regains his lost dignity by violence. If the Poet very properly sides with Timon against the common practice of the world, he is, on the other hand, by no means disposed to spare Timon. Timon was a fool in his generosity; he is a madman in his discontent; he is every where wanting in the wisdom which enables man in all things to observe the due measure. Although the truth of his extravagant feelings is proved by his death, and though, when he digs up a treasure, he spurns at the wealth which seems to solicit him, we yet see distinctly enough that the vanity of wishing to be singular, in both parts of the play, had some share in his liberal selfforgetfulness, as well as his anchoretical seclusion. This is particularly evident in the incomparable scene where the cynic Apemantus visits Timon in the wilderness. They have a sort of competition with each other in their trade of misanthropy: the cynic reproaches the impoverished Timon with having been merely driven by necessity to take to the way of living which he had been long following of his free choice, and Timon cannot bear the thought of being merely an imitator of the cynic. As in this subject the effect could only be produced by an accumulation of similar features, in the variety of the shades an amazing degree of understanding has been displayed by Shakspeare. What a powerfully diversified concert of flatteries and empty testimonies of devotedness! It is highly amusing to see the suitors, whom the ruined circumstances of their patron had dispersed, immediately flock to him again when they learn that he had been revisited by fortune. In the speeches of Timon, after he is undeceived, all the hostile figures of language are exhausted,—it is a dictionary of eloquent imprecations.” * HORTENSIUS, Two Servants of Varro, and the Servant of Isidore, two of Timon's Creditors. CUPID and Maskers. Three Strangers. Poet, Painter, Jeweller, and Merchant. · An old Athenian. A Page. A Fool. Other Lords, Senators, Officers, Soldiers, Thieves, and Attendants. SCENE. Athens, and the Woods adjoining. TIMON OF ATHENS. ACT I. SCENE I. Athens. A Hall in Timon's House. Enter Poet, Painter, Jeweller, Merchant, and others, at several doors. Poet. Good day, sir. Pain. I am glad you are well. Poet. I have not seen you long; how goes the world? Pain. It wears, sir, as it grows. Poet. Ay, that's well known. But what particular rarity? what strange, Which manifold record not matches?1 See, Magic of bounty! all these spirits thy power Hath conjured to attend. I know the merchant. Pain. I know them both; t'other's a jeweller. Mer. O, 'tis a worthy lord! Jew. Nay, that's most fixed. Mer. A most incomparable man; breathed, as it were, To an untirable and continuate goodness. He passes. Jew. I have a jewel here. Mer. O, pray, let's see't; for the lord Timon, sir? 1 The poet merely means to ask if any thing extraordinary or out of the common course of things has lately happened; and is prevented from waiting for an answer by observing so many conjured by Timon's bounty to attend. 2 Breathed is exercised, inured by constant practice. He passes, i. e. exceeds or goes beyond common bounds. Jew. If he will touch the estimate.1 But for that Poet. When we for recompense have praised the vile, It stains the glory in that happy verse Which aptly sings the good. Mer. 'Tis a good form. [Looking at the jewel. Jew. And rich; here is a water, look you. Pain. You are rapt, sir, in some work, some ded ication To the great lord. Poet. A thing slipped idly from me. The fire i'the flint Our poesy is as a gum, which oozes 3 Shows not, till it be struck; our gentle flame 5 Poet. Upon the heels of my presentment, sir. Let's see your piece. Pain. 'Tis a good piece. 6 Poet. So 'tis; this comes off well and excellent. Pain. Indifferent. How this grace Speaks his own standing?' what a mental power Pain. It is a pretty mocking of the life. 1 Touch the estimate, that is, come up to the price. 2 We must here suppose the poet busy in reciting part of his own work. 3 The old copies read : “Our poesie is a gowne which uses.” 4 It is not certain whether this word is chafes or chases, in the folio. 5 i. e. as soon as my book has been presented to Timon. 6 This comes off well, apparently means this piece is well executed. 7 How the graceful attitude of this figure proclaims that it stands firm on its centre, or gives evidence in favor of its own fixture. Grace is introduced as bearing witness to propriety. 8 One might venture to supply words to such intelligible action. Poet. I'll say of it, It tutors nature; artificial strife1 Lives in these touches, livelier than life. Enter certain Senators, and pass over. Pain. How this lord's followed! Poet. The senators of Athens ;-happy men! Pain. Look, more! Poet. You see this confluence, this great flood of visitors. I have, in this rough work, shaped out a man, In a wide sea of wax. No levelled malice Pain. How shall I understand you? You see how all conditions, how all minds, Than to abhor himself; even he drops down 1 i. e. the contest of art with nature. 2 So in Measure for Measure we have, "This under generation ;" and in King Richard III., the lower world. 3 My design does not stop at any particular character. 4 An allusion to the Roman practice of writing with a style, on tablets covered with wax; a custom which also prevailed in England until about the close of the fourteenth century. 5 i. e. open, explain. 6 i. e. subjects and appropriates. 7 One who shows by reflection the looks of his patron. |