By ’r lakin, I can go no further, sir;
My old bones ache: here’s a maze trod, indeed,
Through forth-rights and meanders! By your patience,
I needs must rest me.
By God, I cannot go any farther, sir. My old bones ache. We have walked through quite a maze here, with all its straight passages and winding paths! By your patience, I must rest.
I can't walk any farther, sir. My bones are killing me. We've been through so many twists and turns on this path! Please, I need to sit down.
can't go farther my bones are aching this maze is killing me i need to rest
Old lord, I cannot blame thee,
Who am myself attach’d with weariness
To th’ dulling of my spirits: sit down, and rest.
Even here I will put off my hope, and keep it
No longer for my flatterer: he is drown’d
Whom thus we stray to find; and the sea mocks
Our frustrate search on land. Well, let him go.
Old lord, I cannot blame you. I myself am worn down with exhaustion to the point where my spirits are dulling. Sit down and rest. Even here I will let go of my hope and stop holding onto it as my comfort. He is drowned—the person we wander about trying to find. And the sea is mocking our pointless search on land. Well, let him go.
Old friend, I can't blame you. I'm so tired I can barely think straight. Sit down and rest. I'm giving up hope right here. The person we're looking for is dead in the sea. And it's making fun of us, searching on land like idiots. Let him go.
i can't blame you i'm exhausted to death let's rest i'm letting go of hope he's drowned the sea's laughing at us let him go
[_Aside to Sebastian._] I am right glad that he’s
so out of hope.
Do not, for one repulse, forgo the purpose
That you resolv’d to effect.
I'm very glad he's lost hope. Don't abandon your plan just because of one setback—stick with what you've resolved to accomplish.
I'm really glad he's lost hope. Don't forget your plan just because of one rejection. Stick with what you decided to do.
good—he's lost hope don't give up on your plan stick with it
[_Aside to Antonio._] The next advantage
Will we take throughly.
The next opportunity we get, we'll seize it thoroughly.
The next chance we get, we'll definitely take it.
next opportunity we'll seize it fully
[_Aside to Sebastian._] Let it be tonight;
For, now they are oppress’d with travel, they
Will not, nor cannot, use such vigilance
As when they are fresh.
Let it happen tonight. Right now they're worn out from traveling—they can't be as watchful as they would be if they were rested.
Let's do it tonight. They're exhausted from traveling, so they won't be able to stay alert like they would if they were fresh.
let's do it tonight they're exhausted can't stay alert
[_Aside to Antonio._] I say, tonight: no more.
Solemn and strange music: and Prospero above, invisible. Enter several
strange Shapes, bringing in a banquet: they dance about it with gentle
actions of salutation; and inviting the King &c., to eat, they depart.
I say tonight and no more—solemn and strange music plays, and Prospero stands above, invisible. Several mysterious creatures enter carrying a magical banquet, dancing gracefully around it with gestures of greeting, inviting the King and his companions to eat, then they vanish away.
Tonight, and that's final. Solemn and strange music starts playing, and Prospero watches from above, invisible. Weird magical creatures show up with food, dancing around gracefully, beckoning the King to eat before they disappear.
tonight no more strange music plays prosper0 watches unseen mysterious creatures with magical food dance and vanish
What harmony is this? My good friends, hark!
What beautiful music is this? My good friends, listen!
What gorgeous music is this? My friends, listen!
what beautiful music! friends listen!
Marvellous sweet music!
Marvellous sweet music!
Marvellous sweet music!
marvellous sweet music!
Give us kind keepers, heavens! What were these?
May the heavens give us good guardians! What were these creatures?
May heaven protect us! What were these things?
heaven help us what were those things?
A living drollery. Now I will believe
That there are unicorns; that in Arabia
There is one tree, the phoenix’ throne; one phoenix
At this hour reigning there.
A living magical show. Now I will believe that there are unicorns. That in Arabia there is one tree, the throne of the phoenix, and one phoenix is sitting there ruling right now.
A living magical performance. Now I'll believe in unicorns. That in Arabia there's a magic tree where the phoenix sits and rules.
a living magical show now i believe in unicorns there's a tree in arabia the phoenix sits there ruling
I’ll believe both;
And what does else want credit, come to me,
And I’ll be sworn ’tis true: travellers ne’er did lie,
Though fools at home condemn them.
I will believe both of those things. And whatever else people doubt, come and tell me, and I swear it is true. Travelers never lie, even though fools back home call them liars.
I'll believe both of those. And whatever else people don't believe in, come tell me about it and I'll swear it's real. Travelers never lie, even though people back home call them liars.
i believe both tell me anything unlikely i'll swear it's true travelers don't lie people at home just don't get it
The harpy — a winged monster from Greek mythology — was associated with divine vengeance: the gods sent harpies to steal food from those being punished, tormenting them with hunger. Virgil's Aeneid includes a famous harpy scene where the creatures snatch food from the Trojan feast and prophesy suffering. Shakespeare's audience would have recognized the reference immediately. Ariel appearing as a harpy frames Prospero's revenge not as personal vindictiveness but as cosmic justice — the forces of the universe are aligned against Alonso and his co-conspirators. The vanishing banquet is the harpy's traditional move: punishment delivered through the very thing the guilty most desire. And the escape — 'heart-sorrow and a clear life ensuing' — is not the harpy's usual offer at all, which is what makes Prospero's plan unusual: divine punishment with a redemption clause.
If in Naples
I should report this now, would they believe me?
If I should say, I saw such islanders,—
For, certes, these are people of the island,—
Who, though, they are of monstrous shape, yet, note,
Their manners are more gentle, kind, than of
Our human generation you shall find
Many, nay, almost any.
If I were to tell this story in Naples now, would they believe me? If I were to say I saw such islanders—for these are definitely the island's people—who, though they have monstrous shapes, look here, their manners are gentler and kinder than you will find in most of our human people, really, almost all of them.
If I told this story back in Naples, would they believe me? If I said I saw creatures like this from the island—because that's definitely what these are—who look weird but are actually more polite than most humans back home, way more polite actually.
if i told this in naples would they believe me? these are islanders weird looking but kinder than real people almost anyone we know
[_Aside._] Honest lord,
Thou hast said well; for some of you there present
Are worse than devils.
Good honest lord, you've spoken well—because some of you here are worse than devils.
Good honest lord, you've said something true—because some of you people here are worse than devils.
honest lord you've spoken well some here are worse than devils
I cannot too much muse
Such shapes, such gesture, and such sound, expressing—
Although they want the use of tongue—a kind
Of excellent dumb discourse.
I cannot stop being amazed by such shapes, such gestures, and such sounds expressing—even though they lack the ability to speak—a kind of brilliant silent conversation.
I can't stop being fascinated by how they look, how they move, and the sounds they make—expressing real communication without even being able to talk.
can't stop being amazed their shapes their movements their sounds they communicate without talking
[_Aside._] Praise in departing.
Don't praise them yet—save your praise for after they leave.
Hold your praise till they're gone—don't celebrate yet.
save the praise for when they leave
They vanish’d strangely.
They disappeared mysteriously
They just disappeared so weirdly
they vanished
No matter, since
They have left their viands behind; for we have stomachs.—
Will’t please you taste of what is here?
It does not matter since they left their food behind. We have appetites anyway. Will you like to taste what is here?
Doesn't matter since they left the food. We're hungry anyway. You want to try some of this?
doesn't matter they left food we're hungry anyway want some?
Not I.
Not I.
Not I.
not i.
Faith, sir, you need not fear. When we were boys,
Who would believe that there were mountaineers
Dewlapp’d like bulls, whose throats had hanging at ’em
Wallets of flesh? Or that there were such men
Whose heads stood in their breasts? which now we find
Each putter-out of five for one will bring us
Good warrant of.
Honestly, sir, you do not need to be afraid. When we were boys, who would believe that there were mountain men with hanging skin like bulls, with hanging pouches of flesh at their throats? Or that there were such men whose heads stood in their chests? Which now we find each person who invests money in these stories will bring us solid proof of.
Trust me, sir, you don't need to worry. When we were kids, who would believe there were mountain men with drooping skin like bulls with hanging flaps? Or men with their heads in their chests? We know these things are real because people invest money betting on travelers' stories.
trust me you don't need to fear when we were kids—who'd believe mountain men with droopy skin? men with heads in their chests? people bet money on this stuff
I will stand to, and feed,
Although my last, no matter, since I feel
The best is past. Brother, my lord the duke,
Stand to, and do as we.
Thunder and lightning. Enter Ariel like a Harpy; claps his wings upon
the table; and, with a quaint device, the banquet vanishes.
I will eat and drink, even if it is my last meal. It does not matter anyway, since I feel my best days are done. Brother, my lord the duke, join me and do as I do. Thunder and lightning. Ariel appears like a Harpy, claps his wings on the table, and the magical banquet vanishes.
I'm going to eat and drink, even if it kills me. It doesn't matter anymore anyway—my best days are gone. Brother, duke, join me and eat with me. Thunder and lightning strike. Ariel appears as a Harpy, spreads his wings over the table, and the food disappears by magic.
i'll eat & drink even if it's my last meal nothing matters anyway my best days are gone but brother—eat with me thunder & lightning ariel appears as a harpy the food vanishes
You are three men of sin, whom Destiny,
That hath to instrument this lower world
And what is in’t,—the never-surfeited sea
Hath caused to belch up you; and on this island
Where man doth not inhabit; you ’mongst men
Being most unfit to live. I have made you mad;
And even with such-like valour men hang and drown
Their proper selves.
You are three men of sin, whom Destiny, which commands this entire world and everything in it—the ocean that never gets satisfied has brought up out of the sea. You ended up on this island where humans do not live, you among all people being completely unsuitable to live here. I have driven you to madness. And with this kind of courage men hang themselves and drown themselves.
You three are guilty men. Destiny, which controls this whole world and everything in it—the endless ocean itself—has spewed you out onto this island where no one lives. You are the worst possible people to be here. I've made you crazy. And this kind of reckless bravery is what makes people kill themselves.
you three are guilty men destiny controls everything the endless ocean brought you here to an island with no people you shouldn't be here i've made you mad this bravery makes people kill themselves
You fools! I and my fellows
Are ministers of Fate: the elements
Of whom your swords are temper’d may as well
Wound the loud winds, or with bemock’d-at stabs
Kill the still-closing waters, as diminish
One dowle that’s in my plume. My fellow-ministers
Are like invulnerable. If you could hurt,
Your swords are now too massy for your strengths,
And will not be uplifted. But, remember—
For that’s my business to you,—that you three
From Milan did supplant good Prospero;
Expos’d unto the sea, which hath requit it,
Him and his innocent child: for which foul deed
The powers, delaying, not forgetting, have
Incens’d the seas and shores, yea, all the creatures,
Against your peace. Thee of thy son, Alonso,
They have bereft; and do pronounce, by me
Ling’ring perdition,—worse than any death
Can be at once,—shall step by step attend
You and your ways; whose wraths to guard you from—
Which here, in this most desolate isle, else falls
Upon your heads,—is nothing but heart-sorrow,
And a clear life ensuing.
You fools! I and my companions are servants of Fate. The elements that make up your swords might as well wound the loud winds or stab the still-closing waters to death as they would diminish one tiny feather from my plume. My fellow servants are invulnerable. Even if you could hurt us, your swords are now too heavy for your strength and cannot be lifted. But listen—that's what I'm here to tell you—you three from Milan displaced good Prospero and exposed him and his innocent child to the sea, which has repaid him. For that foul deed, the powers have not forgotten, though they delayed, and have made the seas, shores, and all creatures angry against your peace. Alonso, they have taken your son from you, and through me they declare that slow destruction—worse than any instant death—will pursue you step by step. To protect yourselves from their wrath, which would otherwise fall on your heads here in this desolate island, you need only heartfelt sorrow and a pure life from now on.
You idiots! I and my companions work for Fate itself. Your swords are made of elements that might as well try to wound the winds or kill the ocean as harm one tiny feather from my wing. We spirits can't be hurt. Even if you could damage us, your swords are too heavy for you to lift anyway. But listen—I'm here to remind you that you three from Milan overthrew good Prospero and sent him and his innocent daughter out to sea, and the sea has gotten revenge. For that terrible crime, the powers haven't forgotten, and they've made the seas, shores, and all creatures angry at you. Alonso, they've taken your son away from you. And I'm telling you that you'll suffer slow, lingering destruction—worse than quick death—following you everywhere. The only way to escape the punishment that would fall on your heads on this empty island is true regret and living a clean life from now on.
u exiled prospero from milan the powers curse u u cant hurt us step by step ur destroyed only escape: regret & live clean
The harpy's accusation produces three utterly different responses, and they tell you everything about the three characters. Alonso hears it and breaks — the guilt he's been suppressing for twelve years comes flooding through the surfaces: the waves, the winds, the thunder all seem to name his crime. He accepts the verdict completely. Sebastian draws his sword and challenges the fiends to a fight — defiance, refusal to acknowledge, aggression as denial. Antonio stands with Sebastian — cold, strategic, never emotional, unwilling to feel guilt even when accused by supernatural force. These three responses map exactly onto what happens in 5-1: Alonso repents and is forgiven; Antonio receives forgiveness he never asks for and may not acknowledge; Sebastian is offered mercy he probably doesn't deserve. Shakespeare is a relentlessly fair distributor of psychological consequence.
[_Aside._] Bravely the figure of this Harpy hast thou
Perform’d, my Ariel; a grace it had, devouring.
Of my instruction hast thou nothing bated
In what thou hadst to say: so, with good life
And observation strange, my meaner ministers
Their several kinds have done. My high charms work,
And these mine enemies are all knit up
In their distractions; they now are in my power;
And in these fits I leave them, while I visit
Young Ferdinand,—whom they suppose is drown’d,—
And his and mine lov’d darling.
You played the Harpy's part beautifully, my Ariel—with such powerful grace! You haven't left out any of my instructions. With such vivid performance and strange attention to detail, all my lesser spirits have done their parts perfectly. My powerful magic is working, and my enemies are completely tangled up in their confusion. They're in my power now. I'll leave them in these distressed states while I go visit young Ferdinand—whom they think has drowned—and his and my beloved child.
You played that Harpy part beautifully, Ariel—with such powerful grace! You didn't miss a single instruction I gave you. With such vivid performance and strange details, all my spirits have done their parts perfectly. My magic is working great, and my enemies are completely twisted up in confusion. They're mine to control now. I'll leave them like this while I go visit Ferdinand—who they think is dead—and his and my darling.
beautiful harpy performance ariel powerful grace didn't miss my instructions my magic is working enemies are in my power leaving them confused going to visit ferdinand & my darling
I’ the name of something holy, sir, why stand you
In this strange stare?
In the name of something holy, sir, why are you standing in this strange state of shock?
In God's name, sir, why are you just standing there looking so strange?
in god's name why are you standing there looking so weird?
O, it is monstrous! monstrous!
Methought the billows spoke, and told me of it;
The winds did sing it to me; and the thunder,
That deep and dreadful organ-pipe, pronounc’d
The name of Prosper: it did bass my trespass.
Therefore my son i’ th’ ooze is bedded; and
I’ll seek him deeper than e’er plummet sounded,
And with him there lie mudded.
Oh, this is monstrous, absolutely monstrous! I thought the waves spoke and told me about it. The winds sang it to me, and the thunder—that deep and terrifying organ pipe—pronounced the name of Prospero. It revealed my crime with its deep sound. For this reason, my son is now buried in the ocean mud, and I will search for him deeper than any measuring line could reach, and lie there in the mud with him.
Oh, this is horrible, absolutely horrible! I thought the ocean waves were telling me about it. The wind sang it to me, and the thunder—that loud, scary sound—shouted out Prospero's name. It showed me what I did wrong. Because of that, my son is at the bottom of the ocean, and I'll dive deeper than anyone has ever gone, and I'll die there with him.
this is horrible horrible the waves told me the wind sang it the thunder said prospero's name it showed my crime my son's buried in the ocean i'll dive deeper than anyone and die there with him
But one fiend at a time,
I’ll fight their legions o’er.
But one monster at a time—I will fight against their entire army.
One devil at a time, and I'll fight all of them.
one monster at a time i'll fight all of them
I’ll be thy second.
I will support you in this.
I'm with you.
i got you
All three of them are desperate: their great guilt,
Like poison given to work a great time after,
Now ’gins to bite the spirits. I do beseech you
That are of suppler joints, follow them swiftly
And hinder them from what this ecstasy
May now provoke them to.
All three of them are desperate. Their heavy guilt, like poison that works a long time after being given, is now beginning to attack their minds. I ask you who are more flexible and active, follow them quickly and stop them from what this fit of madness might drive them to do.
All three of them are falling apart. Their guilt, like poison that takes a while to work, is now hitting them hard. I'm asking you younger, stronger guys, chase after them and keep them from doing something crazy.
all three are desperate their guilt is like slow poison now it's hitting them follow them fast stop them from doing something crazy
Follow, I pray you.
Please follow them.
Go after them now.
chase them
The Reckoning
This is the play's great confrontational set piece — Ariel as harpy, the vanishing banquet, the accusation that names the crime plainly. Alonso hears it and breaks; Sebastian and Antonio draw swords against the air; Gonzalo sees everything clearly and fears for all three. The scene is simultaneously the trial and the verdict: the powers that Prospero has harnessed are now prosecutors, and the only sentence they offer — 'heart-sorrow and a clear life ensuing' — is not death but the harder thing.
If this happened today…
Three executives who conspired to oust a colleague twelve years ago are at a company retreat. A mysterious catering team serves them an extraordinary meal. Then the lead server accuses them by name — calmly, in front of everyone — of what they did, and explains that everything bad that's happened since is connected to that crime. The food disappears. The lead server vanishes. Two of the executives try to fight. One starts confessing.