too much to affirm of any human
workmanship; but I venture to think that whatever faults it may have
are such as criticism is hardly competent to specify. In the
characters of Ariel, Miranda, and Caliban, we have three of the most
unique and original conceptions that ever sprang from the wit of man.
We can scarce imagine how the Ideal could be pushed further beyond
Nature; yet we here find it clothed with all the truth and life of
Nature. And the whole texture of incident and circumstance is framed
in keeping with that Ideal; so that all the parts and particulars
cohere together, mutually supporting and supported.

The leading sentiment naturally inspired by the scenes of this drama
is, I believe, that of delighted wonder. And such, as appears from the
heroine's name, Miranda, who is _the_ potency of the drama, is
probably the sentiment which the play was meant to inspire. But the
grace and efficacy in which the workmanship is steeped are so ethereal
and so fine, that they can hardly be discoursed in any but the poetic
form: it may well be doubted whether Criticism has any fingers
delicate enough to grasp them. So much is this the case, that it
seemed to me quite doubtful whether I should do well to undertake the
theme at all. For Criticism is necessarily obliged to substitute, more
or less, the forms of logic for those of art; and art, it scarce need
be said, can do many things that are altogether beyond the reach of
logic. On the other hand, the charm and verdure of these scenes are so
unwithering and inexhaustible, that I could not quite make up my mind
to leave the subject untried. Nor do I know how I can better serve my
countrymen than by engaging and helping them in the study of this
great inheritance of natural wisdom and unreproved delight. For,
assuredly, if they early learn to be at home and to take pleasure in
these productions, their whole after-life will be the better and the
happier for it.

* * * * *

_The Tempest_ is one of the plays that were never printed till in the
folio of 1623; where, for reasons unknown to us, it stands the first
in the volume; though, as we shall presently see, it was among the
last of the Poet's writing.

It has been ascertained clearly enough that the play was written
somewhere between 1608 and 1613. On the one hand, the leading features
of Gonzalo's Commonwealth, as described in the play, were evidently
taken from Florio's translation of Mo