[From Schlegel's "Lectures on Dramatic Literature.”*] The Midsummer Night's Dream and The Tempest may be so far compared together that in both the influence of a wonderful world of spirits is interwoven with the turmoil of human passions and with the farcical adventures of folly. The Midsummer Night's Dream is certainly an earlier production; but The Tempest, according to all appearance, was written in Shakespeare's later days: hence most critics, on the supposition that the poet must have continued to improve with increasing maturity of mind, have honoured the last piece with a marked preference. I cannot, however, altogether concur with them the intrinsic merits of these two works are, in my opinion, pretty nearly balanced, and a predilection for the one or the other can only be governed by personal taste. In profound and original characterization the superiority of The Tempest is obvious: as a whole, we must always admire the masterly skill which the poet has here displayed in the economy of his means, and the dexterity with which he has disguised his preparations—the scaffoldings for the wonderful aërial structure. The Tempest has little action or progressive movement; the union of Ferdinand and Miranda is settled at their first interview, and Prospero merely throws apparent obstacles in their way; the shipwrecked band go leisurely about the island; the attempts of Sebastian and Antonio on the life of the King of Naples, and the plot of Caliban and the drunken sailors against Prospero, are nothing but a feint, for we foresee that they will be completely frustrated by the magical skill of the latter; nothing remains, therefore, but the punishment of the guilty by dreadful sights which harrow up their consciences, and then the discovery and final reconciliation. Yet this want of movement is so admirably concealed by the most varied display of the fascinations of poetry and the ex *Bohn's translation. hilaration of mirth, the details of the execution are so very attractive, that it requires no small degree of attention to perceive that the dénouement is, in some degree, anticipated in the exposition. The history of the loves of Ferdinand and Miranda, developed in a few short scenes, is enchantingly beautiful an affecting union of chivalrous magnanimity on the one part, and on the other of the virgin openness of a heart which, brought up far from the world on an uninhabited island, has never learned to disguise its innocent movements. The wisdom of the princely hermit Prospero has a magical and mysterious air; the disagreeable impression left by the black falsehood of the two usurpers is softened by the honest gossipping of the old and faithful Gonzalo; Trinculo and Stephano, two good-for-nothing drunkards, find a worthy associate in Caliban; and Ariel hovers sweetly over the whole as the personified genius of the wonderful fable. Caliban has become a by-word as the strange creation of a poetical imagination. A mixture of gnome and savage, half dæmon, half brute, in his behaviour we perceive at once the traces of his native disposition, and the influence of Prospero's education. The latter could only unfold his understanding, without, in the slightest degree, taming his rooted malignity it is as if the use of reason and human speech were coinmunicated to an awkward ape. In inclination Caliban is malicious, cowardly, false, and base; and yet he is essentially different from the vulgar knaves of a civilized world, as portrayed occasionally by Shakespeare. He is rude, but not vulgar; he never falls into the prosaic and low familiarity of his drunken associates, for he is, in his way, a poetical being; he always speaks in verse. He has picked up every thing dissonant and thorny in language to compose out of it a vocabulary of his own; and of the whole variety of nature, the hateful, repulsive, and pettily deformed have alone been. impressed on his imagination. The magical world of spirits, which the staff of Prospero has assembled on the island, casts merely a faint reflection into his mind, as a ray of light which falls into a dark cave, incapable of communicating to it either heat or illumination, serves merely to set in motion the poisonous vapours. The delineation of this monster is throughout inconceivably consistent and profound, and, notwithstanding its hatefulness, by no means hurtful to our feelings, as the honour of human nature is left untouched. In the zephyr-like Ariel the image of air is not to be mistaken; his name even bears an allusion to it; as, on the other hand, Caliban signifies the heavy element of earth. Yet they are neither of them simple, allegorical personifications, but beings individually determined. In general we find in The Midsummer Night's Dream, in The Tempest, in the magical part of Macbeth, and wherever Shakespeare avails himself of the popular belief in the invisible presence of spirits, and the possibility of coming in contact with them, a profound view of the inward life of Nature and her mysterious springs, which, it is true, can never be altogether unknown to the genuine poet, as poetry is altogether incompatible with mechanical physics, but which few have possessed in an equal degree with Dante and himself. [From Mrs. Jameson's “Characteristics of Women."] We might have deemed it impossible to go beyond Viola, Perdita, and Ophelia as pictures of feminine beauty; to exceed the one in tender delicacy, the other in ideal grace, and the last in simplicity, if Shakespeare had not done this; and he alone could have done it. Had he never created a Miranda, we should never have been made to feel how completely the purely natural and the purely ideal can blend into each other. The character of Miranda resolves itself into the very elements of womanhood. She is beautiful, modest, and tender, and she is these only; they comprise her whole being, external and internal. She is so perfectly unsophisticated, so del icately refined, that she is all but ethereal. Let us imagine any other woman placed beside Miranda- even one of Shakespeare's own loveliest and sweetest creations-there is not one of them that could sustain the comparison for a moment; not one that would not appear somewhat coarse or artificial when brought into immediate contact with this pure child of nature, this "Eve of an enchanted Paradise." What, then, has Shakespeare done?-"O wondrous skill and sweet wit of the man!"—he has removed Miranda far from all comparison with her own sex; he has placed her between the demi-demon of earth and the delicate spirit of air. The next step is into the ideal and supernatural; and the only being who approaches Miranda, with whom she can be contrasted, is Ariel. Beside the subtle essence of this ethereal sprite, this creature of elemental light and air, that "ran upon the winds, rode the curl'd clouds, and in the colours of the rainbow lived," Miranda herself appears a palpable reality, a woman," breathing thoughtful breath," a woman, walking the earth in her mortal loveliness, with a heart as frailstrung, as passion-touched, as ever fluttered in a female bosom. I have said that Miranda possesses merely the elementary attributes of womanhood, but each of these stands in her with a distinct and peculiar grace. She resembles nothing upon earth; but do we therefore compare her, in our own minds, with any of those fabled beings with which the fancy of ancient poets peopled the forest depths, the fountain or the ocean?— oread or dryad fleet, sea-maid, or naiad of the stream? We cannot think of them together. Miranda is a consistent, natural human being. Our impression of her nymph-like beauty, her peerless grace, and purity of soul, has a distinct and individual character. Not only is she exquisitely lovely, being what she is, but we are made to feel that she could not possibly be otherwise than as she is portrayed. She has never beheld one of her own sex; she has never B caught from society one imitated or artificial grace. The im pulses which have come to her, in her enchanted solitude, are of heaven and nature, not of the world and its vanities. She has sprung up into beauty beneath the eye of her father, the princely magician; her companions have been the rocks and woods, the many-shaped, many-tinted clouds, and the silent stars; her playmates the ocean billows, that stooped their foamy crests, and ran rippling to kiss her feet. Ariel and his attendant sprites hovered over her head, ministered duteous to her every wish, and presented before her pageants of beauty and grandeur. The very air, made vocal by her fa ther's art, floated in music around her. If we can presup pose such a situation with all its circumstances, do we not behold in the character of Miranda not only the credible, but the natural, the necessary results of such a situation? She retains her woman's heart, for that is unalterable and inalienable, as a part of her being; but her deportment, her looks, her language, her thoughts-all these, from the supernatural and poetical circumstances around her, assume a cast of the pure ideal; and to us, who are in the secret of her human and pitying nature, nothing can be more charming and consistent than the effect which she produces upon others, who, never having beheld any thing resembling her, approach her as "a wonder," as something celestial : Most sure, the goddess on whom these airs attend! Is she the goddess who hath severed us, Contrasted with the impression of her refined and dignified beauty, and its effect on all beholders, is Miranda's own soft simplicity, her virgin innocence, her total ignorance of the conventional forms and language of society. It is most natural that in a being thus constituted, the first tears should spring from compassion, " suffering with those that she saw |