ood-humour, which makes us as happy as the night is long. To turn from
Theseus and Titania and Bottom to the Enchanted Island, is to step out
of a country lane into a conservatory. The roses and the dandelions have
vanished before preposterous cactuses, and fascinating orchids too
delicate for the open air; and, in the artificial atmosphere, the gaiety
of youth has been replaced by the disillusionment of middle age.
Prospero is the central figure of _The Tempest_; and it has often been
wildly asserted that he is a portrait of the author--an embodiment of
that spirit of wise benevolence which is supposed to have thrown a halo
over Shakespeare's later life. But, on closer inspection, the portrait
seems to be as imaginary as the original. To an irreverent eye, the
ex-Duke of Milan would perhaps appear as an unpleasantly crusty
personage, in whom a twelve years' monopoly of the conversation had
developed an inordinate propensity for talking. These may have been the
sentiments of Ariel, safe at the Bermoothes; but to state them is to
risk at least ten years in the knotty entrails of an oak, and it is
sufficient to point out, that if Prospero is wise, he is also
self-opinionated and sour, that his gravity is often another name for
pedantic severity, and that there is no character in the play to whom,
during some part of it, he is not studiously disagreeable. But his
Milanese countrymen are not even disagreeable; they are simply dull.
'This is the silliest stuff that e'er I heard,' remarked Hippolyta of
Bottom's amateur theatricals; and one is tempted to wonder what she
would have said to the dreary puns and interminable conspiracies of
Alonzo, and Gonzalo, and Sebastian, and Antonio, and Adrian, and
Francisco, and other shipwrecked noblemen. At all events, there can be
little doubt that they would not have had the entree at Athens.

The depth of the gulf between the two plays is, however, best measured
by a comparison of Caliban and his masters with Bottom and his
companions. The guileless group of English mechanics, whose sports are
interrupted by the mischief of Puck, offers a strange contrast to the
hideous trio of the 'jester,' the 'drunken butler,' and the 'savage and
deformed slave,' whose designs are thwarted by the magic of Ariel.
Bottom was the first of Shakespeare's masterpieces in characterisation,
Caliban was the last: and what a world of bitterness and horror lies
between them! The charming coxcomb it is easy to k