Original: To every article.
Modern: I did everything exactly as you ordered.

Original: I boarded the king’s ship; now on the beak,
Modern: I got onto the king’s ship; sometimes at the front,

Original: Now in the waist, the deck, in every cabin,
Modern: Sometimes in the middle, on the deck, in every room below,

Original: I flamed amazement: sometime I’ld divide,
Modern: I appeared as terrifying flames: sometimes I would split apart,

Original: And burn in many places; on the topmast,
Modern: And burn in several spots at once; on the highest mast,

Original: The yards and bowsprit, would I flame distinctly,
Modern: The crossbeams and front pole, I would burn as separate flames,

Original: Then meet and join. Jove’s lightnings, the precursors
Modern: Then come together and merge. Jupiter’s lightning bolts, which come before

Original: O’ the dreadful thunder-claps, more momentary
Modern: The terrible thunder crashes, aren’t any quicker

Original: And sight-outrunning were not; the fire and cracks
Modern: Or faster than sight itself; the fire and explosive sounds

Original: Of sulphurous roaring the most mighty Neptune
Modern: Of my sulfur-smelling roar made even mighty Neptune, god of the sea,

Original: Seem to besiege and make his bold waves tremble,
Modern: Appear to be under attack and made his powerful waves shake,

Original: Yea, his dread trident shake.
Modern: Yes, even made his fearsome three-pronged spear tremble.

Original: Not a soul
Modern: Not a single person

Original: But felt a fever of the mad and play’d
Modern: Escaped feeling the madness of panic and acted out

Original: Some tricks of desperation. All but mariners
Modern: Desperate, crazy behavior. Everyone except the sailors

Original: Plunged in the foaming brine and quit the vessel,
Modern: Jumped into the churning saltwater and abandoned the ship,

Original: Then all afire with me: the king’s son, Ferdinand,
Modern: Which was then completely on fire because of me: the king’s son, Ferdinand,

Original: With hair up-staring,—then like reeds, not hair,—
Modern: With his hair standing straight up—looking like marsh grass, not hair—

Original: Was the first man that leap’d; cried, ‘Hell is empty
Modern: Was the first man to jump overboard; he shouted, ‘Hell is empty

Original: And all the devils are here.’
Modern: And all the devils are here on this ship.’

In Act I, Scene 2 of “The Tempest,” Prospero reveals to his daughter Miranda the truth about their origins and how they came to inhabit the island. He explains that he was once the Duke of Milan but was overthrown by his brother Antonio, who conspired with Alonso, King of Naples. Prospero recounts how he and the infant Miranda were set adrift at sea in a barely seaworthy boat, but managed to survive and reach their current island home twelve years ago. He tells Miranda that his magical powers, developed through years of study, have enabled him to conjure the recent tempest that brought his enemies’ ship to the island.

After revealing this history, Prospero summons his spirit servant Ariel, who reports on the successful shipwreck and confirms that all passengers are safely scattered across the island in small groups, believing the others to be drowned. Ariel reminds Prospero of his promise of freedom, and Prospero assures him it will come after more tasks are completed. The scene then introduces Caliban, Prospero’s reluctant slave, whom Prospero calls forth to gather firewood. Caliban curses his master and complains of his treatment, while Prospero reminds him of past kindnesses and threatens him with magical torments. The scene establishes the power dynamics between Prospero and his two supernatural servants while setting up the central conflict involving Prospero’s enemies now stranded on his island.

The Tempest opens with a violent storm at sea that shipwrecks a vessel carrying Alonso, King of Naples, his son Ferdinand, his brother Sebastian, Antonio (the usurping Duke of Milan), the counselor Gonzalo, and others. The tempest has been conjured by Prospero, the rightful Duke of Milan, who lives in exile on an island with his daughter Miranda. Twelve years earlier, Prospero was overthrown by his brother Antonio with the help of Alonso, and set adrift at sea with the infant Miranda. They survived and reached this island, where Prospero has spent years studying magic and commanding the spirit Ariel, whom he freed from imprisonment in a tree.

The shipwreck separates the survivors into different groups across the island. Ferdinand becomes separated from the others and encounters Miranda, with whom he immediately falls in love, though Prospero tests the young man by enslaving him temporarily. Meanwhile, Antonio and Sebastian plot to murder Alonso and Gonzalo while they sleep, but Ariel awakens Gonzalo just in time. Another group, including the drunken butler Stephano and jester Trinculo, meets Caliban, Prospero’s reluctant servant who is the island’s original inhabitant. Caliban persuades them to help him kill Prospero and take control of the island.

Prospero orchestrates a series of magical interventions: he presents a banquet to Alonso’s group that vanishes when they try to eat, and Ariel appears as a harpy to remind them of their crimes against Prospero. Ariel also disrupts Caliban’s murder plot by leading the conspirators into a stinking pond and then tormenting them with spirits disguised as hunting dogs. Ferdinand proves his love for Miranda by completing the tasks Prospero sets him, and Prospero gives his blessing to their betrothal, celebrating with a masque of spirits.

In the final act, Prospero reveals himself to all the castaways, forgives his enemies, and renounces his magic, breaking his staff and freeing Ariel. Alonso repents his past actions and restores Prospero to his dukedom. Ferdinand and Miranda’s engagement is celebrated, Caliban acknowledges Prospero’s authority and promises to be wise hereafter, and Prospero prepares to return to Milan. The play concludes with Prospero’s epilogue, in which he asks the audience to free him with their applause, as he has freed Ariel.