But we'll outface them, and outswear them too. [Aloud] Away! make haste: thou know'st where I will tarry!

NER. Come, good sir, will you show me to this house?

[Exeunt.

And saw the lion's shadow ere himself,

And ran dismay'd away.

4-14 Troilus... Eson] The allusions to Troilus and to the three classical heroines in this passage all seem suggested by Chaucer, though Golding's translation of Ovid's Metamorphoses doubtless

LOR.

In such a night

Stood Dido with a willow in her hand

Upon the wild sea banks, and waft her love
To come again to Carthage.

JES.

Medea gather'd the enchanted herbs

That did renew old son.

LOR.

In such a night

In such a night

Did Jessica steal from the wealthy Jew,

And with an unthrift love did run from Venice
As far as Belmont.

JES.

In such a night

Did young Lorenzo swear he loved her well,
Stealing her soul with many vows of faith
And ne'er a true one.

LOR.

In such a night

Did pretty Jessica, like a little shrew,
Slander her love, and he forgave it her.

JES. I would out-night you, did no body come;
But, hark, I hear the footing of a man.

Enter STEPHANO

LOR. Who comes so fast in silence of the night?
STEPH. A friend.

LOR. A friend! what friend? your name, I pray you,

friend?

gave some additional hints. The reference to Troilus seems taken directly and exclusively from Chaucer's Troylus and Cresseide, Book V, 666-670. The story of Thisbe is the second topic in Chaucer's Legend of Good Women. The tale of Dido is the third, and the legend of Medea closely follows.

STEPH. Stephano is my name; and I bring word
My mistress will before the break of day
Be here at Belmont: she doth stray about
By holy crosses, where she kneels and
For happy wedlock hours.

LOR.

prays

Who comes with her?

STEPH. None but a holy hermit and her maid.

I pray you, is my master yet return'd?

LOR. He is not, nor we have not heard from him.

But go we in, I pray thee, Jessica,

And ceremoniously let us prepare

Some welcome for the mistress of the house.

Enter LAUNCELOT

LAUN. Sola, sola! wo ha, ho! sola, sola!

LOR. Who calls?

LAUN. Sola! did you see Master Lorenzo? Master Lorenzo, sola, sola!

LOR. Leave hollaing, man: here.

LAUN. Sola! where? where?

LOR. Here.

28 Stephano] Here, as in line 51, the second syllable is accented. Shakespeare in the Tempest employs the name with the first syllable accented in accordance with correct Italian usage. 41-42 Master Lorenzo? Master Lorenzo] This is an original and satisfactory reading of the Cambridge editors. The First Quarto reads M. Lorenzo, M. Lorenzo. The Second Quarto and the First Folio read M. Lorenzo, & M. Lorenzo. The reading most commonly adopted is based on the Third Folio, M. Lorenzo, and Mrs. Lorenza. Delius reads, Master Lorenzo and Mistress Lorenzo.

50

LAUN. Tell him there's a post come from my master, with his horn full of good news: my master will be here ere morning. [Exit.

LOR. Sweet soul, let's in, and there expect their

coming.

And yet no matter: why should we go in?

My friend Stephano, signify, I pray you,
Within the house, your mistress is at hand;

And bring your music forth into the air. [Exit Stephano.
How sweet the moonlight sleeps upon this bank!

Here will we sit, and let the sounds of music
Creep in our ears: soft stillness and the night
Become the touches of sweet harmony.

Sit, Jessica. Look how the floor of heaven
Is thick inlaid with patines of bright gold:

There's not the smallest orb which thou behold'st
But in his motion like an angel sings,

Still quiring to the young-eyed cherubins;
Such harmony is in immortal souls;
But whilst this muddy vesture of decay
Doth grossly close it in, we cannot hear it.

Enter Musicians

Come, ho, and wake Diana with a hymn!
With sweetest touches pierce your mistress' ear,
And draw her home with music.

[Music.

JES. I am never merry when I hear sweet music. LOR. The reason is, your spirits are attentive: For do but note a wild and wanton herd,

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