166. But the seeing these flower colors, and the iris of blood together with them, just while I was trying to gather into brief space the right laws of war, brought vividly back to me my dreaming fancy of long ago, that even the trees of the earth were "capable of a kind of sorrow, as they opened their innocent leaves in vain for men; and along the dells of England her beeches cast their dappled shades only where the outlaw drew his bow, and the king rode his careless chase; amidst the fair defiles of the Apennines, the twisted olive-trunks hid the ambushes of treachery, and on their meadows, day by day, the lilies, which were white at the dawn, were washed with crimson at sunset." And so also now this chance word of the daily journal, about the Sirens, brought to my mind the divine passage in the Cratylus of Plato, about the place of the dead. "And none of those who dwell there desire to depart thence,--no, not even the Sirens; but even they, the seducers, are there themselves beguiled, and they who lulled all men, themselves laid to rest--they, and all others--such sweet songs doth death know how to sing to them." So also the Hebrew. "And desire shall fail, because man goeth to his long home." For you know I told you the Sirens were not pleasures, but desires; being always represented in old Greek art as having human faces, with birds' wings and feet; and sometimes with eyes upon their wings; and there are not two more important passages in all literature, respecting the laws of labor and of life, than those two great descriptions of the Sirens in Homer and Plato,--the Sirens of death, and Sirens of eternal life, representing severally the earthly and heavenly desires of men; the heavenly desires singing to the motion of circles of the spheres, and the earthly on the rocks of fatalest shipwreck. A fact which may indeed be regarded "sentimentally," but it is also a profoundly important politico-economical one. And now for Shakespeare's song. 167. You will find, if you look back to the analysis of it, given in 'Munera Pulveris,' Sec. 134, that the whole play of 'The Tempest' is an allegorical representation of the powers of true, and therefore spiritual, Liberty, as opposed to true, and therefore carnal and brutal Slavery. There is not a sentence nor a rhyme, sung or uttered by Ariel or Caliban, throughout the play, which has not this under-meaning.