The Private Papers of Henry Ryecroft by George Gissing

Today I have read The Tempest. It is perhaps the play that I love best, and, because I seem to myself to know it so well, I commonly pass it over in opening the book. Yet, as always in regard to Shakespeare, having read it once more, I find that my knowledge was less complete than I supposed. So it would be, live as long as one might; so it would ever be, whilst one had strength to turn the pages and a mind left to read them.

I like to believe that this was the poet's last work, that he wrote it in his home at Stratford, walking day by day in the fields which had taught his boyhood to love rural England. It is ripe fruit of the supreme imagination, perfect craft of the master hand. For a man whose life's business it has been to study the English tongue, what joy can equal that of marking the happy ease wherewith Shakespeare surpasses, in mere command of words, every achievement of those even who, apart from him, are great? I could fancy that, in The Tempest, he wrought with a peculiar consciousness of this power, smiling as the word of inimitable felicity, the phrase of incomparable cadence, was whispered to him by the Ariel that was his genius. He seems to sport with language, to amuse himself with new discovery of its resources. From king to beggar, men of every rank and every order of mind have spoken with his lips; he has uttered the lore of fairyland; now it pleases him to create a being neither man nor fairy, a something between brute and human nature, and to endow its purposes with words. These words, how they smack of the moist and spawning earth, of the life of creatures that cannot rise above the soil! We do not think of it enough; we stint our wonder because we fall short in appreciation. A miracle is worked before us, and we scarce give heed; it has become familiar to our minds as any other of nature's marvels, which we rarely pause to reflect upon.