech thy greatness, give him blows And take his bottle from him: when that's gone He shall drink nought but brine; for I'll not show him Where the quick freshes are. Stephano. Trinculo, run into no further danger: interrupt the monster one word further, and, by this hand, I'll turn my mercy out o' doors and make a stock-fish of thee.
32	III,2,1467	Trinculo. Why, what did I? I did nothing. I'll go farther off. Stephano. Didst thou not say he lied?
33	III,2,1469	Ariel. Thou liest. Stephano. Do I so? take thou that. [Beats TRINCULO] As you like this, give me the lie another time.
34	III,2,1477	Caliban. Ha, ha, ha! Stephano. Now, forward with your tale. Prithee, stand farther off.
35	III,2,1481	Caliban. Beat him enough: after a little time I'll beat him too. Stephano. Stand farther. Come, proceed.
36	III,2,1499	Caliban. Why, as I told thee, 'tis a custom with him, I' th' afternoon to sleep: there thou mayst brain him, Having first seized his books, or with a log Batter his skull, or paunch him with a stake, Or cut his wezand with thy knife. Remember First to possess his books; for without them He's but a sot, as I am, nor hath not One spirit to command: they all do hate him As rootedly as I. Burn but his books. He has brave utensils,—for so he calls them— Which when he has a house, he'll deck withal And that most deeply to consider is The beauty of his daughter; he himself Calls her a nonpareil: I never saw a woman, But only Sycorax my dam and she; But she as far surpasseth Sycorax As great'st does least. Stephano. Is it so brave a lass?
37	III,2,1502	Caliban. Ay, lord; she will become thy bed, I warrant. And bring thee forth brave brood. Stephano. Monster, I will kill this man: his daughter and I will be king and queen—save our graces!—and Trinculo and thyself shall be viceroys. Dost thou like the plot, Trinculo?
38	III,2,1507	Trinculo. Excellent. Stephano. Give me thy hand: I am sorry I beat thee; but, while thou livest, keep a good tongue in thy head.
39	III,2,1511	Caliban. Within this half hour will he be asleep: Wilt thou destroy him then? Stephano. Ay, on mine honour.
40	III,2,1516	Caliban. Thou makest me merry; I am full of pleasure: Let us be jocund: will you troll the catch You taught me but while-ere? Stephano. At thy request, monster, I will do reason, any reason. Come on, Trinculo, let us sing. [Sings]  Flout 'em and scout 'em And scout 'em and flout 'em Thought is free.
41	III,2,1524	(stage directions). [Ariel plays the tune on a tabour and pipe] Stephano. What is this same?
42	III,2,1527	Trinculo. This is the tune of our catch, played by the picture of Nobody. Stephano. If thou beest a man, show thyself in thy likeness: if thou beest a devil, take't as thou list.
43	III,2,1530	Trinculo. O, forgive me my sins! Stephano. He that dies pays all debts: I defy thee. Mercy upon us!
44	III,2,1532	Caliban. Art thou afeard? Stephano. No, monster, not I.
45	III,2,1542	Caliban. Be not afeard; the isle is full of noises, Sounds and sweet airs, that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears, and sometime voices That, if I then had waked after long sleep, Will make me sleep again: and then, in dreaming, The clouds methought would open and show riches Ready to drop upon me that, when I waked, I cried to dream again. Stephano. This will prove a brave kingdom to me, where I shall have my music for nothing.
46	III,2,1545	Caliban. When Prospero is destroyed. Stephano. That shall be by and by: I remember the story.
47	III,2,1548	Trinculo. The sound is going away; let's follow it, and after do our work. Stephano. Lead, monster; we'll follow. I would I could see this tabourer; he lays it on.
48	IV,1,1939	Caliban. Pray you, tread softly, that the blind mole may not Hear a foot fall: we now are near his cell. Stephano. Monster, your fairy, which you say is a harmless fairy, has done little better than played the Jack with us.
49	IV,1,1944	Trinculo. Monster, I do smell all horse-piss; at which my nose is in great indignation. Stephano. So is mine. Do you hear, monster? If I should take a displeasure against you, look you,—
50	IV,1,1952	Trinculo. Ay, but to lose our bottles in the pool,— Stephano. There is not only disgrace and dishonour in that, monster, but an infinite loss.
51	IV,1,1956	Trinculo. That's more to me than my wetting: yet this is your harmless fairy, monster. Stephano. I will fetch off my bottle, though I be o'er ears for my labour.
52	IV,1,1963	Caliban. Prithee, my king, be quiet. Seest thou here, This is the mouth o' the cell: no noise, and enter. Do that good mischief which may make this island Thine own for ever, and I, thy Caliban, For aye thy foot-licker. Stephano. Give me thy hand. I do begin to have bloody thoughts.
53	IV,1,1969	Trinculo. O, ho, monster! we know what belongs to a frippery. O king Stephano! Stephano. Put off that gown, Trinculo; by this hand, I'll have that gown.
54	IV,1,1977	Caliban. The dropsy drown this fool I what do you mean To dote thus on such luggage? Let's alone And do the murder first: if he awake, From toe to crown he'll fill our skins with pinches, Make us strange stuff. Stephano. Be you quiet, monster. Mistress line, is not this my jerkin? Now is the jerkin under the line: now, jerkin, you are like to lose your hair and prove a bald jerkin.
55	IV,1,1982	Trinculo. Do, do: we steal by line and level, an't like your grace. Stephano. I thank thee for that jest; here's a garment for't: wit shall not go unrewarded while I am king of this country. 'Steal by line and level' is an excellent pass of pate; there's another garment for't.
56	IV,1,1991	Caliban. I will have none on't: we shall lose our time, And all be turn'd to barnacles, or to apes With foreheads villanous low. Stephano. Monster, lay-to your fingers: help to bear this away where my hogshead of wine is, or I'll turn you out of my kingdom: go to, carry this.
57	IV,1,1995	Trinculo. And this. Stephano. Ay, and this.  [A noise of hunters heard. Enter divers Spirits,] in shape of dogs and hounds, and hunt them about, PROSPERO and ARIEL setting them on]
58	V,1,2328	Prospero. Sir, my liege, Do not infest your mind with beating on The strangeness of this business; at pick'd leisure Which shall be shortly, single I'll resolve you, Which to you shall seem probable, of every These happen'd accidents; till when, be cheerful And think of each thing well. [Aside to ARIEL] Come hither, spirit: Set Caliban and his companions free; Untie the spell. [Exit ARIEL] How fares my gracious sir? There are yet missing of your company Some few odd lads that you remember not. [Re-enter ARIEL, driving in CALIBAN, STEPHANO] and TRINCULO, in their stolen apparel] Stephano. Every man shift for all the rest, and let no man take care for himself; for all is but fortune. Coragio, bully-monster, coragio!
59	V,1,2361	Sebastian. Why, how now, Stephano! Stephano. O, touch me not; I am not Stephano, but a cramp.
60	V,1,2363	Prospero. You'ld be king o' the isle, sirrah? Stephano. I should have been a sore one then.