Page:William Hazlitt - Characters of Shakespear's Plays (1817).djvu/147

bidding; his daughter Miranda ("worthy of that name") to whom all the power of his art points, and who seems the goddess of the isle; the princely Ferdinand, cast by fate upon the haven of his happiness in this idol of his love; the delicate Ariel; the savage Caliban, half brute, half demon; the drunken ship's crew—are all connected parts of the story, and can hardly be spared from the place they fill. Even the local scenery is of a piece and character with the subject. Prospero's enchanted island seems to have risen up out of the sea; the airy music, the tempest-tost vessel, the turbulent waves, all have the effect of the landscape back-ground of some fine picture. Shakespear's pencil is (to use an allusion of his own) "like the dyer's hand, subdued to what it works in." Every thing in him, though it partakes of "the liberty of wit," is also subjected to "the law" of the understanding. For instance, even the drunken sailors, who are made reeling-ripe, share, in the disorder of their minds and bodies, in the tumult of the elements, and seem on shore to be as much at the mercy of chance as they were before at the mercy of the winds and waves. These fellows with their sea-wit are the least to our taste of any part of the play: but they are as like drunken sailors as they can be, and are an indirect foil to Caliban, whose figure acquires a classical dignity in the comparison.