Elizabethan Demonology Part 12

129. Had Shakspere lived longer, he would doubtless have left us a series of plays filled with the bright and rea.s.suring tenderness and confidence of this third period, as long and as brilliant in execution as those of the second period. But as it is we are in possession of quite enough material to enable us to form accurate conclusions upon the state of his final thought. It is upon "The Tempest" that we must in the main rely for an exposition of this; for though the other plays and fragments fully exhibit the restoration of his faith in man and woman, which was a necessary concurrence with his return from scepticism, yet it is in "The Tempest" that he brings himself as nearly face to face as dramatic possibilities would allow him with circ.u.mstances that admit of the indirect expression of such thought. It is fortunate, too, for the purpose of comparing Shakspere's earliest and latest opinions, that the characters of "The Tempest" are divisible into the same groups as those of "The Dream." The gross _canaille_ are represented, but now no longer the most accurate in colour and most absorbing in interest of the characters of the play, or unessential to the evolution of the plot.

They have a distinct importance in the movement of the piece, and represent the unintelligent, material resistance to the work of regeneration that Prospero seeks to carry out, and which must be controlled by him, just as Sebastian and Antonio form the intelligent, designing resistance. The spirit world is there too, but they, like the former cla.s.s, have no independent plot of their own, and no independent operation against mankind; they only represent the invisible forces over which Prospero must a.s.sert control if he would insure success for his schemes. Ariel is, perhaps, one of the most extraordinary of all Shakspere's creations. He is, indeed, formed upon a basis half fairy, half devil, because it was only through the current notions upon demonology that Shakspere could speak his ideas. But he certainly is not a fairy in the sense that Puck is a fairy; and he is very far indeed from bearing even a slight resemblance to the familiars whom the magicians of the time professed to call from the vasty deep. He is indeed but air, as Prospero says--the embodiment of an idea, the representative of those invisible forces which operate as factors in the shaping of events which, ignored, may prove resistant or fatal, but, properly controlled and guided, work for good.[1] Lastly, there are the heroes and heroine of the play, now no longer shadows, but the centres of interest and admiration, and a.s.suming their due position and prominence.

[Footnote 1: It is difficult to accept Mr. Ruskin's view of Ariel as "the spirit of generous and free-hearted service" (Mun. Pul. -- 124); he is throughout the play the more-than-half-unwilling agent of Prospero.]

130. It is probable, therefore, that it is not merely a student's fancy that in Prospero's storm-girt, spirit-haunted island can be seen Shakspere's final and matured image of the mighty world. If this be so, how far more bright and hopeful it is than the verdict which Mr. Ruskin finds Shakspere to have returned. Man is no longer "a pipe for fortune's fingers to sound what stop she please." The evil elements still exist in the world, and are numerous and formidable; but man, by n.o.bleness of life and word, by patience and self-mastery, can master them, bring them into subjection, and make them tend to eventual good. Caliban, the gross, sensual, earthly element--though somewhat raised--would run riot, and is therefore compelled to menial service. The brute force of Stephano and Trinculo is vanquished by mental superiority. Even the supermundane spirits, now no longer thirsting for the destruction of body and soul, are bound down to the work of carrying out the decrees of truth and justice. Man is no longer the plaything, but the master of his fate; and he, seeing now the possible triumph of good over evil, and his duty to do his best in aid of this triumph, has no more fear of the dreams--the something after death. Our little life is still rounded by a sleep, but the thought which terrifies Hamlet has no power to affright Prospero. The hereafter is still a mystery, it is true; he has tried to see into it, and has found it impenetrable. But revelation has come like an angel, with peace upon its wings, in another and an unexpected way.

Duty lies here, in and around him in this world. Here he can right wrong, succour the weak, abase the proud, do something to make the world better than he found it; and in the performance of this he finds a holier calm than the vain strivings after the unknowable could ever afford. Let him work while it is day, for "the night cometh, when no man can work."

131. It is not a piece of pure sentimentality that sees in Prospero a type of Shakspere in his final stage of thought. It is a type altogether as it should be; and it is pleasing to think of him, in the full maturity of his manhood, wrapping his seer's cloak about him, and, while waiting calmly the unfolding of the mystery which he has sought in vain to solve, watching with n.o.ble benevolence the gradual working out of truth, order, and justice. It is pleasing to think of him as speaking to the world the great Christian doctrine so universally overlooked by Christians, that the only remedy for sin demanded by eternal justice "is nothing but heart's sorrow, and a clear life ensuing"--a speech which, though uttered by Ariel, is spoken by Prospero, who himself beautifully iterates part of the doctrine when he says--

"The rarer action is In virtue than in vengeance: they being penitent, The sole drift of my purpose doth extend Not a frown further."[1]

It is pleasant to dwell upon his sympathy with Ferdinand and Miranda--for the love of man and woman is pure and holy in this regenerate world: no more of Troilus and Cressida--upon his patient waiting for the evolution of his schemes; upon his faith in their ultimate success; and, above all, upon the majestic and unaffected reverence that appears indirectly in every line--"reverence," to adapt the words of the great teacher whose opinion about Shakspere has been perhaps too rashly questioned, "for what is pure and bright in youth; for what is true and tried in age; for all that is gracious among the living, great among the dead, and marvellous in the Powers that cannot die."

[Footnote 1: V. l. 27.]