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In the case of The Tempest, Shakespeare plunged into the middle of the crisis because his object was to produce a philosophico-dramatic entertainment rather than a play in the strict sense of the word. He wanted room for the enchantments of Ariel, the brutishnesses of Caliban, the humours of Stephano and Trinculo all elements extrinsic to the actual story.
Upon this he spends the pith of his manhood year by year, and the result of all the labours of this sea-Hercules, well! it is perhaps to be sought in those dim beings, "half-man, half-fish," whom he brings back from some voyage, those forlorn Esquimaux who, seen in London streets, and long remembered, suggested to the dreaming soul of Shakespeare Caliban and his island.
And as the seconds heaped suspense upon suspense, the overbold Caliban was seized with a choking fear that he was to pay the price. Then Dolores spoke, slowly, quietly, almost soothingly; and those of her hardened ruffians who thought they knew her best hung on her words in shivery uncertainty. "For those bold words, Caliban, my father had stripped thy poisonous skin from thy putrid flesh.
Abel's task must have been quite as heavy as Cain's. Our opinion is that the Lord showed his usual caprice, hating whom he would and loving whom he would. Jehovah acted like the savage hero of Mr. Browning's "Caliban on Setebos," who sprawls on the shore watching a line of crabs make for the sea, and squashes the twentieth for mere variety and sport.
When I read Shakespeare and came upon the passage in which Prospero tells Caliban that he had no thoughts until his master taught him words, I remember starting with amazement at the poet's intuition, for such a Caliban had I been: I pitied thee, Took pains to make thee speak, taught thee each hour One thing or other, when thou didst not, savage, Know thine own meaning, but wouldst gabble, like A thing most brutish; I endow'd thy purposes With words that made them know.
Emerson's passion for nature was not like the passion of Keats or of Burns, of Coleridge or of Robert Browning; compared with these men he is cold. His temperature is below blood-heat, and his volume of poems stands on the shelf of English poets like the icy fish which in Caliban upon Setebos is described as finding himself thrust into the warm ooze of an ocean not his own.
According to Montégut, Caliban stands for Marlowe, Ariel for the English Genius which Shakespeare frees from its barbaric prison. Is 'The Tempest' an allegory? Is it in any sense an autobiographical play? Does its symbolism have much in common with that of modern symbolistic plays, such as Maeterlinck's 'Joyzelle, for example?
Not that he ever became consummately literary in the way his two teachers were. Beyond "Fra Lippo Lippi" and "Caliban and Setebos," he found nothing in Browning, while George Meredith was ever his despair. It was of his own initiative, however, that he invested in a violin, and practised so assiduously that in time he and Dede beguiled many a happy hour playing together after night had fallen.
Browning's "Caliban on Setebos," which contains the entire essence of all that Tylor and other investigators in the same field have since written on the subject of Animism? It seems that the Lord Bishop of Carlisle reads even the poets to small purpose.
In 1852 when Lablachc had reached an age when most singers grow dull and mechanical, he created two new types, Caliban, in Halévy's opera of "The Tempest," and Gritzonko, in "L'Etoile du Nord," with a vivacity, a stage knowledge, and a brilliancy of conception as rare as they were strongly marked.
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