ntroductory Remarks, OPEN-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 realization 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 h's 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 mortais; 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 favorable circumstances, be increased to an indefinite extent: yet still, by the very law of its 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 Shakspeare's time; and particularly in two books with which the Poet was intimately acquainted-Painter'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 Shakspeare'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. Pain. Look; more! Make sacred even his stirrup, and through him Poet. You see this confluence, this great flood Drink the free air. of visitors. I have, in this rough work, shaped out a man, Pain. How shall I understand you? Pain. Ay, marry, what of these? Poet. When Fortune, in her shift and change of mood, Spurns down her late beloved, all his dependents, Which labored after him to the mountain's top, Even on their knees and hands, let him slip down, Not one accompanying his declining foot. Pain. 'Tis common: Tim. Old Ath. One only daughter have I, no kin else, Your lordship to accept. Painting is welcome. Old Ath. If in her marriage my consent be As those which sell would give: but you well Tim. My hand to thee; mine honor on my When thou art Timon's dog, and these knaves |