It is generally considered, and we think rightfully so, that the character, speaking thus, personates the author. As Duke of Milan, we find Prospero "loving his books," prosecuting secret studies," and acquiring a knowledge of

"liberal arts Without a parallel."

The result was, as we learn from the play, that he gained a power over nature that staggers imagination to conceive. By his "magic art," he controlled not only the forces of the physical world, but also the invisible spirits of the air, and even the brute creation. Ariel and Caliban alike do his bidding. The play turns upon the beneficent use of these powers, counteracting evil and enthroning love. The inquiry now arises, has such a play any significancy as the capstone in the arch of the Shakespearean dramatic productions?

Bacon called his system of philosophy Instauratio Magna, the Great Restoration; that is, the restoration of mankind to empire over nature, and to the conditions of happiness which were lost in the Garden of Eden. He says:

"When man's understanding is emancipated and come, as it were, of age, there cannot but follow an improvement in his estate, and an enlargement of his dominion over nature. For man by the fall fell at the same time from his state of innocency and from his dominion over creation. Both of these losses, however, can even in this life be in some part repaired; the former by religion and faith, the latter by arts and sciences."― BACON's Novum Organum.

In this view of 'The Tempest,' as a dramatization of 'Paradise Regained,' let us gather up some of the details under specific heads, as follows:

1. CREATION.

"And God made two great lights; the greater light to rule the day, and the lesser light to rule the night." — Genesis i. 16.

"Caliban.

When thou camest first,

Thou didst . . . teach me how

To name the bigger light, and how the less,

That burn by day and night." - Tempest, i. 2.

2. FIRST MEETING OF FERDINAND AND MIRANDA.

It sounds no more;

[Re-enter Ariel, invisible, playing and singing; Ferdinand following.] "Ferdinand. Where should this music be? i' th' air, or th' earth? and sure, it waits upon Some god o' th' island. Sitting on a bank, Weeping against the king my father's wreck, This music crept by me upon the waters, Allaying both their fury and my passion, With its sweet air. Thence I have follow'd it, Or it hath drawn me, rather; — but 't is gone. No, it begins again. . .

This is no mortal business, nor no sound
That the earth owes; I hear it now above me.

Miranda [to Prospero].

Prospero.

Miranda.

Ferdinand.

[Ariel sings.

[Miranda sees Ferdinand. What is 't? a spirit?

Lord, how it looks about! Believe me, sir,
It carries a brave form; — but 't is a spirit.
No, wench; it eats and sleeps, and hath such senses
As we have. This gallant, which thou seest,
Was in the wreck; and but he's something stain'd
With grief, that's beauty's canker, thou mightst call him.
A goodly person. He hath lost his fellows,

And strays about to find 'em.

I might call him

A thing divine, for nothing natural
I ever saw so noble.

[Ferdinand sees Miranda. Most sure, the goddess

On whom these airs attend! Vouchsafe, my pray'r
May know if you remain upon this island,

And that you some instruction give,

How I may bear me here; my prime request,
Which I do last pronounce, is, O you wonder!

[Enter Ferdinand and Miranda; the former piling logs.] Alas, now, pray you,

"Miranda.

Ferdinand.

Mira.

Fer.

Work not so hard; I would, the lightning had
Burnt up those logs that you are enjoin'd to pile.
Pray set it down and rest you; when this burns,
"T will weep for having wearied you. My father
Is hard at study; pray now, rest yourself;
He's safe for these three hours.

O, most dear mistress!
The sun will set before I shall discharge
What I most strive to do.

If you 'll sit down,

I'll bear your logs the while. Pray, give me that;
I'll carry it to the pile.

No, precious creature:
I had rather crack my sinews, break my back,
Than you should such dishonor undergo,

Mira.

Fer.

Mira.

While I sit lazy by.

It would become me

As well as it does you; and I should do it
With much more ease, for my good will is to it,
And yours is against.

You look wearily.

No, noble mistress; 't is fresh morning with me,
When you are by at night. I do beseech you,
Chiefly that I might set it in my prayers,

What is your name?

Miranda - O my father!

I have broke your hest to say so.

Fer.

Mira.

Fer.

Mira.
Fer.

"Ferdinand. Miranda.

Admir'd Miranda!

Indeed, the top of admiration, worth
What's dearest to the world! Full many a lady
I have eye'd with best regard; and many a time
The harmony of their tongues hath into bondage
Brought my too diligent ear; for several virtues
Have I lik'd several women; never any
With so full soul, but some defect in her
Did quarrel with the noblest grace she ow'd,
And put it to the foil; but you, O you,
So perfect, and so peerless, are created
Of every creature's best.

I do not know

One of my sex; no woman's face remember,
Save, from my glass, mine own; nor have I seen
More that I may call men, than thou, good friend,

And my dear father; how features are abroad,

I am skill-less of; but by my modesty

(The jewel in my dower), I would not wish

Any companion in the world but you;

Nor can imagination form a shape,

Besides yourself, to like of. But I prattle
Something too wildly, and my father's precepts
I therein do forget.

Hear my soul speak.

The very instant that I saw you, did
My heart fly to your service; there resides,
To make me slave to it; and for your
Am I this patient log-man.

sake

Do you

love me?

O heaven! O earth! bear witness to this sound,
And crown what I profess with kind event,

If I speak true; if hollowly, invert

What best is boded me to mischief! I,

Beyond all limit of what else i' the world,
Do love, prize, honor you." - Tempest, iii. 1.

5. THE BETROTHAL.

Wherefore weep you?
At mine unworthiness, that dare not offer
What I desire to give ; and much less take,

Fer.

Mira. Fer.

Mira.

What I shall die to want; but this is trifling;

And all the more it seeks to hide itself,

The bigger bulk it shows. Hence, bashful cunning!
And prompt me, plain and holy innocence!

I am your wife, if you will marry me;

If not, I'll die your maid; to be your fellow
You may deny me; but I'll be your servant,
Whether you will or no.

And I thus humble, ever.

Ay, with a heart as willing

My mistress, dearest,

My husband then ? 1

As bondage e'er of freedom; here's my hand.
And mine, with my heart in't."— Tempest, iii. 1.

"The whole courting scene, indeed, in the beginning of the third act, between the lovers, is a masterpiece; and the first dawn of disobedience in the mind of Miranda to the command of her father is very finely drawn, so as to seem the working of the Scriptural command - Thou shalt leave father and mother, &c. O! with what exquisite purity this scene is conceived and executed!" COLERIDGE'S Notes and Lectures upon Shakespeare, i. 102.

6. THE PROHIBITION.

"And the Lord God commanded the man, saying, Of every tree in the garden thou mayest freely eat; but of the tree of knowledge of good and evil, thou shalt not eat of it."- Genesis ii. 16-17.

66

Prospero [to Ferdinand].

Then, as my gift, and thine own acquisition,
Worthily purchased, take my daughter; but

1 Our readers will notice that it is Miranda, not Ferdinand, who asks the momentous question. Shake-speare had prepared the way for this in his 'Troilus and Cressida,' written four years earlier :

"Cressida [to Troilus]. Though I lov'd you well, I woo'd you not;

And yet, good faith, I wish'd myself a man,

Or that we women had men's privilege

Of speaking first."-iii. 2, 125–128.

Bacon had evidently considered the same innovation, for in his 'Advertisement touching an Holy War' he imagines a country under the full control of women. "I speak,” says he, "not of the reign of women (for that is supplied by counsel and subordinate magistrates masculine), but where the regi ment of state, of justice, of families, is all managed by women."