Much has been said, and deservedly, in reprobation of the vile mixture which Dryden has thrown into the Tempest: doubtless, without some such vicious alloy, the impure ears of that age would never have sat out to hear so much innocence of love as is contained in the sweet courtship of Ferdinand and Miranda. But is the tempest of Shakspeare at all a subject for stage-representation? It is one thing to read of an enchanter, and to believe the wondrous tale while we are reading it; but to have a conjurer brought before us in his conjuring gown, with his spirits about him, which none but himself and some hundred of favored spectators before the curtain are supposed to see, involves such a quantity of the _hateful incredible_, that all our reverence for the author cannot hinder us from perceiving such gross attempts upon the senses to be in the highest degree childish and inefficient. Spirits and fairies cannot be represented, they cannot even be painted,--they can only be believed. But the elaborate and anxious provision of scenery, which the luxury of the age demands, in these cases works a quite contrary effect to what is intended. That which in comedy, or plays of familiar life, adds so much to the life of the imitation, in plays which appeal to the higher faculties positively destroys the illusion which it is introduced to aid. A parlor or a drawing-room,--a library opening into a garden--a garden with an alcove in it,--a street, or the piazza of Covent Garden, does well enough in a scene; we are content to give as much credit to it as it demands; or rather, we think little about it,--it is little more than reading at the top of a page, "Scene, a garden;" we do not imagine ourselves there, but we readily admit the imitation of familiar objects. But to think by the help of painted trees and caverns, which we know to be painted, to transport our minds to Prospero, and his island and his lonely cell;[1] or by the aid of a fiddle dexterously thrown in, in an interval of speaking, to make us believe that we hear those supernatural noises of which the isle was full: the Orrery Lecturer at the Haymarket might as well hope, by his musical glasses cleverly stationed out of sight behind his apparatus, to make us believe that we do indeed hear the crystal spheres ring out that chime, which if it were to enwrap our fancy long, Milton thinks, "Time would run back and fetch the age of gold, And speckled Vanity Would sicken soon and die, And leprous Sin would melt from earthly mould; Yea, Hell itself would pass away, And leave its dolorous mansions to the peering day." [Footnote 1: It will be said these things are done in pictures. But pictures and scenes are very different things. Painting is a world of itself; but in scene-painting there is the attempt to deceive; and there is the discordancy never to be got over, between painted scenes and real people.]