"When we for recompense have praised the vile," &c. Act I., Scene 1.

It must be here supposed, according to the suggestion of Warburton, that the Poet is busy in reading his own work; and that these three lines are the introduction to the poem addressed to Timon, of which he afterwards gives an account to the Painter.

"Orir poesy is as a gum, which oozes

From whence 'l is nourished."-Act I., Scene 1.
The original folio here reads,

"Our poesy is as a gowne, which uses," &c. Pope suggested the alteration of "gowne" to "gum," and Johnson that of "uses" to "oozes." Instances of restoration so sagacious and happy as this (and there are very many such in the received text of Shakspere), may, at least, serve to rescue the commentators generally from the common charge of utter uselessness, or something worse.

Infects one comma in the course I hold;
But flies an eagle flight, bold, and forth on,
Leaving no tract behind."—Act I., Scene 1.

To level is to aim,-to point the shot at a mark. The meaning is, says Johnson, "My poem is not a satire with any particular view, or levelled at any single person: I fly like an eagle into the general expanse of life, and leave not, by any private mischief, the trace of my passage."

-“ Apemantus, that few things loves better Than to abhor himself: even he drops down The knee before him."-Act I., Scene 1. Steevens remarks upon this passage, that either Shakspere meant to put a falsehood into the mouth of the Poet, or had not yet thoroughly planned the character of Apemantus; for, in the ensuing scenes, his behaviour is as cynical to Timon as to his followers. Mr. Harness, in reply, observes that the Poet, seeing that Apemantus paid frequent visits to Timon, naturally concluded that he was equally courteous with other guests.

"A thousand moral paintings I can shew,

That shall demonstrate these quick blows of Fortune More pregnantly than words."-Act I., Scene 1 "Shakspere seems to intend in this dialogue," says Johnson, "to express some competition between the two great arts of imitation. Whatever the Poet declares himself to have shewn, the Painter thinks he could have shewn better."

"TIM. The man is honest.

OLD ATH. Therefore he will be, Timon."-Act L., Scene 1. "The thought," says Warburton, "is closely expressed and obscure; but the meaning seems to be, 'If the man be

honest, he will be so in this, and not endeavour at the injustice of gaining my daughter without my consent.'" Coleridge thus explains this difficult passage:-"The meaning of the first line the Poet himself explains, or rather unfolds, in the second. 'The man is honest.' 'True; and for that very cause, and with no additional or extrinsic motive, he will be so. No man can be justly called honest who is not so for honesty's sake, itself including its own reward.'"

"Never may

That state or fortune fall into my keeping Which is not owed to you!"-Act I., Scene 1. That is, "Let me never henceforth consider anything that

I possess but as owed or due to you; held for your service, and at your disposal." In the same sense. Lady Macbeth says to Duncan,

"Your servants ever

Have theirs, themselves, and what is theirs, in compt,
To make their audit at your highness' pleasure,
Still to return your own."

"That I had no angry wit to be a lord."-Act I., Scene 1.

This obscure expression, which is probably corrupt, has hitherto defied all satisfactory interpretation. We may, however, conclude with Johnson, that the substantial meaning is, "I should hate myself for patiently enduring to be a lord."

"I myself would have no power: pr'y thee, let my meat make thee silent."-Act L., Scene 2.

"Timon," says Mr. Tyrwhitt, "like a polite landlord, disclaims all power over his guests. His meaning is, 'I myself would have no power to make thee silent; but, pr'y thee, let my meat perform that office.'"

"I wonder men dare trust themselves with men : Methinks they should invite them without knives." Act I., Scene 2.

It was the custom in Shakspere's time, according to Mr. Ritson, for each guest to bring his own knife, which he occasionally whetted on a stone that hung behind the door. One of these whetstones he states to have been in Parkinson's Museum.

"Entertained me with mine own device."-Act I., Scene 2. This mask appears to have been designed by Timon to entertain his guests.

"There is no crossing him in his humour;
Else I should tell him—well—ï faith I should—
When all's spent, he'd be crossed then, an he could,"
Act I., Scene 2.

The expression here is equivocal; in the last line, the steward means to say that, in his extremity, Timon would fain have his hand crossed with money. From the circumstance of some of the old coins bearing the impress of a cross, arose the once common phrase, "I have not a cross about me."

-"No porter at his gate;

But rather one that smiles, and still invites

All that pass by."-Act II., Scene 1.

The word "one" in the second line does not refer to 'porter," but signifies a person. Roughness was the imputed characteristic of a porter. There appeared at Killingworth Castle, 1575, "a porter, tall of person, big of limb, and stern of countenance." The meaning of the text is, "He has no stern forbidding porter at his gate to keep people out, but a person who invites them in."

"Good even, Varro."-Act II., Scene 2. "Good even," or "good den," was the usual salutation from noon, the moment that "good morrow" became im

proper.

"So soon as dinner's done, we'll forth again." Act II., Scene 2. It was formerly the custom to hunt as well after dinner as before. From Laneham's "AccoUNT OF THE ENTERTAINMENT AT KENILWORTH CASTLE," it appears that Queen Elizabeth, while there, hunted in the afternoon:

Monday was hot, and therefore her highness kept in till five o'clock in the evening; what time it pleased her to ride forth into the chase, to hunt the hart of force; which found anon, and after sore chased," &c. On the 18th of July, there is another entry to the same effect.

"I have retired me to a wasteful cock,

And set mine eyes at flow."-Act II., Scene 2.

By a "wasteful cock" is probably meant what we now call a waste-pipe; a pipe that is continually running, and thereby prevents the overflow of cisterns and other reservoirs, by carrying off their superfluous water. "This circumstance," says Steevens, "served to keep the idea of Timon's unceasing prodigality in the mind of the steward, while its remoteness from the scenes of luxury within the house, was favourable to meditation."

"No villanous bounty yet hath passed my heart; Unwisely, not ignobly, have I given."-Act II., Scene 2. "Every reader must rejoice in this circumstance of comfort which presents itself to Timon; who, although beggared through want of prudence, consoles himself with the reflection that his ruin was not brought on by the pursuit of guilty pleasures."-STEEVENS.

"If I would broach the vessels of my love, And try the argument of hearts by borrowing." Act II., Scene 2. The contents of a poem or play were formerly called "the argument." "If I would," says Timon, "by borrowing, try of what men's hearts are composed,-what they have in them," &c.

"(For that I knew it the most general way)." Act II., Scene 2. "General" does not mean speedy, but compendious; the way to try many at a time.

"Here's three solidares for thee."-Act III., Scene 1. "Where Shakspere found this odd word," says Mr. Nares, "is uncertain. 'Solidata' is, in low Latin, the word for the daily pay of a common soldier; and 'solidare' the verb expressing the act of paying it; whence comes the word 'soldier' itself. From one or the other of these, some writer had formed the English word. Or the true reading may be 'solidate,' which is precisely 'solidata' made English.”

"The devil knew not what he did, when he made man politic; he crossed himself by it: and I cannot think but, in the end, the villanies of man will set him clear."

Act III., Scene 3.

The meaning of this passage appears to be, that the devil, by putting policy or cunning into the heart of man, merely intended to make him more wicked; but that this cunning has thriven so wonderfully in a congenial soil, that it will finally be turned against its bestower, and enable man to escape from the net of the devil himself.

"Who cannot keep his wealth, must keep his house.” Act III., Scene 3.

That is, keep within doors for fear of duns. So in "MEASURE FOR MEASURE" (act ii., scene 2):-"You will turn good husband now, Pompey; you will keep the house."

"PHI. All our bills.

TIM. Knock me down with 'em."-Act III., Scene 4. This is a quibbling allusion to the weapon called the bill. In Decker's "GULL'S HORN BOOK" we find, "They durst not strike down their customers with large bus.

"Upon that were my thoughts tiring."—Act III., Scene 6. "Tiring" means fastened, as the hawk fastens its beak eagerly on its prey. So in Shakspere's "VENUS AND ADONIS:"

"Like an empty eagle, sharp by fast,
Tires with her beak on feathers, flesh, and bone."

"2nd LORD. Lord Timon's mad. 3rd LORD. I feel't upon my bones. 4th LORD. One day he gives us diamonds, next day stones." Act III., Scene 6.

Timon, in this mock banquet, has thrown nothing at his guests but warm water and the dishes that contained it. The mention of stones in the passage cited, may be thus plausibly accounted for:-Steevens states that Mr. Strutt, the engraver, was in possession of a MS. play on this subject, which is supposed to have been an older drama than Shakspere's. There is said to have been a scene in it resembling the banquet given by Timon in the present play. Instead of warm water, he sets before his false friends stones painted like He artichokes, and afterwards beats them out of the room. then retires to the woods, attended by his faithful steward. In the last act, he is followed by his fickle mistress, &c., after being reported to have discovered a treasure by dig ging. Steevens states the piece to have been a wretched composition, although apparently the work of an academic. It is possible that this production may have been of some service to Shakspere: at present, no one appears to know what has become of it.

-"Such a house broke!

So noble a master fallen!"—Act IV., Scene 2. It is justly remarked by Johnson, that nothing contributes more to the exaltation of Timon's character, than the zeal and fidelity of his servants. Nothing but real virtue can be honoured by domestics; nothing but impartial kindness can gain affection from dependents.

"Hadst thou, like us, from our first swath proceeded
The sweet degrees that this brief world affords.

Act IV., Scene 3. "There is in this speech," says Johnson, "a sullen haughtiness and malignant dignity suitable at once to the lord and the man-hater. The impatience with which Timon bears to have his luxury reproached by one that never had luxury within his reach, is natural and graceful."

In a letter writen by the Earl of Essex (just before his execution) to another nobleman, there is a passage somewhat resembling that in the text:-"God grant your lordship may quickly feel the comfort I now enjoy in my unfeigned conversion, but that you may never feel the torments I have suffered for my long delaying it. I had none but divines to call upon me, to whom I said, 'If my ambition could have entered into their narrow breasts, they would not have been so humble; or if my delights had been once tasted by them, they would not have been so precise.' But your lordship hath one to call upon you that knoweth what it is you now enjoy, and what the greatest fruit and end is of all contentment that this world can afford."

"Have with one winter's brush

Fell from their boughs, and left me open, bare For every storm that blows."-Act IV., Scene 3. The same imagery occurs in the poet's 73rd Sonnet :"That time of year thou mayst in me behold

When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold; Bare ruined choirs where late the sweet birds sang."

'If thou hadst not been born the worst of men, Thou hadst been a knave and flatterer."-Act IV., Scene 3. "Dryden has quoted two verses of Virgil," observes Johnson, "to shew how well he could have written satires. Shakspere has here given a specimen of the same power, by a line bitter beyond all bitterness, in which Timon tells Apemantus that he had not virtue enough for the vices he condemns. I have heard," continues the critic, "Mr. Burke commend the subtlety of discrimination with which Shakspere distinguishes the present character of Timon from that of Apemantus, whom, to vulgar eyes, he would now resemble."

When thou wast in thy gilt and thy perfume, they mocked thee for too much curiosity."-Act IV., Scene 3.

The word "curiosity" is here used in the sense of finical delicacy. So in Jervas Markham's "ENGLISH ARCADIA," 1606" For all those eye-charming graces, of which with such curiosity she hath boasted." And in Hobby's translation of Castiglione's "CORTEGIANO," 1556:-"A waitinggentlewoman should flee affection or curiosity." "Curiosity" is here inserted as a synonyme to "affection," which means affectation.

"Wert thou the unicorn, pride and wrath would confound thee, and make thine own self the conquest of thy fury." Act IV., Scene 3.

The fabulous account of the unicorn states, that he and the lion being enemies by nature, as soon as the lion sees the unicorn, he betakes himself to a tree: the unicorn, in his fury, and with all the swiftness of his course, running at him, sticks his horn fast in the tree, and then the lion falls upon him and kills him.

"Wert thou a leopard, thou wert german to the lion, and the spots of thy kindred were jurors on thy life."

Act IV., Scene 3. This seems to be an allusion to Turkish policy:"Bear, like the Turk, no brother near the throne."-POPE.

-"Yet thanks I must you con,

That you are thieves professed."-Act IV., Scene 3. To "con thanks" is a common expression of the time; as, in "PIERCE PENNILESS HIS SUPPLICATION," by Nash, 1592" It is well done to practise thy wit; but I believe our lord will con thee little thanks for it."

"There is boundless theft

In limited professions."-Act IV., Scene 3. That is, in regular, orderly professions. So in "MACBETH:""For 't is my limited service." Meaning, "My appointed service, prescribed by the necessary duty and rules of my office."

"Tis in the malice of mankind that he thus advises us; not to have us thrive in our mystery."-Act IV., Scene 3. The "malice of mankind" means here, Timon's malicious hatred of mankind. "He does not give us this advice to pursue our trade of stealing, &c., from any goodwill to us, or a desire that we should thrive in our profession, but merely from the malicious enmity that he bears to the human race."

"Performance is ever the duller for his act; and, but in the plainer and simpler kind of people, the deed of saying is quite out of use."-Act V., Scene 1.

That is, the doing of that which we have said we would do, the accomplishment and performance of our promise, is for the most part out of use.

"It must be a personating of himself."—Act V., Scene 1. The word "personating" here signifies representation. The subject of the projected satire was Timon's case, not his

person.

-"Thou draw'st a counterfeit

Best in all Athens."-Act V., Scene 1. "Counterfeit" was a common term for a portrait; as, in the "MERCHANT OF VENICE:"

"What find I here?

Fair Portia's counterfeit."

"Yet remain assured

That he's a made up villain."-Act V., Scene 1. Meaning, a complete or consummate villain: "omnibus numeris absolutus."

"And send forth us, to make their sorrowed render.” Act V., Scene 2. "Render" is confession. So in "CYMBELINE," (act iv., scene 4):

-"May drive us to a render Where we have lived."

"Together with a recompense more fruitful

Than their offence can weigh down by the dram." Act V., Scene 2. A recompense so large that the offence they have committed, though every dram of that offence should be put into the scale, cannot counterpoise it.

"Thou shalt be met with thanks, Allowed with absolute power."-Act V., Scene 2. "Allowed" is licensed, privileged, uncontrolled. So of a buffoon in "LOVE'S LABOUR'S LOST," it is said that he is "allowed;" that is, at liberty to say what he will; a privileged scoffer.

"I have a tree which grows here in my close."-Act V., Scene 2. This satirical stroke appears to be founded on a passage in Plutarch's "LIFE OF ANTONY:"-" It is reported of him also, that this Timon on a time (the people being assembled in the market-place about despatch of some affairs), got up into the pulpit for orations, where the orators commonly use to speak unto the people; and silence being made, every man listening to hear what he would say, because it was a wonder to see him in that place, at length he began to speak in this manner: My lords of Athens, I have a little yard in my house, where there groweth a fig-tree, on the which many citizens have hanged themselves; and because I mean to make some building upon the place, I thought good to let you all understand it, that before the fig-tree be cut down. if any of you be desperate, you may there in time go hang yourselves.""

"Now the time is flush."-Act V., Scene 5.

A bird is said to be "flush" when his feathers are grown and he can leave the nest.

"By humble message, and by promised means."

Act I., Scene 5. That is, by promising him a competent subsistence. The Chief Justice says to Falstaff, "Your means are very slender, and your waste is great."

"Here lies a wretched corse," &c.-Act V., Scene 5.

This epitaph is formed out of two distinct epitaphs which appear in North's "PLUTARCH." The first couplet is said by Plutarch to have been composed by Timon himself; the second to have been written by the poet Callimachus.

The remarks of Schlegel on this fine play are subjoined. They are worthy of the writer, although we think his estimate of the character of Timon far more severe than is warranted by the incidents of the drama :-

"Of all the works of Shakspere, TIMON OF ATHENS' possesses most the character of a satire: a laughing satire, in the picture of the parasites and flatterers; and a Juvenalian, in the bitterness and the imprecations of Timon against the ingratitude of a false world. The story is treated in a very simple manner, and is definitely divided into large masses. In the first act, the joyous life of Timon; his noble and hospitable extravagance, and the throng of every description of suitors of him: in the second and third acts, his embarrassment, and the trial which he is thereby reduced to make of his supposed friends, who all desert him in the hour of need: in the fourth and fifth acts, Timon's flight to the woods, his misanthropical melancholy, and his death. The only thing which may be called an episode, is the banishment of Alcibiades, and his return by force of arms. However, they are both examples of ingratitude: the one, of a state towards its defender; and the other, of private friends to their benefactor. As the merits of the general towards his fellow-citizens suppose more strength of character than those of the generous prodigal, their respective behaviours are no less different: Timon frets himself to death; Alcibiades 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 everywhere wanting in the wisdom which enables men 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 self-forgetfulness, as well as in 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 own 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 Shakspere. 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 has 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 imprecation.” —

Alas! the error of hapless Timon lay not (as the critic supposes) in "the vanity of wishing to be singular," but in the humility of not perceiving that he really was so, in the boundless and unsuspecting generosity of his disposition. Timon is not to be considered an object of imitation: but it is plain, that had he not thought as well of others as of himself, he would not have been overwhelmed with horror and astonishment on the discovery of his fatal mistake.