The isle is indeed, as Caliban says, “full of noises” (. 130 ). The play begins with a “tempestuous noise of thunder and lightning” (. 1 , stage direction), and the splitting of the ship is signaled in part by “a confused noise within” (. 54 , stage direction). Much of the noise of the play is musical, and much of the music is Ariel’s. Ferdinand is led to Miranda by Ariel’s music. Ariel’s music also wakes Gonzalo just as Antonio and Sebastian are about to kill Alonso in Act II, scene i. Moreover, the magical banquet of Act III, scene iii is laid out to the tune of “Solemn and strange music” (. 18 , stage direction), and Juno and Ceres sing in the wedding masque (. 106–117 ).
Gonzalo's description of his ideal society (–157, 160–165) thematically and verbally echoes Montaigne 's essay Of the Canibales , translated into English in a version published by John Florio in 1603. Montaigne praises the society of the Caribbean natives: "It is a nation ... that hath no kinde of traffike, no knowledge of Letters, no intelligence of numbers, no name of magistrate, nor of politike superioritie; no use of service, of riches, or of poverty; no contracts, no successions, no dividences, no occupation but idle; no respect of kinred, but common, no apparrell but natural, no manuring of lands, no use of wine, corne, or mettle. The very words that import lying, falsehood, treason, dissimulation, covetousnes, envie, detraction, and pardon, were never heard of amongst them."  In addition, much of Prospero's renunciative speech (–57) echoes a speech by Medea in Ovid 's poem Metamorphoses .