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 ’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 ’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 ’r lakin, i can go no further, sir; my old bones ache: here’s a maze trod, indeed, through forth-rights and meanders!
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, 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, 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 thee, who am myself attach’d with weariness to th’ dulling of my spirits: sit down, and rest. e
so out of hope.
Do not, for one repulse, forgo the purpose
That you resolv’d to effect.
so out of hope. Do not, for one repulse, forgo the purpose That you resolv’d to effect.
so out of hope. Do not, for one repulse, forgo the purpose That you resolv’d to effect.
so out of hope. do not, for one repulse, forgo the purpose that you resolv’d to effect.
Will we take throughly.
Will we take throughly.
Will we take throughly.
will we take throughly.
For, now they are oppress’d with travel, they
Will not, nor cannot, use such vigilance
As when they are fresh.
For, now they are oppress’d with travel, they Will not, nor cannot, use such vigilance As when they are fresh.
For, now they are oppress’d with travel, they Will not, nor cannot, use such vigilance As when they are fresh.
for, now they are oppress’d with travel, they will not, nor cannot, use such vigilance as when they are fresh.
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.
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.
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.
solemn and strange music: and prospero above, invisible. enter several strange shapes, bringing in a banquet: they dance
What harmony is this? My good friends, hark!
What harmony is this? My good friends, hark!
What harmony is this? My good friends, hark!
what harmony is this? my good friends, hark!
Marvellous sweet music!
Marvellous sweet music!
Marvellous sweet music!
marvellous sweet music!
Give us kind keepers, heavens! What were these?
Give us kind keepers, heavens! What were these?
Give us kind keepers, heavens! What were these?
give us kind keepers, heavens! what were these?
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 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 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 drollery. now i will believe that there are unicorns; that in arabia there is one tree, the phoenix’ throne; on
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’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’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’ll believe both; and what does else want credit, come to me, and i’ll be sworn ’tis true: travellers ne’er did lie, th
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 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 will find Many, nay, almost any.
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 will find Many, nay, almost any.
if in naples i should report this now, would they believe me? if i should say, i saw such islanders,— for, certes, these
Thou hast said well; for some of you there present
Are worse than devils.
you hast said well; for some of you there present Are worse than devils.
you hast said well; for some of you there present Are worse than devils.
thou hast said well; for some of you there present 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 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 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 too much muse such shapes, such gesture, and such sound, expressing— although they want the use of tongue—a kin
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.
They vanish’d strangely.
They vanish’d strangely.
They vanish’d strangely.
they vanish’d strangely.
No matter, since
They have left their viands behind; for we have stomachs.—
Will’t please you taste of what is here?
No matter, since They have left their viands behind; for we have stomachs.— Will’t please you taste of what is here?
No matter, since They have left their viands behind; for we have stomachs.— Will’t come on you taste of what is here?
no matter, since they have left their viands behind; for we have stomachs.— will’t please you taste of what is here?
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.
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.
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.
faith, sir, you need not fear. when we were boys, who would believe that there were mountaineers dewlapp’d like bulls, w
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 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 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 stand to, and feed, although my last, no matter, since i feel the best is past. brother, my lord the duke, stand
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, That has to instrument this lower world And what is in’t,—the never-surfeited sea has caused to belch up you; and on this island Where man does 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, That has to instrument this lower world And what is in’t,—the never-surfeited sea has caused to belch up you; and on this island Where man does 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, that hath to instrument this lower world and what is in’t,—the never-surfeited s
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.
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.
Perform’d, my Ariel; a grace it had, devouring. Of my instruction hast you nothing bated In what you 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.
Perform’d, my Ariel; a grace it had, devouring. Of my instruction hast you nothing bated In what you 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.
perform’d, my ariel; a grace it had, devouring. of my instruction hast thou nothing bated in what thou hadst to say: so,
I’ the name of something holy, sir, why stand you
In this strange stare?
I’ the name of something holy, sir, why stand you In this strange stare?
I’ the name of something holy, sir, why stand you In this strange stare?
i’ the name of something holy, sir, why stand you in this strange stare?
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.
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.
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.
o, it is monstrous! monstrous! methought the billows spoke, and told me of it; the winds did sing it to me; and the thun
But one fiend at a time,
I’ll fight their legions o’er.
But one fiend at a time, I’ll fight their legions o’er.
But one fiend at a time, I’ll fight their legions o’er.
but one fiend at a time, i’ll fight their legions o’er.
I’ll be thy second.
I’ll be your second.
I’ll be your second.
i’ll be thy second.
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 great guilt, Like poison given to work a great time after, Now ’gins to bite the spirits. I do ask 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 great guilt, Like poison given to work a great time after, Now ’gins to bite the spirits. I do ask 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 great guilt, like poison given to work a great time after, now ’gins to bite the
Follow, I pray you.
Follow, I pray you.
Follow, I pray you.
follow, i pray you.
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.