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Fair (1614), and by the imitation by Fletcher and Massinger in The Sea Voyage. In the preface to the adaptation of The Tempest by Dryden and Davenant, Dryden wrote: "Our excellent Fletcher had so great a value for it, that he thought fit to make use of the same Design, not much varied, a second time. Those who have seen his Sea-Voyage may easily discern that it was a copy of Shakespear's Tempest; the Storm, the Desert Island, and the Woman who had never seen a Man, are all sufficient Testimonies of it. But Fletcher was not the only Poet who made use of Shakespear's Plot. Sir John Suckling, a profess'd admirer of our Author, has follow'd his footsteps in his Goblins; his Regmella being an open imitation of Shakespear's Miranda; and his Spirits, though counterfeit, yet are copied from Ariel. But Sir William Davenant, as he was a Man of quick and piercing imagination, soon found that somewhat might be added to the design of Shakespear, of which neither Fletcher nor Suckling had ever thought: and therefore to put the last hand to it, he design'd the Counterpart to Shakespear's Plot, namely, that of a Man who had never seen a Woman. This excellent Contrivance he was pleased to communicate to me, and to desire my assistance in it." Thus it was that the poet laureate and the laureate to be rewrote The Tempest in 1667, to suit the taste of Restoration audiences. Miranda was given a sister, Dorinda, to serve as a confidante; Hippolito, 66 one that never saw woman," is a counterpart to Miranda. Ariel has a companion spirit, Milcha; Caliban has a sister, Sycorax, who weds Trincalo (sic). If Shakespeare could have seen this play, he would indeed have had cause to

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say, "Thou art translated." Yet Dryden professed, and unquestionably felt, the greatest respect and admiration for Shakespeare.

The Storm which vanish'd on the neighb'ring shore,
Was taught by Shakespear's Tempest first to roar.

But Shakespear's Magick could not copy'd be,
Within that Circle none durst walk but he.

I must confess 't was bold, nor would you now
That liberty to vulgar Wits allow,

Which work by Magick supernatural things:
But Shakespear's Pow'r is Sacred as a King's.

The Tempest of Dryden and Davenant is the play that Samuel Pepys saw with pleasure some half dozen times. This Restoration perversion of the play held the stage for more than one hundred years. It was produced in the provinces in 1767 by Mr. Kemble's Company of Comedians: Sarah Kemble (afterwards Mrs. Siddons), then twelve years old, took the part of Ariel. The same version was produced by John Kemble at the Drury Lane Theater in 1789.

The two fairy plays have supplied the largest number of passages for music. Thirteen passages in The Tempest have been set to music (Furnivall, in the New Shakspere Society's List, etc., 1884). The music composed in 1612, by Robert Johnson, for "Full fathom five" (I. ii. 396) and "Where the bee sucks" (V. i. 88) has been preserved in Wilson's Cheerful Ayres or Ballads (Oxford, 1660). These settings may have been heard by Shakespeare. In 1673 The Tempest was turned into an opera by Thomas Shadwell, who made various transpositions and additions,

and an entirely new masque at the close. For this opera, as also for A Midsummer-Night's Dream, Henry Purcell, England's greatest composer, wrote music. In February, 1756, this opera was produced by David Garrick; the adaptation was attributed to him then and later, but was disowned by him.

The Tempest is undramatic, and is seldom performed to-day. The opposing forces are too unequal; the spectator feels no anxiety for Prospero, who is all-powerful. If, indeed, his enemies were to gain the upper hand, what complications, what misfortunes might ensue! More significant than the history of occasional performances are the plays and poems that have been suggested by The Tempest. Thus F. G. Waldron published in 1797 The Virgin Queen, a drama in five acts, “attempted as a sequel to Shakespeare's Tempest." In this play Caliban takes advantage of Prospero's mistake in breaking his magic staff and drowning his book; but for the timely help of Ariel, Prospero and Miranda would have been in dire straits. So Ernest Renan wrote, in 1878, Caliban, a continuation of The Tempest. In this philosophical drama Prospero has returned to his books, and is again neglectful of his duties of state. Caliban, whom Prospero has injudiciously taken with him to Milan, is intended to represent the spirit of social democracy. By instigating a revolution he dethrones Prospero, and usurps his power. Once in power, however, he finds it advisable to carry out

for his own interests — the policies of Prospero. A benevolent despot has been exchanged for a despot who is selfish and brutal.

- More than in any other

Interpretation of Characters.

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of Shakespeare's dramas the leading characters in this play are types rather than individuals. Prospero, — the fortunate one, with his serene wisdom is an over-ruling providence, the divinity of the island. None the less, trusting unduly in the power of intellect, he has paid the penalty for giving overmuch time to his books and for neglecting the cares and duties of everyday life. Though we sympathize with Prospero as one who has been wronged, yet we feel no concern for one who can cause the storm with which the play begins, can call spirits from the vasty deep, and thus control both man and nature.

Miranda - to be wondered at (I. ii. 426; III. i. 37) is pure womanhood. Like Eve in Paradise, a child of nature, simple, unsophisticated, she has never learned that she must conceal her feelings. Of about the age of Juliet, just on the verge of womanhood, unversed in the arts of court, she knows no reason why she should hide her love. "I am your wife, if you will marry me; If not, I'll die your maid" (i.e., maid-servant). Her girlish innocence is the more apparent because there is no other woman in the play with whom she may be compared. Beside Caliban she is an ethereal being; beside Ariel she is " a Spirit, yet a Woman too." Only the creator of Lucy Desborough has known how to draw heroines as adorable as those whom Shakespeare's vision has brought to life.

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The name and description of Ariel "an ayrie Spirit" - indicate his native element (cf. V. i. 21). Yet he can take at will the form of fire (I. ii. 191, 198–200), or at the

command of Prospero the form of a water-nymph (I. ii. 301, 316). Invisible as air, except to Prospero, at times he is only a musical voice. A sexless creature, he is devoid of human feelings. He pleads for liberty; he must be free as air, or as the mountain winds. Yet Prospero's power can control Ariel, can use him as a servant.

Caliban, the servant-monster, "the offspring of an Incubus and a Sorceress " (cf. I. ii. 320), is one of the most remarkable of Shakespeare's creations. Compounded of the downward elements, earth and water (cf. I. ii. 314, 317), he is "of the earth, earthy," brutish, almost animal. At this time of exploration and discovery, when Indians were brought to England and exhibited, much curiosity was felt for the new type of barbarian with which civilization was newly confronted. What was his nature, what his capacity? The answer of our play is to the effect that the noble red man is brutish by nature, that he learns the vices of civilization more readily than its virtues. He is ready to worship Trinculo (Trinch) because of the celestial liquor (vin divin) that he bestows from his holy bottle; he seeks to violate the honor of Prospero's daughter. Yet though he is unmoral, he is not lacking in understanding. He can be used as a servant; we cannot miss (i.e., do without) him." He loves sweet music (III. ii. 144-153), and he speaks in verse. It has been suggested that in Caliban (Can-i-bal?) Shakespeare was satirizing the picture of the noble savage that Montaigne had drawn in his essay (I. 30) "Of the Caniballes." In 1873 Dr. Daniel Wilson, of Toronto, published an interesting

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