TRINCULO
. . .
What have we here? A man, or a fish? Dead or alive? A fish: he smells like a fish. A very ancient and fish-like smell. A kind of, not of the newest, Poor-John. A strange fish. Were I in England now, as once I was, and had but this fish painted, not a holiday fool there but would give a piece of silver. 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.
. . .

In this passage from Shakespeare's "The Tempest," Trinculo encounters Caliban and is immediately struck by his unusual appearance and odor. Trinculo’s musings on the bizarre creature reveal much about the societal norms of Elizabethan England, where curiosity about the exotic could eclipse compassion. He imagines the profit he could make by showcasing Caliban as a spectacle, highlighting the commodification of the 'other' and the public's fascination with the strange and foreign. This moment underscores themes of exploitation and dehumanization, as Caliban, described in demeaning terms, becomes an object of ridicule and potential profit rather than a being worthy of empathy. The quote poignantly critiques the hypocrisy of a society that turns away from the needy yet eagerly spends on entertainment showcasing the unfamiliar.

ARIEL sings.
Full fathom five thy father lies,
Of his bones are coral made.
Those are pearls that were his eyes,
Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell:
[Burden within. Ding-dong.]
Hark, now I hear them–Ding-dong bell.

This haunting song, sung by Ariel, underscores the theme of transformation central to "The Tempest." The imagery of the drowned father, whose body transforms into coral and pearls, evokes a mystical change from the mundane to the extraordinary. Ariel's ethereal voice and the vivid descriptions suggest a world where the boundaries between reality and magic blur. Ferdinand, misled to believe his father is dead, becomes a pawn in Prospero's intricate game of reconciliation and power. The "sea-change" alludes not only to physical transformation but also to the broader metamorphoses that characters undergo throughout the play. Ultimately, Ariel's song reflects the play's exploration of loss, renewal, and the mysterious forces that shape human destiny.

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.
TRINCULO
O forgive me my sins.
STEPHANO
He that dies pays all debts. I defy thee. Mercy upon us!

In this passage from The Tempest, the chaos of the scene is heightened by Stephano's defiance in the face of what he perceives as a supernatural presence. His bold assertion, "He that dies pays all debts," reflects a cavalier attitude toward life and death, suggesting that mortality settles all scores. This fatalistic philosophy underscores the whimsical and reckless behavior of the drunken characters, who are emboldened by the enchanted setting of the island. Trinculo's plea for forgiveness highlights the fear and moral ambiguity faced by the trio as they unwittingly get entangled in Prospero's magical manipulations. Stephano's defiance and Trinculo's subsequent plea illustrate the tension between bravado and vulnerability, capturing the essence of human folly and the complexities of conscience when confronted by the unknown.

MIRANDA
My husband then?
FERDINAND
Ay, with a heart as willing
As bondage e'er of freedom. Here's my hand.
MIRANDA
And mine, with my heart in't. . . .

In this passage from William Shakespeare's The Tempest, Ferdinand and Miranda exchange vows of love and commitment. Miranda, having lived in isolation on the island, views Ferdinand as a miracle, not just for his human form but for the love he offers. Ferdinand responds with equal fervor, comparing his willingness and eagerness to marry Miranda to the longing of a captive for freedom. When he says, "Here's my hand," he offers a gesture of both literal and symbolic union, extending trust and fidelity. Miranda reciprocates with "And mine, with my heart in't," signifying her wholehearted devotion and sincerity. This exchange is a pivotal moment in the play, representing not only the union of the young lovers but also the potential for reconciliation and harmony among the island's inhabitants. Their mutual love becomes a symbol of hope and new beginnings amidst a backdrop of betrayal and loss.

STEPHANO
Come on then. Down and swear.
TRINCULO
I shall laugh myself to death at the puppy-headed monster. A most scurvy monster. I could find in my heart to beat him.
STEPHANO
Come, kiss.

In this scene from Shakespeare's "The Tempest," Trinculo's exclamation, "I shall laugh myself to death," captures the absurdity of their encounter with Caliban. The comedic tension arises as the inebriated Stephano and Trinculo interact with Caliban, who mistakes their status due to his naïveté and the influence of alcohol. Trinculo's reaction highlights the folly of the situation. He is torn between amusement and a desire to reprimand Caliban, whom he finds ridiculous and contemptible, referring to him as a "puppy-headed monster" and "a most scurvy monster." This scene exemplifies Shakespeare's use of humor and wordplay while also illustrating the theme of power dynamics and manipulation, as Caliban inadvertently offers himself to Stephano. The comical misunderstanding underscores the chaos and confusion orchestrated by Prospero's magical interference, as he manipulates events on the island to serve his own ends.

GONZALO
Now would I give a thousand furlongs of sea, for an acre of barren ground. Long heath, brown furze, any thing. The wills above be done, but I would fain die a dry death. [Exit.]

Gonzalo’s words, uttered amidst the chaos of a shipwreck, express a profound longing for the safety and stability of land over the perilous and untamed sea. His wish to "fain die a dry death" reflects the human desire for a more controlled and peaceful end than the violent uncertainty of drowning. This longing for solid ground symbolizes a yearning for security and order in an unpredictable world. Furthermore, by invoking "the wills above," Gonzalo acknowledges the power of fate and divine will, accepting that some things lie beyond human control. Shakespeare here captures the tension between human agency and the forces of nature, a theme that resonates throughout "The Tempest." Gonzalo’s pragmatic wish also contrasts sharply with the ambitious machinations of other characters, highlighting his grounding wisdom and humility.

PROSPERO
Thou hadst; and more Miranda. But how is it
That this lives in thy mind? What seest thou else
In the dark backward and abysm of time?
If thou rememb'rest aught ere thou cam'st here,
How thou cam'st here thou mayst.

In this passage from The Tempest by William Shakespeare, Prospero engages in a profound reflection on memory and the passage of time as he questions his daughter, Miranda, about her earliest recollections. Prospero marvels at Miranda's ability to recall fragments from her infancy, despite the "dark backward and abysm of time" that shrouds those memories. This expression poetically conveys the vast, obscured depths of the past, suggesting that time itself is an abyss that swallows even the most significant moments. Prospero's inquiry is not just a fatherly curiosity; it establishes the foundation for revealing her true identity and their shared history. The mention of the "dark backward" emphasizes the theme of forgotten and obscured truths, a central element in the play. Ultimately, this passage underscores the power of memory in shaping identity and the way past events continue to influence the present.

PROSPERO
...
Me, poor man, my library
Was dukedom large enough: of temporal royalties
He thinks me now incapable.
...

In Shakespeare's "The Tempest," Prospero reflects on his past as he explains to his daughter Miranda how he lost his position as the Duke of Milan. This quote reveals his deep absorption with his books and studies, which he considered as fulfilling as his former dukedom. The phrase "my library was dukedom large enough" underscores his neglect of political duties in favor of intellectual pursuits. Prospero's introspection highlights the contrast between his inner world of knowledge and the external world of power and politics. His brother Antonio’s betrayal is facilitated by Prospero’s perceived incapacity, driven by his preference for the "temporal royalties" of books over ruling a state. This moment poignantly captures the tension between the pursuit of knowledge and the responsibilities of leadership, illustrating a central conflict in Prospero’s life. His recognition of this misjudgment sets the stage for his character's development and eventual reconciliation with the burdens of power and governance.

MIRANDA
O wonder!
How many goodly creatures are there here.
How beauteous mankind is. O brave new world
That has such people in't!
PROSPERO
'Tis new to thee.

These lines from Miranda capture the essence of wonder and innocence as she encounters other people for the first time. Her exclamation, “O wonder!” showcases her awe at the sight of the men, reflecting her sheltered upbringing on the isolated island. Miranda's naivety leads her to idealize humanity, seeing beauty and goodness in those who appear before her, despite their flawed pasts. Her words, “O brave new world,” convey a sense of hope and potential that comes with new experiences and discoveries. Prospero’s response, “'Tis new to thee,” acknowledges her perception is limited by her innocence. This contrast between Miranda’s idealism and Prospero’s seasoned wisdom emphasizes themes of innocence versus experience, and the nature of humanity itself. Shakespeare explores the dichotomy between perception and reality, reminding audiences of the complexity of human nature and the enduring hope found in fresh perspectives.

ARIEL [sings]
Full fathom five thy father lies,
Of his bones are coral made.
Those are pearls that were his eyes,
Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange.
. . .

This ethereal song sung by Ariel in Shakespeare's "The Tempest" encapsulates the transformation and renewal that stem from the sea's power. Through Ariel, Prospero utilizes magic not only to control the elements but also to orchestrate events on the island. In these lines, the concept of metamorphosis is vividly portrayed—Ferdinand's father, presumed drowned, is described as turning into coral and pearls, embodying beauty emerging from tragedy. The "sea-change" signifies a fundamental and mysterious transformation, hinting at the larger theme of redemption and change present throughout the play. By transmuting loss into something "rich and strange," Shakespeare illustrates the potential for growth and the creation of beauty from decay. The passage also alludes to the inevitability of nature's cycles, where death feeds life, echoing Prospero's own journey towards forgiveness and reconciliation.

ARIEL
Safely in harbour
Is the King's ship, in the deep nook, where once
Thou call'dst me up at midnight to fetch dew
From the still-vexed Bermoothes, there she's hid;
The mariners all under hatches stowed,
Who, with a charm joined to their suffered labour,
I have left asleep. And for the rest o' the fleet,
Which I dispersed, they all have met again,
And are upon the Mediterranean float,
Bound sadly home for Naples,
Supposing that they saw the King's ship wrecked,
And his great person perish.

The "still-vexed Bermoothes" reference in Ariel's speech highlights both the mysterious and magical undertones of the play and Shakespeare's awareness of the world beyond Europe. The Bermudas, known for their tumultuous weather, serve as a symbol of disorder and enchantment—an appropriate setting for Prospero's magical interventions. Ariel's recounting of the ship's safekeeping in a "deep nook" also underscores the control Prospero wields over events, fusing natural and supernatural realms. This moment illustrates Ariel's loyalty and the successful execution of Prospero's plans, despite the chaos of the storm. The mariners' enchanted sleep symbolizes the suspension of reality, reflecting the play's larger themes of illusion and transformation. Meanwhile, the misled fleet's homeward journey, mired in mistaken beliefs, sets the stage for the unfolding drama on the island.

ANTONIO
. . .
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 forever; whiles you doing thus,
To the perpetual wink for 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
We say befits the hour.

In this passage from The Tempest, Antonio tempts Sebastian with power by suggesting they murder Alonso. Antonio belittles Alonso, comparing him to mere dirt, to emphasize his vulnerability. He offers to dispatch Alonso with his dagger, while encouraging Sebastian to eliminate "Sir Prudence," likely Gonzalo, who might object to their scheme. Antonio assures Sebastian that others will easily accept their rule, readily conforming their beliefs to the new order, "as a cat laps milk." This simile underscores their anticipated compliance, suggesting that people will adopt whatever narrative is presented to them without resistance. The imagery of a cat's willing acceptance of milk evokes the idea of passive acquiescence, portraying humans as susceptible to manipulation. Thus, Antonio manipulates Sebastian's ambition, pointing out how easily they can seize power with minimal opposition.

FERDINAND
Where should this music be? I' the air, or the earth?
It sounds no more. And sure it waits upon
Some god o' the island. Sitting on a bank,
Weeping again the King my father's wreck,
This music crept by me upon the waters,
Allaying both their fury and my passion
With its sweet air. Thence I have followed it,
Or it hath drawn me rather–but 'tis gone.
No, it begins again.

In William Shakespeare's "The Tempest," Ferdinand's words capture the enchanting power of Ariel's music, which symbolizes the otherworldly magic that pervades the island. While sitting on the shore, mourning the supposed loss of his father, the music stirs wonder and curiosity in him, acting as both a balm to his sorrow and a mysterious guide. The ethereal quality of the music, seemingly coming from nowhere and everywhere at once, suggests a divine or supernatural presence. This aligns with the play's themes of illusion and reality, where the boundaries of the natural world are blurred by Prospero's magic. Ferdinand's entrancement by the music foreshadows his subsequent encounter with Miranda, setting the stage for the unfolding of romance and reconciliation. Thus, the music serves as a pivotal catalyst for the transformative events that follow, drawing connections between sound, emotion, and destiny.

PROSPERO
. . .
Our revels now are ended. These our actors,
As I foretold you, were all spirits, and
All melted into air, into thin air,
. . .
And like this insubstantial pageant faded
Leave not a rack behind. We are such stuff
As dreams are made on; and our little life
Is rounded with a sleep.
. . .

In this poignant soliloquy from "The Tempest," Prospero reflects on the ephemeral nature of life and art. The spirits that performed the pageant have vanished, leaving no trace, much like how dreams dissipate upon waking. By declaring, "We are such stuff as dreams are made on," Prospero suggests that human lives, too, are transient and illusory. This moment serves as a meditation on mortality, emphasizing that life’s fleeting experiences culminate in the eventual sleep of death. The speech underscores a central theme of the play—the thin line between reality and illusion—and foregrounds the idea that both are constructed and fragile. Prospero’s insight provides a philosophical lens through which to consider the transient beauty and impermanence inherent in life and art alike.

ANTONIO
. . .
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
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.

In this passage from Shakespeare's "The Tempest," Antonio persuades Sebastian to seize power by murdering his brother, King Alonso. Antonio dismisses the legitimacy of the heir, Claribel, who is too distant and unlikely to influence events in Naples. His phrase, "what's past is prologue," implies that past actions merely set the stage for what is yet to occur, suggesting the future is theirs to shape. Antonio's rhetoric minimizes past consequences, encouraging Sebastian to view previous events as mere preambles to their potential ascendancy. This underscores Antonio's manipulative nature and willingness to exploit circumstances for personal gain. His words reflect themes of ambition and betrayal, pivotal in the play's exploration of power dynamics and human nature.

ARIEL
Where the bee sucks, there suck I.
In a cowslip's bell I lie.
There I couch when owls do cry.
On the bat's back I do fly
After summer merrily.
Merrily, merrily, shall I live now,
Under the blossom that hangs on the bough.

In this enchanting moment from Shakespeare's The Tempest, Ariel, the airy spirit bound to serve Prospero, sings of his longing for freedom. His lyrics paint a vivid picture of an idyllic existence, filled with the delightful pleasures of nature. The imagery of "where the bee sucks" and "in a cowslip's bell" evokes a life in harmony with the natural world, untouched by human concerns. Ariel's song captures his anticipation of liberation, promising a carefree, joyful life "under the blossom that hangs on the bough." This song highlights Ariel's ethereal nature and his deep yearning to escape the bonds of servitude, reflecting a broader theme of the play: the desire for freedom and the natural world's allure. Ariel’s joyful anticipation underscores the tension between duty and the longing for personal autonomy.