Ariel is, perhaps, one of the most extraordinary of all
Shakspere's creations. He is, indeed, formed upon a basis half fairy,
half devil, because it was only through the current notions upon
demonology that Shakspere could speak his ideas. But he certainly is not
a fairy in the sense that Puck is a fairy; and he is very far indeed
from bearing even a slight resemblance to the familiars whom the
magicians of the time professed to call from the vasty deep. He is
indeed but air, as Prospero says--the embodiment of an idea, the
representative of those invisible forces which operate as factors in the
shaping of events which, ignored, may prove resistant or fatal, but,
properly controlled and guided, work for good.[1] Lastly, there are the
heroes and heroine of the play, now no longer shadows, but the centres
of interest and admiration, and assuming their due position and
prominence.
[Footnote 1: It is difficult to accept Mr. Ruskin's view of Ariel as
"the spirit of generous and free-hearted service" (Mun. Pul. sec. 124);
he is throughout the play the more-than-half-unwilling agent of
Prospero.]
130. It is probable, therefore, that it is not merely a student's fancy
that in Prospero's storm-girt, spirit-haunted island can be seen
Shakspere's final and matured image of the mighty world. If this be so,
how far more bright and hopeful it is than the verdict which Mr.
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