As the ecological details of the natural environment pervade a text, the reverse is sometimes equally true - a text might colonize the natural environment, if only through influencing the dreams and behaviors of its readers.
Eugene Schieffelin was an eccentric drug manufacturer in the early twentieth century who dreamed of introducing every species of bird mentioned in any of Shakespeare’s plays into North America. His attempts to establish wild populations of bullfinches, chaffinches, nightingales, and skylarks in the new york area never came to fruition. However, a population of starlings he released in central park grew from sixty to one of the predominant invasive species in the US .
This anecdote illustrates a related idea - as an island can be colonized by the mainland, the reverse may also occur. In this case, birds from an imaginary world first colonized an island (Manhattan) and then overran an entire continent (North America).
|Natural history of the animal kingdom for the use of young people.|
Brighton :E. & J.B. Young and Co.,1889.
Source: Biodiversity Heritage Library
Schieffelin's starling isn't the only member of Shakespeare's bestiary that demonstrates success in colonizing human-dominated environments.
I prithee, let me bring thee where crabs grow
And I with my long nails will dig thee pignuts,
Show thee a jay’s nest, and instruct thee how
To snare the nimble marmoset. I’ll bring thee
To clustering filberts, and sometimes I’ll get thee
Young scamels from the rock. Wilt thou go with me?
(The Tempest, II.ii.78-83) 
Whether urban living marmosets are city ‘invaders’ or animals that have become ‘stranded’ within the urban environment remains to be resolved; that is, whether they actively enter urban environments or were incorporated into urban environments due to urban sprawl. 
Like Caliban, or perhaps more like Robinson Crusoe, these primates find themselves castaways in a strange microcosm. Their challenge is first to survive, and second to assert dominion over their adopted home. Like Crusoe, it's not entirely clear whether they are truly "shipwrecked," or choose to inhabit these islands for personal reasons. As Crusoe seemed to grow to prefer his island kingdom, the marmosets have also become seemingly very comfortable with island life.
The marmosets also mirror Crusoe in their interactions with the "natives," if we might consider the human inhabitants of the city to be the natives of an urban environment - which is to say, they are friendly towards the park-goers when useful for the sake of being fed, but are equally comfortable with aggression and theft when necessary:
Map of a city park in Belo Horizonte, BrazilTheir boundaries can be sharp and discontinuous, or gradational. They can vary from large oceanic islands, to islands of forest surrounded by grassland, to trees within the forest, to leaves on the tree. What is perceived as an island will depend on the organisms being studied ... as such they are basic functional units of ecology. 
There is a suggested connection here between an island and a stage - the island is portrayed as a setting more than a geography, and the border is more or less imagined. The ecology of such a place is secondary (the mainland ecology is primary). In literature, any environment or animal represented is by definition a "secondary" representation of a first-hand experience - this distinction is important because it points to how an island is well suited to the task of literature generally - the boundaries between one realm and another are constantly in sight, even as they shift from one place to another. There is also a suggestion here that we might consider islands as the constituent building blocks of the world at large - the phrase "basic functional units" points to a theory of "island as axiom." In light of this, the ecological islands of Belo Horizonte are seeds from a single imaginary island. The role of the marmosets has shifted from "native" to "colonist," as the impassable ocean shifts from waves to high-rises.
|The zoology of the voyage of the H.M.S. Erebus & Terror. v.1.|
London,E. W. Janson,1844-1875.
Source: Biodiversity Heritage Library
The other common type of interaction we observed with the public involved problematic marmosets. In these cases people had fed marmosets in their houses and subsequently the marmosets had started to aggressively ‘invade’ their houses. Unfortunately, many people think it is “cute” to have marmosets feeding off their kitchen table; however, marmosets quickly lose their fear of people and start to raid houses looking for food and causing negative interactions. 
So, what were they doing on Shakespeare's island in the Tempest? There's no definitive answer to this question - regardless, their presence there provides an unwitting but still intriguing play on the idea of "boundary" within the island's domain. Like Caliban, the marmosets dance on the line between two taxonomic groups, both in their physiology and in their behavior. While Prospero and Caliban argue their rights to jurisdiction over the island, the only true "natives" in question may be marmosets. Analyses of the play often focus on Caliban as a "native" figure, portraying the play as a parable of colonialism. However, if we may consider any primate as a "sentient" being, it's the marmosets who hold the longest-standing hereditary right to dominion of this imaginary space. Therefore, I propose a reading where the parable is of taxonomy and imagination rather than colonialism - and where it is the boundaries between the individual and the environment that are at stake, rather than the boundaries of an expanding nation.
|Caliban, Sir Joseph Noel Paton, 1868|