One loves to see in "The Tempest" the crowning utterance of his maturity. How wise, how noble it is, and the wisdom and nobility set forth in what exquisite play of fancy and wealth of humor! As in Hamlet we seem to see Shakspere in his mid-life storm and stress, so in Prospero we think we recognize the ideal of his ripeness. There is the wise man torn from books and reverie, and rudely thrust upon treachery and the stormy sea; there is control gained over airy powers and ethereal beauties; struggle with bestial evil; forgiveness of the wrong-doer; happiness in the happiness of his child, and willing surrender of her to her lover; the admonition that love perfect itself by the mastery of passion. So wise, so beneficent, so lofty is Shakspere's latest creation. A shadow flits across, in the thought of mortal transiency:--
"We are such stuff As dreams are made of, and our little life Is rounded by a sleep."
Yet instantly Prospero marks this as the utterance of a disturbed moment: "Bear with my weakness, my old brain is troubled;" the coming encounter with Caliban has shaken him. Most Shaksperean, too, is this: alternating impulses of trust and doubt; now a sense of being led "by Providence divine;" an instinct of a "divinity that shapes our ends;" and again, the mood that sees beyond the present scene only blankness and the end.
Those elements which in Shakspere are absent or dim,--the belief in a divine rule and celestial destiny, and a high and fixed moral purpose,--these appear in full strength in men of Shakspere's time, the men of religion; but in their minds inextricably blent with a scheme of the universe which it is plain was to Shakspere as unreal as the mythology of the Greeks, and which he treats in much the same way, merely borrowing it for a dramatic purpose. The men of religion had no such consummate expression in literature as Shakspere, though they had their Taylor and Herbert and Milton; but to appreciate them we must look at them in action, and we may take the Puritan as their type.
But first let us note that in Catholicism as early as in Protestantism appeared the sharp rift between intellect and belief. Montaigne, a man of the world, is outwardly a conformist, but a real skeptic. A nominal Catholic, he corresponds to Shakspere, a nominal Protestant. Montaigne reveals the world of one personality as, frankly as Shakspere pictures a world of humanity, and in each the purely religious element is almost totally absent.