Or it hath drawn me rather:—but 'tis gone.—
No, it begins again.
ARIEL'S SONG.
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—
Hark! now I hear them, ding-dong bell.
[Burden ding-dong.
Ferdinand. The ditty does remember my drown'd father.
This is no mortal business, nor no sound
That the earth owns: I hear it now above me."—
The courtship between Ferdinand and Miranda is one of the chief beauties of this play. It is the very purity of love. The pretended interference of Prospero with it heightens its interest, and is in character with the magician, whose sense of preternatural power makes him arbitrary, tetchy, and impatient of opposition. The Tempest is a finer play than the Midsummer Night's Dream, which has sometimes been compared with it; but it is not so fine a poem. There are a greater number of beautiful passages in the latter. Two of the most striking in the Tempest are spoken by Prospero. The one is that admirable one when the vision which he has conjured up disappears, beginning "The
