About 1604 he ceased to be an actor, although he continued to write for the stage, and in fact produced his greatest plays after that date. Seven years later he returned finally to Stratford, and there lived a quiet and delightful home life until 1616, when on the anniversary of his birth he died suddenly of a fever. He was buried in the little parish church at Stratford, where his remains rest beside those of his wife. On the flat stone that covers his body is inscribed this epitaph:
“Good frend for Iesus sake forbeare,
To digg the dvst encloased heare:
Blesse be ye man yt spares thes stones,
And Cvrst be he yt moves my bones.”
Such are the principal facts that we know concerning the great man, and a simple biography it certainly is. We must not, however, think that he was not popular among his fellows, or that he was merely a successful business man. He counted among his friends the wisest and best men of his time, and some of them have written their impressions of him. Ben Jonson, a rough but sincere and honest man, says: “I loved the man, and do honor his memory, on this side idolatry, as much as any. He was indeed honest, and of an open, free nature; had an excellent phantasy, brave notions and gentle expressions.”
THE PLAY. The Tempest was one of the last of the poet’s dramas, though not the last, as some writers have contended. It was not printed until 1623, after the poet’s death, but it was written, according to Hudson, between 1603 and 1613, and probably between 1610 and 1613.
The story seems to have been original with Shakespeare; at least no satisfactory evidence has been given to show that he borrowed it. This is rather unusual, for Shakespeare showed a fine contempt for originality, and borrowed the plots of his plays from a great variety of sources. His own version of each story, however, was so masterly that no one regrets that he availed himself of all the assistance he could get.
The scene of the play is laid on an island; what island we do not know. Probably it is as mythical as the events that happened on it.
The Tempest is one of Shakespeare’s most perfect plays. In form it is perfect, and follows, more closely than was customary with him, the strict laws of the old Greek dramas, the laws which critics still uphold as those governing the highest art. The three unities are here observed: The events all occur in a single day; they happen in a single place; from beginning to end there is one continuous line of thought. Only the last characteristic is still generally observed by dramatic writers.
Beside perfection in form, The Tempest shows the greatest nicety in the way the natural and supernatural move along together without a single interference. It is difficult to think of the magic art of Prospero as more marvelous than the coarse plotting of Sebastian, or to consider the delicate Ariel and the mis-shapen Caliban less human than the manly Ferdinand, or the honest old Gonzalo. Only a great writer could accomplish this, and none but a genius could make of his work a piece so fine that we delight in every line of it. It would be unfair too not to mention the beautiful expressions that abound in it, the high sentiments that prevail, and the great renunciation that Prospero makes when he has in his hands every means for swift and terrible revenge.
CHARACTERS. In reading the drama we become acquainted with the characters, and begin to be indifferent toward some, to have admiration for others and contempt for others. In real life we must not be governed by our first impressions of people. We must study their appearance, their speech, their actions, and make up our minds as to their characters before we decide to make them our friends. It is very unwise to trust every agreeable person we meet, and especially unwise to be suspicious of every person who at first impresses us unfavorably. The older we grow, the keener becomes our power to read character, and the less liable we are to be deceived if we try always to use our best judgment. One of the great benefits literature can offer us is the opportunity to study character, and Shakespeare had such a remarkable insight into human nature, and so great a power of drawing character that in his plays we can see before us almost every type of human being, and from a study of them we can gain a knowledge of humanity that will help us every day of our lives.
Accordingly, let us take up, one after another, the principal characters in The Tempest and study them in such a way that we shall be able to read other plays with greater ease and quickened intelligence.