70 UNIVERSITY OF COLORADO STUDIES 



of ten tides!" is his wish for the sailor. Finally, at the catastrophe, he suggests, 

 " Let's all sink with the King!" The impression received from obsecving the facts 

 about Antonio in this scene is that he is shrewd enough to see that the sailors will 

 do all they can to save themselves, whatever they may think of the fate of the nobles; 

 that he does not interfere with them or abuse them until he sees that their efforts 

 are unavailing; and that his feeling in peril shows as anger and pride, rather than 

 open fear. He clings to class distinctions, though perceiving that the imminence 

 of death had practically abolished them. He takes a selfish view of the disaster 

 when he says that they, meaning himself and his friends, are cheated of their lives 

 by drunkards, inasmuch as the sailors worked with skill and energy for the common 



In the third scene, Antonio's first speech is, " The visitor will not give him o'er 

 so." This is a sneer, both at Gonzalo and at philanthropists in general. His 

 next speech is " Fie, what a spendthrift is he of his tongue! " This sneer implies, 

 not that Antonio condemns the free use of words by Gonzalo, but that Gonzalo 

 talks for nothing. Endless volubility for a selfish purpose is clever, but Gonzalo 

 has no purpose in his talk, according to the opinion of Antonio. When Adrian says 

 the island is of a subtle, tender and delicate temperance, meaning climate, Antonio 

 retorts that " Temperance was a delicate wench." There is a good deal of shrewd 

 sense in his criticism of the well-meant consolations of Gonzalo and Adrian. He 

 protests manfully against the slur cast upon Dido. But every word is a sneer, 

 whether true or frivolous. He and Sebastian riddle Gonzalo's fancy commonwealth 

 with most practical objections; one feels that they pronounce authoritatively upon 

 the impossibility of an ideal commonwealth without new provisions against the 

 evils arising from idleness. In this purposeless skirmish of wits Sebastian is more 

 aggressive than Antonio, who says but little, and that mostly in echo of his friend. 

 It is not until the others are asleep that Antonio displays his true ability. He sug- 

 gests the plot to Sebastian with flattery, and rouses his ambition with promises; 

 he grows animated, eloquent even; politic, insinuating, adroit, he pours his spirits 

 into the ear of Sebastian. Boldness, acuteness, conscienceless logic are mingled 

 with sarcastic humor, scorn, and a splendid but evil resoluteness. He does not 

 spare words where he has a purpose to effect. Prospero sends Ariel to thwart 

 their project. When they are thwarted Sebastian is the bolder, and Antonio's 

 excuses are a weak and even ridiculous echo. 



In this scene Antonio appears as lost to all sense of decency and humanity. 

 He is ambitious, selfish, cunning, dangerously clever. His vigilance, energy, adroit- 

 ness, animated eloquence, sarcastic wit, are admirable; and, better directed, might 

 be great. Less bold in action than Sebastian, he is far bolder in designing and con- 

 spiracy. 



In Act III, scene 3, he reappears, and our observation of his vigilance and per- 

 sistence is confirmed by his first two speeches. Whatever his amazement on seeing 



