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INTRODUCTORY REMARKS

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PEN-HANDED, open-hearted Timon is the type and representative of a class too numerous with reference to their own happiness, and not enough so for the happiness and tranquillity of the world. Were all men Timons in disposition, we might soon see, in great part, the realisation of good old Glo'ster's noble wish, that "distribution should undo excess, and each man have enough." Nor could any harm result from an ultra-generosity thus universal; since, though all would be willing to give even more than they could afford, yet none would be willing to take but those who actually wanted. Beings like the crazy Misanthrope before us (for crazed he is, in his bewildering misery), feeling themselves at the outset all goodness and transparent innocence, are absolutely unfurnished with any criterion by which they can estimate the curiously-compounded clay of ordinary mortals; they have no plummet by which they may sound the depths and shoals of human nature; no diving-bell, furnished by their own consciences, by whose aid they might descend to view the "dirt and sea-weed" that lie so wondrously intermingled with "inestimable stones, unvalued jewels," at the bottom of that fearful ocean. The natural consequence is that, finding their first pure thoughts erroneous, they have no resource but to rush to the opposite extreme, and end with seeing nothing but what is base and ungenerous in the race whom they heretofore imagined to be all perfection.-The true theory appears to be, that man is naturally an imperfect being, neither all vice nor all virtue; furnished, for the most part, with a preponderating portion of good qualities, which may, under favourable circumstances, be increased to an indefinite extent: yet still, by the very law of his being, doomed to remain imperfect at the best. Those amiable enthusiasts who adopt the hypothesis that all the viler qualities of mankind are the result of vicious training, will find their conclusions no less unsound, though less pernicious, than those of the Swifts and Rochefoucaults, who would fain persuade us, in defiance both of sensation and observation-nay, in despite of their own conduct and character -that all apparent virtue is but selfishness in masquerade.

The minor characters in the present drama are all excellently adapted to bring out the one great purpose of the Poet; and we have to thank his unfailing good-nature that, in the midst of its disgust and indignation with the false friends, he has allowed the mind to repose with complacency on the tenderness and fidelity of the steward, Flavius, and the minor servants of "so noble a master" as hapless Timon.-Apemantus, the cynic, is the character second in importance to the principal, and it is delineated with equal felicity. His spontaneous misanthropy, compared with the woe-induced frenzy of the fine-natured Timon, is as the natural bitterness of the sloe to the generous grape that has been killed and withered by untimely frost; or as the sterile, branchless poplar to the noble, sheltering oak, which, in the very prime of its picturesque beauty, has been stripped and prostrated by the ruthless storm.

The story of the Misanthrope is stated, by Dr. Farmer, to be told in almost every collection of Shakspere's time; and particularly in two books with which the Poet was intimately acquaintedPainter's "PALACE OF PLEASURE," and North's translation of "PLUTARCH." Malone is of opinion that the play is founded on the following passage in the "LIFE OF ANTONY," as given in the last-named work:-" Antonius forsook the city, and company of his friends; saying that he would lead Timon's life, because he had the like wrong offered him that was offered unto Timon; and for the unthankfulness of those he had done good unto, and whom he took to be his friends, he was angry with all men, and would trust no man." Lucian's dialogue of "TIMON" is generally supposed to have had some influence over the composition of the Poet, "although," says Mr. Skottowe, "the channel through which that influence was communicated is no longer to be traced; "- -as it is not known that any translation of the dialogue existed in Shakspere's age.

"TIMON OF ATHENS" was first published in the original folio, (1623). The date of its composition can be but conjectured. Malone assigns it to the year 1610.

J. O.

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It tutors nature: artificial strife
Lives in these touches, livelier than life.

Enter certain Senators, and pass over.
Pain. How this lord is 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,
Whom this beneath world doth embrace and hug
With amplest entertainment: my free drift
Halts not particularly, but moves itself
In a wide sea of wax: no levelled malice
Infects one comma in the course I hold;
But flies an eagle flight, bold, and forth on,
Leaving no tract behind.

Pain. How shall I understand you?
Poet.
I will unbolt to you.
You see how all conditions, how all minds
(As well of glib and slippery creatures, as

Of grave and austere quality), tender down
Their services to lord Timon: his large fortune,
Upon his good and gracious nature hanging,
Subdues and properties to his love and tendance
All sorts of hearts; yea, from the glass-faced flatterer
To Apemantus, that few things loves better
Than to abhor himself: even he drops down
The knee before him, and returns in peace
Most rich in Timon's nod.

Pain. I saw them speak together.
Poet. Sir, I have upon a high and pleasant hill
Feigned Fortune to be throned: the base o' the

mount

Is ranked with all deserts, all kind of natures,
That labour on the bosom of this sphere
To propagate their states: amongst them all,
Whose eyes are on this sovereign lady fixed,
One do I personate of lord Timon's frame,
Whom Fortune with her ivory hand wafts to her;
Whose present grace to present slaves and servants
Translates his rivals.

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