THE WOPvKS..i

SHAKESPEARE~W"

r-l

PH

o

d

CO

THE HENRY

I

EKING SHAKESPEARE.

THE WOEKSOF

WILLIAM SHAKE SPEAEEhEDITED BY

HENRY IRVING

and

FRANKWITH

A.

MAKSHALL.

NOTES AND INTRODUCTIONS TO EACH PLAY BY

F.

A.

MARSHALL

AND OTHER SHAKESPEARIAN SCHOLARS.

VOLUME

VII.

WITH NUMEROUS ILLUSTRATIONS BY GORDON BROWNE, FRANK DADD, W. H. MARGETSON, AND MAYNARD BROWN.

*

LONDON:BLACKIE & SON,Limited, 50

OLD BAILEY,

E.C.

GLASGOW, EDINBURGH, AND DUBLIN.

.

t

c

18-

,1

V\\ K

FATOEY NOTE.

I regret to

say that continued ill-health has not only caused unavoidhut

able

delay in the issue of this volume,

has enforced

a

further

postponement of the play of Hamlet toto confineIni}-

vol. viii.,

share of the work to a few notes,

and has compelled me which hear my initials.

have

to express

my

gratitude to

all

myits

colleagues who, under these

circumstances, have kindly suppliedindeed, the volume could not haveI

my

place; without

whose

loyal

aid,

made

appearance.

Amongst them

may thank

especially

my

two

friends. Mi-. A.

Wilson Verity and Mr.

Arthur Symons, the former oflatter collated

whom

edited Titus Andronicus, while the

and annotated The Tempest and edited The Winter's Tale.to

For the introductionhis editorial

The Tempestandof

I

am

indebted to the kindness and

ability of Mr. Richard Garnett;

to Mr.

H. A. Evans

I

owe thanks

for

work on Timon

am

I

indebted to

my

Athens and Cymbeline. But most of all old friend Mr. Joseph Knight for kindly under-

taking, amidst

many

other engagements, the stage historiesis

a

branch

of the subject on

which there

no higher authority than

he.

The illustrations for The Tempest have been furnished by Mr. Gordon Browne; the other plays in the volume have been illustrated by Mr. W. E. Margetson, Mr. Frank Dadd. and Mr. Maynard Brown.All the illustrations for

Volume

viii.

will he designed

by Mr. Gordon

Browne.I

may

be forgiven

if I

refer for a

moment

to myself.

I

cannot passall

this opportunity of

thanking the countless friends who, fromMost of them are perfect strangers

quarters

of the world, have, during the last three months, wished

me God-speedto

toward- recovery.

me, but for

their kindly expressed wishes for nrj

renewed health

I

thank them from

the bottom of

myi

heart.F. A.

MARSHALL.

London, Dt o.

42

?8

!

:

!

1

CONTENTS.-

TIM ON OF ATHENS.

Illustrated by W. H. Mar.jktso.y,

.

1

CYMBELINE.

Illustrated bv Frank Dadd,Illustrated by Gordon Browne,S.. .

75.

THE TEMPEST.

17325

TITUS ANDRONK'l

Illustrated by W.

II.

Margetson,

THE WINTER'S TALE.

Illustrated by

Mavnard Brown,

309

I\YSSA.

lines 4'.'7-499, {Etching)Ii

19

BceneIti. >

2.

lines 161-163,

.

.

27It

Tim.s,,

II. id

steward

Plav.v. II

n

all1

1

good lord, the world is but a word: yours to give it in a breath, ki> were 11-

my

true, so just,

almost turns

my

and non s.. comfortable? dangerous nature wild.

\

V. BceneTim.[.lxi.(.

1.l

li

12,

I

Act

III. scene'

1.

lin 50, 51,Fly,

.

.

30

Excellent workman 1 thou cans!

"in.

damned

base)

paint a

man

so

bad

as

is

thyself

To him

thi'

thee!

Act V. scene ActIII. sceneI.

3. lint

-

5,

,;

.

54

line 80,ilnirs oppoe'd:i-c:ii

.

.

34I

Tim. What, are

my6.

n -t

my

passage?

on this tomb cannot read; the character I 11 take with wax.'s

What

Act

III. scene

lines 109, 110,

.

37

Tail]'!

What, dost thoo Tim. Soft! take thy physic first,thou too, and thou

Vignette,

.... ....

71

!

;

!

!

:

Vlll

(\t i:\ts.

CYMBELINE.AActPost.I.

scene

1.

line 1*25,st

.

.

.89mysight.

Act

III. sceneTmo.

6.

lines 24-26,

.

.

121

Ci/m.

Thou baa

thing, avoid

!

hence, from.

I.

scene

4.

lines 136-138,

95

Ho ! No answer? t lien I'll enter. sword; and if mine enemy But fear the sword like me, he'll scarcely look on't.Best

draw

my

lady would you choose to assail ? Iach. Tools; whom in constancy you think -lauds so safe.I.

What

Act IV. sceneGlo.

2.

lines 74, 75,

.

.125

Act Act

scene

5. line 5,iui

.

.97madam..

Thou

art

a robber,

A

law-breaker, a villain: yield thee, thief.

highness, ay: here they are,.

I.

scene1

6.

lines 135, 136,

101

Act IV. sceneImo.

2.

lines 368-370,

.

.

130

dedicate myself to

Revenge it. your sweet pleasure..

This was my master, Avery valiant Briton and a good, That here by mountaineers lies slain.

Act

II. scene 2. lines 11-14,

.104Act V. scenePost.3.

and man's o'erlabour'd sense Repairs itself by rest. Our Tarquin thus Did softly press the rushes, ere he waken'd The chastity he wounded.Iach.

The

crickets sing,

lines 23, 24,

,

.

135

the passage; cried to those that " Our Britain's harts die Hying, imt our men."

Made good

fled,

Act

II.

scene

4.

line 147,

.

.

109

Act V. sceneFirst Gaol.

4.

lines 1,2,

.

.137've locks

You

shall not

now be

stol'n,

you

Post. O, that I

had her3.

here, to tear her limb-meal

upon you;So graze as you find pasture.

Act

III. sceneBt;.

lines 73-75,

.

.114:

This

is

The venison

But, up to the mountains not hunters' language : he that strikes first shall l>e the lord o' the feast.4.

Act V. scenePost.Till

5. lines

263, 264,

.

143

Hang

there like fruit,

my

soul,

the tree die!5. lines

Act

III. sceneImo.I

lines 68-70,look:

n;Act V. scenePost.

417, 418,

(Etching)

145

draw the sword myself take it, and hit The innocent mansion of my love, my heart.

The power that

I

Kneel not to me have on you is to spare you.

THE TEMPEST.ActI.

scenePros.

2.

lines 146-148,

.

.189

Act

II.

scene

2.

lines 25-28,here? a

206

not rigg'd, Nor tackle, sail, nor mast; the very rats Instinctively have quit it.

A rotten carcass of a boat,

or a fish? dead or alive? fish: he smells like a fish; a very ancient and fish-like smell; a kind of, not of the newest,Trin.

What have we

man

A

Poor-John.

Act

I.

sceneMir.

2. lines

5-8,0,I

.

.191ActII. scene 2. line 192,>!. .

With those

have suffcr'd I saw suffer! a brave vessel. Who bad, no doubt, some noble creatures in her, Dash'd all to pieces.that

209

brave monster

!

lead the way.

Act194

III. scene 1. lines 68-70,Per.

.

.

211

Act

I.

scene

2.

lines 189, 190,

.

.

O

heaven,I

To answer thy

Ari. All hail, great master! grave best pleasure.I.

sir,

hail! I

come

And crown whatIf I speak true!

earth, bear witness to this sound, profess with kind event,

Act

scenestripes

2.

lines 344-346,

197slave,!

Act

III. scene 2. lines 83-85,

.

.

213

Thou most Iving

Whom

may

move, nut kindness

I

have us'd thee,

AH. Thouliest. Ute. Do I so? take thouyoulike this, give

that [strikes Trinculo].lie

As

Filth as thou art, with

human

care.

me2.

the

another time.

ActFer.

I.

scene

2.

line 387,this

.

.

.199.

Act

III. sceneCol.

lines 146-149,

.

.

214

Where shouldI.

music be?

i'

the air or the earth?.

Act

scene/'i.

L37).

perhaps unsafe to inter thai more thanis

Julius Caesar

theless this

was already printed, hut nevera very happy explanation of thein

The Cambridge editors themselves say, "It maybe that the Ms. of Timon was imperfect, and that the printing was stayed till it could he completed by some playwright en*

gaged for the purpose. Butbeleft."

it is difficult to conceive how the printer ("line t" miscalculate so widely the space to

eccentricities of the paginationo'

the

Folio,

[INTRODUCTION.Nothing, bowever,Bpeareleflis

ivmiii of a performance of theit

known, and we have no playasShakefirst

In th' art of judging

A-. in their choice,

you some

a

iwn,

ladies of the town:

earlier than the presenl century.La

Ymir

licat-.-hap'd liarhary

Wit- you

v. i.

And none

bul lusty sinewy writers pria

Shadwell

responsible for the

adapta-

old English Shal

machs, you havea-

'till

tion of Timon

tli.it

saw the light after the period

And

jud

fore-fathers writ, with

skill.

of Puritan Bway.

"The

Bistory of Timon of1

Athens the Man Eater Made intoaplay' was printed in 4to in L678, and was acted at the Dorsel Garden Theatre probably in the same year. The following cast is printed with the tragedy:'rimon of AthensAloibiades, an Athenian captain.Mr.

In tie- epilogue alsoself

Shadwell shelters him-

behind Shakespeare:

If there were hope that ancient solid wit Might please within our new fantastick pit; The play might then support the critieks' shock, This scien (sic) grafted upon Shakespear's stock.

Mr. Betterton. Smith.

Fromwhat

a

glance at the casl

it

will

be

Apemantus, a rigid philosopher Demetrius, Timon's steward\

= =(

Mr. Harris.

liberties

bave been taken with Shake-

Mr. Medburne..i

speare's story.

The names

of the characfc

= Mr. Standford11

Nicias< ;

!

I

bcSalidfordi.

Phseax.Kliu>(

= =(Senators of Athene

Mr. Underbill.Mi-.

and the characters themselves bave been alIn the Stuart period a piece with no tered.love interest might well he regarded as outside

Leigh.

'Icon

Mr. X orris.

Isander[sidore

_

Mr. Percival.Mr. Cillo.

ThrasillusDiphilus, Servant to

=Timon

(no name).

Old Man PoetPainter

Mr. Bowman. = Mr. Richards.

Shadwell has accordingly preEvandra, who loves him passionately and is constant to the end; and enamoured of Melissa, a mercenary creature who oscillates between himconception.

sented

Timon

as faithless to his mistress,

=

Mr. Jevon.

Jeweller Musician

and Alcibiades accordingly as their fortunes rise or fall. Apart from the fact that his lines are cacophonous and contemptible, shadwell.-,

Merchant EvandraMelissa

=Mistresses to Alcibiades.

Mrs. Betterton. -Mrs. Shadwell. Mrs. Gibbs.

Chloe Thai-

)

= =

Constancy such as Evandra shows is enough to have reconciled Timon to the world, since devotion so exemplary in woman might compensate for anytheories are fatal to the play.

Phrinias)

Mrs. Seymour. Mrs. Le-Grand.

amount

Servants, Messengers, several Masqueraders, Soldiers.

of masculine shortcoming. The dignity and pathos of the death are lost when the in essen ovr of Alcibiades returns at the

close of the fifth act to say:

It is dedicated to

George

I

take of Bucking-

ham, the author of The Rehearsal. With customary affectation of homage to Shakespeare Shadwell says in the dedication: "I am now t present your Grace with this History of Timon, which you were pleased to tell nie you liked; and it is the more worthy of 3 mi, since it has the inimitable hand of Shakespear in it, which never made more masterly strokes thanin this." Then with arrogance no less custocan truly say, mary he continues: "Yet have made it into a play." The Prologue ad1 I

My

noble lord,

I

And found Lord TimonStab'd and just

went as you commanded .lead and his Evandra by him lying in his tomb, &c.

It is needless to dwell upon an atrocity which ranks with the happy termination to Lear and Not other perversions of the same epoch.

mote defensible

is

the treatment of

Flavin-.

rechristened Demetrius, and of Apemantus. DoWnes speaks of this play as a

His words

dressed to the Wits

who

sate in

judgment on

newin

plays contains an allusion to Shakespeare which Shadwell contrives once more to puff

are: "Timon of Athens alter'd by was v \ well acted, and the Mr. Shadwell: well perform'd; it wonderfully music in pleas'd the lourl and 'it y being an excellentt

.-i

"t

(

i

;

himself:

moral" (Roscius Anglicanus, p. 37). -V ent impression i- conveyed in the epil7

differ-

TIMON OF ATHENS.The Jewof Venice of George Granville, Lord Lansdowne, produced twenty -three years later.

annals,

is

preserved, and asto

it

included

names subsequentlybe given astoricalit is

become famousi.

it

many mayThe

In this, after complaining of the bad taste of

supplied in Hitchcock's His27, 28.

audiences,

t

lu-

writer continues:

View

of the Irish Stage,

Bow was the scene forlorn, and how despis'd When Timon, without music, moraliz'd!

notes are our own:

TimonAlcibiades

Shakespeare's sublime, in vain entic'd the throng, Without the charm of Purcell's syren song.

== =

ApemantusNicias

-Works,

ed. 1752, p. 184.

This wretched version held the stage for near a century. Concerning the performance we know nothing. Evandra is a sort f die-away character in which Mary Betterton would he seen to advantage, Betterton would assumabbj be suited to Timon, and larris, an excellent actor, would do justice to Apemantus. Sandford was a noted stage-villain. Ann Shadwell, the wife of the adapter, was not much of an acI.

PhseaxOelius(sic)

CleonIsidore

= ==

Thrasillus

Demetrius PoetPainter

= == =

Jeweller.Musician

Mr. Th. Elrington. 1 Mr. Evans. Mr. Ashbury. 2 Mr. Fra. Elrington. Mr. Thurmond/' Mr. Trefusis. Mr. Quin. 4 Mr. Hall. Mr. Dougherty. Mr. Leigh. 5 Mr. Griffith." Mr. Oates. Mr. Bowman. Mr. Hallam.Mrs.

1

Evandre (sic)Melissa

but Melissa

is

not

much

of a part.

= ==

Thurmond.Wilkins.

i

>n

the 27th June, 1707, Shadwell's

Timon

was revised by the summer company at the Haymarket. Mills was Timon, Verbruggen Apemantus, ]i< ">tli Alcibiades,NorristhePoet, Bullock Phgeax, Johnson -Elius, Mrs. Porter Evandra, and Mrs. Bradshaw Melissa. J )rury Lane witnessed its production on 8th Dec. 1720, when Booth was Timon, Mills Apeman n is. Walker Alcibiades, Pinkethman theI'

Chloe Thais

Phrynia

(sic)

Mrs. Mrs. Miss Miss

Haywood. 7Wilson.Schoolding.

An

adaptation from Shakespeare and Shad-

well by

acting

James Dance, better known by his name of Love, was published in 1768,

iet,Mrs.

ton Melissa: and Covent1733, witli

Thurmond Evandra, and Mrs. HorGarden on 1st May,Milward as Timon, Quin as Ape-

and was produced near the same time by its author at the theatre erected by him and his brother in Richmond. Like Dance's other dramas, it is a poor compilation. Love played Apemantus, Aikin was Timon; Fawcett, Luand Mrs. SteRichard Cumberland was the next adapter of Timon. His version was produced 4th December, 1771, at Drury Lane under Garrick's management, with Larry as Timon, Bannister as Apemantus, Packer as Flavins, Palmer as Lucius, Hurst as Lucullus, Baddeley as the soldier, and Crofts (his first, appearance on the stage) as Alcibiades. Mrs. Barry was Evanthe. Cumberlandcullus; Oautherley, Alcibiades;

mantus, Walker as Alcibiades, Mrs. Hallam a- Evandra, and Mrs. Buchanan as Melissa.

phens, Evandra.

Milward revived it for his benefit at Drury Lane 20th March, 17 1'), repeating his performance of Timon. Quin was once more Apetnantus, Mills was Alcibiades, Woodward the Poet, Mrs. Butler Evandra, and Mrs.PritchardIt was played for the last recorded Melissa. time for Hales's benefil at Covenl Garden 20th

Apemantus, HipCibber the Poet, Iward Isander, Mrs. Pritchard Evandra, and Miss Eippisley Chloe. The other charac15.

April. 17

Quin was

still

pisley Phseax, Theophilus

W

ters are not

.riven.

Hales, since

all

sorts of

rash experiments were permitted at benefits,

The Ellingtons were a family of clever actors. Thomas Elrington was at that time manager of the theatre. - A son, assumably, of the late manager of Smock Alley, whose daughter Thomas Elrington married. 3 A well-known actor at Drury Lane, the husband of an actress cvi n better known, who played Evandra, * The famous Quin, then a youth of twenty-two.'

was assumably Timon. At Dublin Shadwell's play was given about 1715 at Smock Alley Theatre. The cast of theperformance,a

5s1

Actor, song-writer, and dramatist.

A good actor and a pleasing poet. Subsequently known as -Mrs. Elizabeth Haywood, a voluminous writer introduced by Pope into the Dunciad,bookii.

rare thing

in

early

Dublin

8

INTRODUCTION.has the grace, in his advertisement to the tu express his wish printed version (Svu, 1771),

that

In-

could have broughl

tinits

play

u]

the

stage with less violence to

author, ami to

or forgiven

hope that his own errors maj be overlooked in tin' contemplation of the "many passages of the first merit" which are' stillretained.

from Shakespeare and Shadwell, i- attributed in the Biographia Dramatica to Thomas Hull, a well-known actor and dramatist, foi \\ From the same auth benefit was given. This it y we Learn that it was coldly received.I.

it

\

ersion has never been printed.

is

the cast:

Timon

He

adds,

"as the entire part of

Wroughton,Hull,

The following Bolman, Apemantus Farren, Flavius= AJcibiadeaQuick,Lucius

Evanthe ami with verj tew exceptions the AJcibiadea are new, the author of whole lie- alteration has mneli tu answer for" (.MeHis affectation of modesty is moir, 384).i't'i.

Lucullus

Wewitzer,

Evandra a young lady, her first appearan Melissa = Mrs. Inch bald. With the exception ofthe representative of Evandra, the foregoingactors constitute a strongcast.

sufficiently

transparentout of print,Ion--

nlie

the plea that the

The youngJournalfoi

play

is

now

moirs witli a

burdens his meextracl which may figureillustrations

lady, according to the Theatrical

May,

L786, -is -a

id to

be a

si -t

er of

M re,

KLemble,

among any

future

of

bathos.

formerly

M iss Satchell."

M iss Satchell, after-

Cumberland chronicles that "public approbation seemed to sanction the attempt at thetirst

production of the play"thatit

(ih.

i.

385); but

was subsequently passed over was indeed conspicuously It with neglect. unsuccessful, as appear to have been most alterations of Timon. Francis Gentleman, in

owns

Stephen Kenible. was the daughter of a musical-instrument maker. The debutant'is praised for her figure, manner, and deportment, and declared to have been "natural and affecting." Hull's alteration, it i- said, "ought to be consigned to oblivion." a fate which soon attended it. Genest fails to chronicle who was

wards

.Mrs.

Mama tie 'elisor, does not include Timon among tin' plays on which he comments, and we are accordingly without the lighl whichhisI (

He says, the young lady playing Evandra. however, that Flavius was quite in Bull's line, that Wroughton was a very good Apeniantus,andthat

his criticisms cast

other Shakespearean works.full description of

upon the representations of Genest gives a the changes made by Cumand

did not

make

Quick and Wewitzer played well and their parts too comic (Accountvi.

of the English Stage,

K)S

berland, andof

is

lenient in his verdict, speaking

A

longis

interval

elapses

before

Timon

of

some

of the shortening as judicious,

declaring that in the reaped of making in the scenes from Shakespeare few alterations except omissionsto(

again heard of, and it is then (28th October, L816), for the tirst time, an-

Athens

'umlierland

is

much

superiorI

Shad well.

(

ieiiest

admits that the

ad.

it

ions

of both coalesce badly with the original, but

nounced as in Shakespeare's version. Even now, however, some modification was found necessary. This was accomplished by the Honourable George Lamb. In the advertisementto

holds that both have improved that pari of the pla\ which concerns A leibiades" (Account

the

play

the

adapter

says:

"The

To make, as English Stage, v. 319). does ('umlierland, Evanthe the heroine, the daughter of Timon, and present her as heof the

present attempt has been to restore Shakespeare to the stage, with no other omissionc

than such as the refinement of manners has

rendered necessaryin the Last

the short

interpolation

loved by Lucius and AJcibiadea, and favouring the latter, is, as has been observed, injudicious.

-cue

has been chiefly compiled from

Cumberland's alteration."

Genest, wJ

The

reckless extravagance of

Timon

in

spending his money on sycophants becomes unpardonable when his wealth, ora portion at least of it, should belong to his daughter. Fifteen years later, at Covenl Garden, loth May, L786, yet one more alteration was tried Timon of Athens, altered with insuccess.

an analysis of the play, praises it highly, big that it "does Lamb considerable credit.

and adding, withbole, that "itis

a certain

amount

of hy]

not onlj infinitely better than

any of the former -alterations, but it may serve model of the manner in which Shakesi. care's plays should be adapted to the moderni

9

TIMON OF ATHENS.Stage" (Account of the English Stage,585, 586).In this revivalviii.

Kean made

his

appearance

approach of military music; he starts, waits its approach silently, and at last in comes the gallant Alcibiades with a train of splendidsoldiery.

Timon, the cast including- Bengough as Apemantus, Wallack as Alcibiades, Holland as Flavins, Barley as Lucius, S. Penley as It Lucullus, and Bernard as Sempronius. was in a great success, and was acted sevenas>t

managed.

Never was scene more effectively First you heard a sprightly quick

march playing in the distance. Kean started, listened, and leaned in a fixed and angry manner on his spade, with frowning eyes andlips full of

times.

Hazlitt's precious series of criticisms

Shakespeare does not include Timon, and the ordinary organs of theatrical criticism pass over the representation without notice. Procter (Barry Cornwall)

upon

K la us

performances

in

not too

much;

the truest feeling, compressed, but so; he seemed as if resolved not

to be deceived, even

apologizesfor Kean,declares the play unadaptedfor representation,

dint of his

own

single strength,

and says that Kean, by was unable tocontinues:

by the charm of a thing the the audience were silent inanimate march threw forth its gallant notes nearer and nearer, the Athenian standards appear, then the soldiers come treading on the scene with;

make

it

popular.

He

"In

fact,

although one of the

finest, it is at

the same

time one of the least dramatic works of ShakeIt is more of a monodrame than a s H /are.|

that air of confident progress which is produced by the accompaniment of music; and at last, while the squalid misanthrope still maintains his posture and keeps his back to the strangers, in steps the young and splendid

play" (Life of Kean,

ii.

163).

The dialogue

Alcibiades, in the flush of victorious expectation.

was given by Kean with prodigious effect," his retorts upon Apemantus, and his curses on ungrateful AthensLet me look back upon thee. thou wall That girdlest in those wolves, &e.

It" (ib.

is

the encounter of hope with

despair

398, 399).

Another long interval passed before Timon was again revived. Genest, indeed, chronicles no other performance. Warned by previous experience, Macreadyleft

could render them.

and expression But he did not exhibit the whole character. We beheld in him the bitter sceptic, but not the easy, lordly, and magnificent Timon" (ib. ii. 1(53, 1G4). Mr.fierce as voice

were made as

his

the character of Timon unattempted, and example was followed by Charles Kean.it

Not, indeed, untilis

was revived by Phelps

Timon

traceable on the stage.

Hawkins, in his Life of Kean, i. 398, quotes from an unpublished letter of Mr. Harry Stoe Van I'yk, that Kean breathed the very soul of melancholy and tenderness in thoseimpressive words:

On

the 15th September, 1851, with more

than usual attention to the mise en scene, Phelps produced Timon at Sadler's Wells. On this occasion the performance triumphed over the Bedefects, real or imaginary, of the play.

tweenBut myself,(

its

firstit

'liristmas

Who

had the world as

my

confectionary;

The mouths, the tongues, the eyes, and hearts of men At duty, more than could frame employment;I

That numberless upon me stuck, as leaves Do on the oak, have with one winter's brush Fell from their boughs, and left me open, bareFur every storm that blows.

In the Life and John Korbes- Robertson, the bill of this interesting performance is given (p. 273).

production and the following was played some forty times. of Phelps by W. May Phelps

Though

respectable in their day, the actors of

Act

the subordinate parts are now wholly forIt is not necessary accordingly to gotten.give

iv. so.

iii.

259 206.

more than thecast:

principal characters which

He

quotes also the opinion of Leigh Hunt, that the finest scene was that with Alcibiades. "We never remember the force- of contrast to

were thus

TimonLucius Lucullus

Mr, Phelps..Mr. F.

Robinson.

have been more truly pathetic. Timon, digging in the woods with his spade, hears the10

Mr, Hoskins.

Sempronius

Mr. H. Mellon.

.

INTRODUCTION.Ventidiua

Mr. Knight.

AjpemantusFlaviua

Mr. Mr.Mr.

most admirable type of the worsl species ofthe cynic breedtionis

a mythol spectacle, bringing Mercury and Plutuson[taliens in

1722, is

to the earth. say,

Neither piece,16

it

is

needless tIn Notes

"

(ib.).

A word

of

commenda-

owes anything to Shakespeare.-.iii.it

spared for Mr. Ray's Flavins.theI

and Queries 7th

i-

recorded thatthe charityI'd'.

On

1th of

again revived.

tetober, L856, Timon was Once more warm commen(

John Eoneycott,

the master of

school, Clerkenwell,

had on 6th

1711,

dation was bestowed. secretary of the original Shakespeare Society, instituted comparisons between the Shake(

Francis

luest Toinlins,

with the children of the school, publiclyacted the play called 'Timon of Athens.' and by tickets signed by himself had invited several

spearean revivals by Charles Kean

at Sadler'sat

the

Princess's,

the credit of the former.

Wells and those wholly t.. At the head of the

people to

it."

For this he wa- called over the

eoal- by the Society for

Promoting Christianof the-eh....',.

Knowledge, tic trustees11

-

a

TIM ON OF ATHKNS.Life of Robert Nelson, Lond. This performance of a play of Shakespeare is held to be "evidence of a considerable amount of culture in a neighbouralso Secretan's

passionate and uncompromising hatred of the

I860, p. 130.

humanIn

race.

show meanness

hood where one would scarcely expect to findit.'*

Tli'

question arises, however

play Shakespeare or Shadwell?

was

the

J.

k.

he shows weakness, he does not of character. Had he followed the advice of the lynic Apemantus he would have acquiesced in the low morality which surrounded him: he would have turned flatthis, if(

CRITICAL REMARKS.

Timon

of

Athens

is

a study of the disastrous subject was hardly ca-

effects of a

reverse of fortune upon an un-

balanced mind.

The

pable of being handled so effectively as thoseof tlu- other ifreat tragedies,

and sought to thrive by that which had undone him. But his nature is too noble for that; curse he can but never smile and be a villain. Not that cursing is a pleasure to him; he is as dissatisfied with himself as with the rest of the world, and from his intolerable bitterness of soulterer himself

and the compara-

bitterness relieved onlyhis relenting

by one touch

of nature,

unpopularity of the play is easily acBut if it does not carry us counted for. along with the thrilling interest of a Macbeth or an Othello, it is by no means deficienttive

either in design or execution.

Although the

dialogue

becomes ais

little

tedious here and

towards his faithful steward is death; yet though he dies with imprecations on his lips, the play does not end without a hint that those he cursed have forgiven him, and remember rather his virtues than his faults:the sole releaserich conceit

there, the plot

well sustained, the leading

and the principal characters powerfully drawn.situations are impressive,

Taught thee

to

make

vast

On thy lowIs

grave, on faults forgiven.

Neptune weep for aye Dead(v.4.

Timon's character

is

not hard to understand.impulses but defective

noble Timon: of whose

memory77-81.)

He is a man of generous

Hereafter more.

His weakness is a facile goodjudgment. nature, which leads him to make friends indiscriminately with everyone; he is not at the pains to form anyestimateof the true character of those who flock to enjoy his hospitality,but lavishes upon them his riches with an unwise prodigality: for he has do thought forthe future; with a careless magnificence he

Where TimonIt has

failed Alcibiades succeeded.

been i-emarked that the part which Alcibiades plays is only remotely connected with the main story; but it cannot be doubted that he is intended to form a contrast to Timon, and point the moral of his fall. Like Timon, Alcibiades is wronged, but he does not unpack his heart in words and fall a cursing.

seeks only to gratify theof

momentary impulsenota

generosity, and althoughis

helpless

victim to flattery, he"feast- won, fast-lost"

not insensible to the

popularity which follows.of

Thus

his

knowledge

mankind

superficial, Ids friendship

is merelj does not rest uponit

who takes wrongs, and his triumph over the offending senators forms a fitting sequel to the story of Timon's barren misanthropy. Norn- the less it is with Timon,is

He

a successful

man

of the world,

prompt measures

to right his

and not with Alcibiades, that our sympathiesrest.

those foundations which alone can render

Had Timon

possessed

the

practical

permanent, he has no reserve of strength in his own heart to fall back upon, and it is not

virtues of the victorious

commander he would

wondered at that when the crash comes he is unprepared to meet it, and that when his so-called friends desert him, and the false paradise which he ha- created for himself vanishes away, lie is powerless to grapple with the stem realities which stare him in the face, and takes refuge in self- banishment and ato be

have been saved from despair, and the catastrophe would have been averted; but as we lament over the wreck of a noble nature, we feel that there are nobler things in the world than worldly prosperity, and that failure may sometimes command a deeper respect thanSuccess.

The character

of

Apemantus

is

a

foil

to

12

INTRODUCTION.Timon's.in his

hatred;it.

enjoys

Timon bates men, and La miserable Apemantus hates them too, and Always a cynic and a carper, he

that

never had any faith in the goodness of the human heart, and cannot open his mouth exceptto give utteranceto a

minor characters of the dranui Steward Lb tin- most prominent II.- is a faithful ami attached servant (" a t\ jwhich was a favourite with tin- later dramatli.-

Among

nf tin-

tists.

11'-

ha.l

that insighl into

sneer or

;i

surly

acter which hi- master lacked.

human ch Timon in theif

repartee.i

Be has no wrongs to avenge; he is Timon, smarting under a Benseof the injustice of mankind he isHit,

simplicity of his soul imagined that

he were

like

everIn-

;

need, the purses of his friends would ty that open t" him with tin- same ain

a slave,

whom

Fortune's tendera

II.

I,

ttt&i

..,:-

"

Paul.Poet.

How this lord is tollow*d

I

i

.'.

,

The senators of Athena:happy mail

t

I

\.

>,

10.)

TIM ON OF ATHENS.ACTSceneI.

I.

Athens.

A

hall in Timon's house.

Mer../ w.

(

>.

pray,sir.'

let's

see't:

for

the

Lord

Timon,Enter Poet, Painter, Jeweller, Merchant,If

he will touch the estimate: 8 but, for"

andPoet.I

others, atsir.

st

veral doors.

rood day,

that Poet. R|

If]

When w t

I'

Pain.Poet.I>

I

am

glad you

're well.It

compense have

prais'd the vile,

have uot seen you long: ho^ goes the worldIt

stains the glory in that

happy verseLootina water, look

Which./ w.

aptly sings the .rood.

Pain.Poet.

wears, 1

sir,

as

it

-rows.'s

Mer.

Ay, thatrarity.'

well

known:See,

T is a g And rich:You're

1

form.

{

here

is

But what particular

what strange.

Pain.

rapt, a

sir, in

some work,

s,.m.'

Which manifold

record nol mat. -Ins.'

dedication

Magic of bounty! all these spirits thy power Hath conjur'd to attend, [know the merchantPain.M(r. 1

To(

the great lord.

Po)nr poesyis

know them bothjth'other'sa jeweller.>,t

as at

A thing slipp'd idly from me. gum, which a'-'i

is

a

Jew.Mer.as

worthy lord. Nay, thai

's

most

lix'd.a

Prom whence Shows nut tillProvokesI

is

nourish'd: the

fire

i'

the

flint

it

be struck; our gentle flameand, like the current,flies

A most incomparable man;it

breath'd,

itself,it

w ere,3

h

10

bound\

chafes.

What have yousir.-

thne

might interpret. 3It is a

Pain.I

pretty

mocking

of the

life.

That labour on the bosomit,

of this sphere

[ere

ist.

a

touch; is't good?I will say of

P(H

4 It tutors nature: artificial strife

To propagate their states: 12 amongst them all, Whose eyes are on this sovereign lady fix'd, One do I personate of Lord Timon's frame,

Lives in these touches, livelier than

life.

WhomWhose

Fortune with her ivory hand wafts

to70

her:

Enter certain QefoQtors, ""' pass open

Pain.Pott.

How

this lordoi

is

followed!

present grace to present slaves and servants

The senakjrdLook, moe! d

.Athens:-"-happy man!"'

Translates his rivals.

Pain.Poet.

4i

You

see this confluence, this great flood

Pain. 'Tis conceiv'd to scope. 13 This throne, this Fortune, and this hill, methinks,

of visitors.I

have,

in this

Whom

this

rough work, shap'd out a man, heiieath- world doth embrace and

hug With amplest entertainment: my free drift Halts not particularly, but moves itselfwide sea of wax: no levell d" malice Infects one comma in the course I hold;In a

With one man beckon'd from the rest below, Bowing his head against the steepy mount To climb his happiness, would be well express'dIn our condition.Poet.

Nay,

sir,

but hear

me

on.

All those which were his fellows but of late, Some better than his value, on the moment

an eagle flight, bold, and forth on, 50 Leaving no tract 8 behind. Pain. How shall I understand you? I'll unbolt to you. Poet.I

lut Hies

Y^ou >ee

how

all conditions,

As wellf

grave and austere qualityi

tender downhis large fortune,

vices to

Lord Timon:

Follow his strides, his lobbies fill with tendance, Rain sacrificial whisperings in his ear, 81 Make sacred even hisstirrup,and through him 14 Drink the free air. Ay, marry, what of these? Pain. Poet. Winn Fortune, in her shift and change of mood, Spurns down her late belov'd, all his dependants,

Lpoii his good and gracious nature hanging,

Subduesand properties9 to his love and tendanceAll sorts of hearts; yea,flatterer

from the glass-fac'd 1058

To Apemantus,i

that

few

tilings loves better

Which labour'd afterhim to the mountain's top, Even on their knees and hands,let him slipdown, Not one accompanying his declining foot. Pain. V is common:

Comes

A

- Bi'j,

*

dff well, is a creditable piece of work. pregnant; or merely, powerful, mighty. Interpret, play the interpreter. Artificial strife, the strife of art to emulate nature. Moe, more. Halts not particularly, does not stop at any single:

That

thousand moral paintings I can show, 90 shall demonstrate these quick blows ofFortune's

More pregnantly 15 than words. Yet you do wellu Rank'd, covered with ranks.i-

person.8,J

Levell'd,

aimed at any particular person.of,

Tract, trace, track.J'i-

To propagate their

states, to

improve their fortunes.

10

appropriates. Glaxx-fac'd, reflecting like a mirror the looks of his

makes property

i" 14is

To scope, to the purpose. Through him, by his leave,Pregnantly, clearly.

at his will.

patron.

16

;

:

ACT

I.

Scene

1.

TIMON OF ATHENS.Been

I.

Scene

1.

To show Lord Tiiuoii that mean eyes have The fool above the beadTnnnpets sound.Enter

Old Ath. one only daughter haveelse,I1

1,

no kin1-1

Lord Timon,to b

address-

ing himself courteously Messengi r (rum VentidhLucii.ns

Noble Ventidius! Well; Tim. 100 I am not of that feather to shake off Mv friend when lie must need me. I do know

Old Ath. She

is

young and

apt

Our own precedent

passions do instruct us

What

levity's in youth.

him

Tim. [To Lucilius]deserves a help,I'll

A gentleman that well Which he shall have:free him.Ven. Serv.

Luc. Ay,

my good lord;

Love you the maid? and she accepts of it.

pay the debt, and

Old Ath. If in her marriagemissing,

my

consent be

Your

lordship ever binds him.to

I call the gods to witness, I will choose

Tim.

Commend me

him:

I will

send his

Aline heir from forth the beggars of the world,

ransom;

And

And, being enfranchis'd, bid him come to me: T is not enough to help the feeble up, But to support him after. Fare you well. Ven. Serv. All happiness to your honour!;

dispossess her all. How shall she be endow'd, Tim. If she be mated with an equal husband Old Ath. Three talents on the present; in'.

future,

all.

Tim. This gentleman of mine hath

send

[Exit.

meToFor'tis

long:little.

Enter an old Athenian.

build his fortune I will strain a

a bond in men. Give him thy daugh'11

Old Ath. Lord Tinion, hear me speak. Freely, good father. Tim. Old Ath. Thou hast a servant nam'd Lucitius. 112 Tim. I have so: what of him? Old Ath. Most noble Timon, call the manbefore thee. Tim. Attends he here, or no?ship's service.

ter:

What you bestow, in him I counterpoise, And make him weigh with her.Old Ath,

M

'

t noble lord,

Pawn meTim.

to this

My

your honour, she is hia hand to thee; mine honour onI

my

Lucilius!

promise.

Lue. [Coming forward] Here, at your lord-

Luc.

Humbly may

thank your lordship: never

Old Ath. This fellow here, Lord Timon, this thy creature, By night frequents my house. I am a man Thatfrom my first have heen inclin'd to thrift; And my estate deserves an heir more rais'd

Than one whichTim.

holds a trencher.

That state or fortune fall into my keepi WJ Which is not ow*d to youl [Exeunt LttcUius and Old Athenian. Poet. [I' .7 his poem] Vouchsafe labour, and long live your lordship! thank you; you shall hear from me Tim.1

Well; what further?Periods, puts a st"i>

anon:

1

Strait, strict.

2

to.

B thee for tlivl;il'Ui: li- that Loves to be flattered Heavens, thai is worthy o the flatterer.m. Yes, be1

worthy

of thee,

[Exeunt/:',m1(

hunting.Fie,fie, fie, fie!

s

Enter Caphis,

and tht Servants of Isidore and Varro.even, Varro: what,

Caph.

You come

for

Good money?

Var. Serv.

Is't not

your business too?Isidore?It is so.

Caph. It Caph.

is:

and yours too,all

laid. Serv.

Would we were

discharge

!it.

Var. Serv.

I fearlord.

3

Caph. Here comes the

Enter Timon, Alcibiades, and Lords,Tim. So soon as dinneragain,'s

dec.

done we

'11

forth

My Alcil >iad's. With me what is your will Caph. My lord, here is a note of certain dues.\

'.

Flav.1

What

shall he done? he will not hear,

till

fi

must be round with him, now he comes from hunting.Letii.-'.

Tim. Dues!

Whence

Caph. Tim.

are you? Of Athens here,

7,8.)

my

Lord.

Gooff

to nvy steward.it

Var. Serv.six

T was due

on forfeiture, my lord,30

Caph. Please

your lordship, he hath put1 i'-

weeks

meTo the

And

past,

new days this month: awak'd by great occasion To call upon his own; and humbly prays you, That with your other noble parts you '11 suit 4succession ofis

Isid. Serv.

Your steward puts me

otf,

my

Mv

master

Lord

AndI

I

am

sent expressly to your Lordship

Tim. Give

me

breath.

In giving himTim.I

his right.

Mine

honest friend,

prithee, hut repair toCajih.

me

next morning.

Tim.i

Nay, good my lord, Contain thyself, good friend,-

do beseech you, ,-"(.,1 ni\ lords, keep on: I'll wait upon you Instantly. [Exeunt Alcibiades "/. ; I [To Mavius] Come hither: prayyou, How goes the world, that am thus eneounI

ter'ds*

I fear

Resumes, takes. it. havel

Discharg'd,it.

\

my

fears about

You'll suit, you will act consistently with

t(

p on, pro* eed, go2.".

in.

!

!

< stiliusis

'

I have sweat to see his honour.

[To Lucius]Fare honourablesir.

Ay, too well.the world's soul;

My

honour'd lord,

First Stran. "Why, this

Luc. Servilius! you are kindly met, thee well:'/.

andla

commend me

to tin

every

just of the sane- p flatterer's spirit.

Who

can

calli

him

virtuous lord,M,-iv

myit

very exquisite friend. please your honour, my lord

His friend that dips in the same dish M v knowing, Timon has been this lord's

for, in

father.

hath sent

And

kept his credit with his purse;his estate;

Luc 11a! what has he sent? I am so much endeared to that lord; lie 's ever sending: how And what shall I thank him, think'st thou?has he sentServu.

Supported

nay, Timon's

money

Bias paid his

men their wages:

he ne'er drinks,

now Has only1

Andsenthis present occasionlie

But Timon's silver treads upon his lip; yet O, see the monstrousness of man

WhenWhat-

he Looks out in an ungrateful shape!in respect of1.

now, my lord; requesting your lordship to supply his instant use with so many talents.1

does deny him,charitable

81

menstl)

afford to

b. __

Had

me

ho mistook him, and sent by mistake.

to

me, had he sent to

Faithfully, earnii

s /;,

hie, in

proportion t" hia

own

f

rtune.

31

;

:

:

ACT

III.

Scene

3.

TIMON OF ATHENS.Hadsent toreturn,

ACT

III.

Scene

4.

Third Straa. Religion groans at it. For mine own part, I never tasted Timon in my life, Nor came any of his bounties over me,First Stran.

me

first,

I 'd such a courage 3 to

but for my mind's sake;. do him good. But now

And

To mark me

for his friend; yet, I protest,illustrious virtue,

Who

with their faint reply this answer join: bates 4 mine honour shall not know my\_Exit.

And HadI

Fur his right noble mind, honourable carriage,his necessity

coin.

Serv. Excellent!S9

made

would have put

my

use of me, wealth into donation,

villain.

The

devil

Your lordship 's a goodly knew not what he did when

And the best half should have return'd to him, So much I love his heart: but I perceive Men must learn now with pity to dispense;For policy 2sits

1

he made man politic, 5 he crossed himself by 't and I cannot think but, in the end, the villanies of

man

will set

him

clear.!

How

fairly

above conscience.

[Exeunt.house.

Scene

III.

J.

room in Sempronius'

Enter Sempronius, mid a Servant o/Timon's.

Sem. Must he needs trouble

me in

:

t,

hum!

appear foul takes virtuous copies to be wicked; like those that, under hot ardent zeal, would set whole realms on fire Of such a nature is his politic love. This was my lord's best hope; now all are fled, Save only the gods: now his friends are dead, Doors, that were ne'er accpiainted with theirthis lord strives to

'bove,all others?

He rnhdit have tried Lord Lucius or Lucullus; And now Yentidius is wealthy too,he redeem'd from prison: all these Owes their estates unto him. My lord, Sen: They have all been touch'd, and found base metal; for They have all deni'd him. How! have they deni'd him? Sem. Has Ventidius and Lucullus deni'd him? And does he send to me? Three? hum! It shows but little love or judgment in him:

wards 6 a bounteous year, must be employ'd Now to guard sure their master.

Many

40

Whom

And

this is all a liberal course allows;

Who

cannot keep his wealth must keep his[Exit.

house.

Scene IV.

The same.house.

A

hall in Timon's

Enter two Servants of Varro, and the Servant of Lucius, meeting Titus, Hortensius, and other Servants of Timon's creditors, waiting/n's

Must

I be his last refuge?

His

friends, like11

coming

out.

physicians,

First Var. Serv.

Well met; good morrow,.kind Varro.Lucius!'

him over: must I take the cure upon me? Has much disgrae'd me in't; I'm angry at him, That might have known my place: I see noThrive, give sense for't,

Titus and Hortensius.Tit.

The

like to you,

Hor.

What, do we meet together?Luc. Serv.

Ay, andall;

I think

But

his occasions

might have wooed

For, in

my

conscience, I

was the

me first first man me now,

One business does command usIs

for

mine

That

e'er received gift

from him:

money. Tit. So

is

theirs

and

ours.

A ml

does he think so backwardly of

That I '11 requite it last? No: So it may prove an argument of laughter 20 To the rest, and 'mongst lords I be thought afool.

Enter Philotus.Luc. Serv.Phi.

Andat once.

Sir Philotus tool

Good day

Luc. Serv.

I

:

d rather than the worth of thrice the sum,

Whata"

Welcome, good brother. do you think the hour?*

1

-

him, fallen to his share. Policy, selfish prudence.

Return'd

to

Politic,

Courage, ardour, eager desire. cunning, selfishly prudent.

Bates, diminishes.

c

Wards,

bolts.

32

ACT

III.

.Scone

1.

TIMON OF ATHENS.Labouringfor nine.

A'

I

III

-

I

Phi.

Luc. Serv. SoPhi.

muchfa1

(

need qoI Finn. you are too diligent.I

tell

him

that; he ki[E.

1< >t

my

lord Been yel

I

Luc. Serv./'///.1

Not yet.to shine10

Enter FlaviiLuc.Serv.

s inis

a cloak, muffled.

wonder on't; be was wontAy,

Ba!I

Dot

that

his

ste^

at seven.

muffled soI

Luc. Serv.

but the days are

wax'd

[(

-

away>o

in a

cloud: call him, call him.

shorter with him:

You must considerIs like

that a prodigal coursebis,

the sun's; but not, bke'1

recoverable.

you hear, sir.' Sec. Var. Serv. By your leave, sir, Flav. What do ye ask of me, my friendTit.I

i

I

fear

is

deepest

winter

in

Lord Timon'sIf

Tit.

We

wait for certain

money

here.

air.

purse;

Flav.

\;

ThatFind

is,I i 1

one1

mayI

roach deep enough, and ye1

money weresin.-

as certain as

your waiting,

1.

-.

T wen'your fear for that. show you how observe a strangeoft

enough.

Phi.Tit.I'll

am

Why then

preferred you not

When your false masters eat of my

your sums and bills lord's meat?

event,

fourTit.

lord sends

//,,/:

AndI

money. Most true, ho duos. he wears jewels now of Timon'sfor

dow

Then they could smile, and fawn upon his debts, And take down th' interest into their gluttonousoiavi3.

gift,

You do Let meBelieveI

yourselves but wrong to stirpass quietly:I

me

up:

For whichffor.It

wait for money.

20

is

against

my

beart.

Luc. Serv.

Timon

in thisit'

Mark, how strange it shows, should pay more than be owes;

lord and have made an end: 't, ni\ have no more to reckon, he to spend. Luc. Serv. Ay, but thisanswerwillnotserve.

Flav.

If

't

will not serve,

't

is

not

sob

And\ih!

t

'tu as

your lord should wear rich jewels,

you;

Hor.

send for money for 'em. 'm weary of this charge, 1 the godsI

For you serve knave-.FirstVar.Serv.

How!

what

does

his

can witness:

cashier'd worship mutter.'r, Var. Serv. No matter what; he's] S and that's revenge enough. Who can speak broader 3 than he that has no house to put his.

know my lord hath spent of Timon's wealth, worse than And now Ingratitude makesIit

stealth.

First Var. Serv. Yes,

mine 's three thousand\

head

in

i

such

mayEnti

rail

against great buildings.i.\ 11.

crowns: whatLuc. Serv.FirstVar.

'a

yoursis

Five thousand mine.Serv.

S]

n

s.

T

should seem by the

much deep: and sum

it

Tit.

,

here

's

Servilius;

now we

shall

know

30

some answer.ServU.to repairIt"I

Your

master's confidence was above mine;

Else, surely, his 2

had equalTd.

some other hour.t:

might beseech you, gentlemen, should derive1

much fromEnter Flaminitjs.Tit.omestic awe, uight-rest, and ueighbourhood,5 Instruction, manners, mysteries,

and trades. Degrees, observances, customs, and laws. 20 Decline to your confounding contraries,let

Tim.

'

to

men,i-

Y"ur potent and mtv. Bona

I

And

confusion

live!

Plagues incident to

en Athens,

ripe for stroke!(Act

n

'Ji-23.)

men,

Your potent and

infectious fevers

heap

Th' unkindest beast more kinder than mankind.

On Athens, ripe(

thou cold sciatica, !ripple our senators, that their limbs may halt As lamely as their manners! lust and liberty6 Ireep in the minds and marrows of our youth,for stroke!t

The gods confoundhear me, youall

-

ds

That

'gainst

the stream of virtue they

may

Tlv Athenians both within and out that wall And grant, as Timon grows, his hate majgrovi

stn\

e,

And drown themselves in riot! itches, blains, Sow all th' Athenian bosoms; and their cropBe genera] leprosy! breath infect breath; That then- aociety, as their friendship, mayGeneralI'ill.

To the whole Amen.SceneII.

race of mankind, high

and low!

[A

30

Athena.

T

1'i.Avus, with two or1s >'

thm1

v'

tilths,

common

prostitutes

Convert, change yourselves.pillage.'

First

>

.

Hear you, mastour

sfo

w

rd,

Lin'd, stuffed,

padded

w here

's

ml

s1

Mysteries, callings, professionsLiberty, licentiousness

'

Arc weundoni

ffl

uothing remainu

2

39

! !

ACT

IV.

Scene

2.

TIMON OF ATHENS.myfollows,

act

IV.

Scene

S.

Flav. Alack,to

what should

I say

To have

his

pomp, and

all

what

state

comI

you

'.

Let1

me be recorded by am as poor as yen.First S/>. He; I know bini..'

and breeds by a composture 3 stol'n From general excrement: each thing's a thief: The laws, your curb and whip, in their rough

power

Have uncheck'd

theft.

Love not yourselves:Cut

Banditti. Save tbee, Timon.

Tim. Now, thievesTim.Banditti.

away, Rob one another.throats;

There's more gold.

Banditti. Soldiers, notthieves.

Both

tun:

and women's sons.

We

arc not thieves, but

men

that

All that you meet are thieves. To Athens go, ,i Creak open shops; nothing can you steal,[

much do want. Tim. Your greatest wantof meat. 1

is.

you want much

But thieves do lose it: steal no less for this I give you; and gold confound you howsoe'er! Amen. [Timon retires to his cave.Third/Jail.

Why

should you want!

1

Behold, the earth420

Has almost charm'd me fromby persuading meis

hath roots;

my

profession,

to

it.

Within this mile break forth a hundred springs; The oaks bear mast, the briers scarlet hi] is; The bounteous housewife, nature, on each bush Lays her full mess before you. Want! why want First Ban. We cannot live on grass, on ber:

First

Ban. 'T

in the malice of 4

mankind

that he thus advises us; not to have us thrive

our mystery. Ban. I '11 believe him as an enemy, and give over my trade. 160in Sec.

First Ban. Let us first see peace in Athens:

there

ries,

water,

is no time so miserable but a man may be true. 5 [Exeunt Banditti.

As

beasts and birds

andI

fishes.

Tim.

Nor onandeal

tin-

Masts themselves, theFlav.

Enter Flavius.

birds,

fishes;

You mustcon.

men.

Yet thanks

I

must youyou work429

That yon arc thieves profess'dnotIn holier shapes: for thereis

;

that

boundless theft

In limited- professions. Rascal thieves, Here 's gold. rO, suck the subtle blood ' the live, The loathness to depart would grow.33.

Line 26!

I:

/'/

I

V

Scene

l.

Line 487: DoVTLLATSY, do, since you protest todo't has Villains; corrected by Rowe. For proU si heobald substituted profess, which is adopted by tfalone, and is certainly a very natural correction, though Dyce

F.

ment on

defend myself." This proverb the passage (Johnson).

is

a sufficient com-

189. Line 481: Then, if thou qraht'bt thou ai a man So Capell: F has "Then, if thou grunt' tt, th'art al

calls

it

very unnecessary.Lines 442, 443:

man

"

184.

190.

Line 499: It almost turns mi/ DAHGEROl

-

nal mi-

The sea 's thief, whose liquid surge resotves The moon into nit tears.

WILD.

-Dangerous here

I

take to

mean unbalanced,

Miakespeare knew that the moon was the cause of the tides, and in that respect the liquid surge, that is, the waves of the sea, rising one upon another, in the progressbe said to "resolve the moon into salt tears;" the moon, as the poet chooses to state the matter, losing some part of her humidity, and the accretion to the sea in consequence of her tears being the cause ofof the tide,

emotions of any kind: "such fidelity as yours," Timon would say. "after all tic- hypohave experienced, almost de crisy and baseness whichcertain, liable to Violenti

prives

me

of reason."

Since writing this note

I

Bee thairir

may

the liquid surge.

Add

to this the

popular notion, yet

prevailing, of the moon's influence

on the weather; which,

together with what has been already stated, probably induced our author here and in other places to allude to the watery quality of that planet (Malone). Capell's noteis

Drake (Shakespeare and his Times, vol. ii. p, 44'.'. nd takes the same view: "I conceive that by d ture in this passage is meant a nature, from acute sensibility and sudden misfortune, liable to be overp'.u .i.-.l. to be thrown off its poize, and to suffer from mental derangement." .Most editors, Including even the Globe, adopt Warburton's emendation mild(i almost reconciles me again to mankind), which is comparatively tame.'.

well worth quoting here: There cannot be a doubtschollars, but that

ACT

V.

Scene

1.

Auacreon was thought of in penning Timon's examples for encouraging thievery; the ode is of such celebrity, with jolly fellows especially, that it could not escape Jonsoti and other members Of the club at the Devil, and there Shakespeare bad it," The

among

the division be191. Capell was the first tween the fourth and fifth acts here. Previous editors. following Rowe, had put it after Exeunt Banditti at h 3. 463, and they made Timon go off at the close of hisspeech, line4">:i;

who made

ode

in question

is

the 21st (1'oeUeis

I.yrici Grseci, ed.

Bergk,

but thereit

is

no authority for thistie-

in the

1306, p. 1057); the following

a literal translation:

"The:

Folio, while at line 543

has

stag. direction

Exit.

dark earth drinks, and the trees drink the earth the sea drinks the air, and the sun the sea, and the moon thesun;

After the Actus Primus. Scoena Prima, at the beginningof the play, the Folio has no further division into a

-why quarrel

with

me my friends,

if I

too

am

fain to

scenes.192.

That an English translation existed in Shakespeare's time is clear from Puttenham, Arte of Poesie (1589), bk. iii. c. x.xii. p. 259, ed. Arber, quoted by Farmer: Another [according to Steevens one John .Southern] of reasonable good facilitie in translation finding certaine of the hymnesof Pyndarus and of Anacreons odes very well translated by Rounsard the French Poet comes our minion and translates the same out of Frenchdrink?".

in F.

1

Lines 0,7: Phkynia and Ti.maspka. Here spelt Phrinica and Timandylo.

193.

Lines

12, 13: )/r

35:

"and the inscription upon it. which ad it for DOt being abb; to read, and Uniting Done to him, he exclaims peevishly, 'Some la-a-t read tin- for iti

[n

the beached

margent of the

end.

Line 228: Lips, let BOOB words ;/. iiy. and language 80 Howe; the Folios have "fours words " Sidney Walker, with Bome probability, coDjectored ymr.213.

ACT214.

V.

BCENB

2.

Lines 7-9:

must be read, and in this place it cannot be read by man. Theobald printed Warburton's suggestion, "s,, lu which was adopted by rear/d this; here does not," Ac Capell ami l)yce, and (though retaining there) bj Ifaloni and the i. lobe. Bitson explains this reading as follow-: "What can this heap of earth be? (says the Boldler), Timon is certainly dead: some beast must have erected this, for here does not live a man to do it.",.,,.

'

WHOM,

though in general part

ice

were uppos'd,

Yet our "Id luce

made a PAKTICULAK force,148-151.

ACT216.

v.

Scrub

4.

Ami madsSee note 200 ontuteii

us speak like friends.

Lines

v.

1.

A nd

(or the relative.

Here again Hannier In general part is opposed

4, 5:

substitoi.e.

making yourThe scope of justice;

wills

K particular force, as regards theaffairs,

common

cause, public

they were opponents, nevertheless their old friendship created for the nonce a force or party of its own, and enabled them to converse like friends. Particular in thisis

the space within which justice had free play; justice was just what they chose it to be, and no more; compare Hamlet, iii. 2. 229: ichor's cheer in prison be my scape 1the limits to which

sense of private, personal,

very

common; compare(i.e.

Hamlet,

i.

3.

24-27:

my

ambition

is

bounded).

ThenIt fits

if

he says he loves you,it

your wisdom so far to believe111

As

lie

his

particular act and place

Hare minderd u-ithoui TRAVBBS'D arms. With our arms crossed or folded in submission The217.

Line

7:

M.ty ^ive his saying deed.

pression "traverse lines,"

i.e.

cross lines, occurs in Cart-

In thus explaining

"a particular force"will,

Schmidtthe

Many

readers

have followed however, probably preferl

wright's Poems, 1051.218.iii.

See Nares.

common

Interpretation, viz.

"a

special efficacy

"

Line80, 81:

8:

now

the time is flush.

CompareI

Hamlet,

3.

Hanmer, followed by Dyce andparticular force.'

Kolfe, printed

"had

a

He took myWithall his

father ^lossly,

full

of

1

crimes broad blown, asflush as May;i.

ACT215.ice,

V.

Scene

and Antony and Cleopatra,3.

4. 51,

52

:

the borders maritime

tion

By all description this should be the The great difficulty in this scene is the queswhether the third and fourth lines. " Timon is dead,"Lines 1-10:

Lack blood219.

to think on't,

and 'lush youth

re

&c

Lines 10-18:to give thy rages

halm.

.Vc, are

words.

an inscription read by the soldier, or his own I decidedly prefer the former view, and under-

To wipe "at ,,ur i.Noii.vnn Aii,, V,- their quantity.

i>k

with loces

the soldier arriving at stand the passage as follows: Timon's cave and receiving no answer to his challenge,

line 14.

has his attention arrested at the entrance by the following inscription:I

Warburton referred their to rages, Malone to griefs in But Shakespeare is not so p mentators, and it may refer to either or both. Capellsettled the question by printing mgratitudt

i::

in is

dead,

who hath outstretchM

hislive

span

:

Some

beast read this; there does not

a man.

220

Lines

-1Z.

24:

TitKii:

and with the natural exclamation "Dead, sine." turns to the beach and discovers the tomb inscribed with characters which he is unable to decipher, and accordingly has recourse to the somewhat clumsy expedient of taking the impression in wax. The supposition of two inscriptions, one on the cave and the other on the tomb, which this interpretation involves, is the chief objection to it. and the device must be admitted to be anIbis he reads,

hands from whomI

You havetheiri

/vet ir'd ijuiir

GEO

is ,ii

misprinted rheir in(or grt efe of F.1.

P. 1;

griefs

is

Theobald's cor-

221. Lines 28, 29:

Shamtllati,

that they

wanted cunning

broke their hearts.i

awkwardrimona

one, but the lines on the cave are quite in misanthropical vein, " let some' beast, human or other, read this notice of my death, for nothing worthy

extremity of shame) that they wanted that they were not ise enough not to banish cunning (i heobald) you) hath broke their hearts

Shame in excess (i.-

|

I

of being called ais

man

an) longer exists to read

it."

ThisF,

222.1

Line:;::"/, those that are,

rbvehqbs.SoSteevens;

substantially Staunton's view of the passage, exceptto the lines themselves at the entrance of Most editors, however, very unnaturally as it me, take the two lines to be a reflection and of the soldier;

has

Remkill nut

that he takes read this to refer to the inscription on the

tomb, and notthe cave.

223.

Line 44: Buttin /;

ALL TOGETHBB.So

P. 3: P. 1

has altogi224.

F 2 al togethiRant}

seems to exclamation on the part

Line 41: Against our BAMPIR'D gate*of

"The tomb he

another form

rampart.

Both forms were used either71

.. .

"

ACTased.

V. Scene

4.

NOTES TO TIMON OF ATHENS.Schmidt quotes Lodge's Rosalind(p. 68,

ACT

V. Scene

4.

noun or

verb.:

Here

"Jtosader Tampered up the house." Nares gives the following instance from Holinshed, vol. ii. 3. SO, col. 2, b: "And so deeply ditched and rampired theirH. Morley)

lye I Timon, who aliuve all titling men did hate: Passe by, and curse thy fill: but passe, and stay not here

thy yate."

North's Plutarch,in Painter:

c.

38.

caiupe about225.

that

The former epitaph appears as follows

it

was,'' Are.

My My

wretched catife dayes,carren corps intered here,

Line 55: Dksvk.ni>, and open your uncharged ports.F. 1 has Defend, a manifest error; see line 64.

Expired now and past:Isfaste ingrounde:

So F. 2;

226. Lines 62, 63:

But shall be rknder'd At heaviest answer,

to

your public laws

In waltring wanes of swelling sea, by surges cast,

My name(1805),

if

thou desire,

Render'd was suggested by Lord Chedworth adopted by Dyce, the Globe, and others. F.

and

is

The gods

thee doe coufounde.

1 has " reme-

died to,"ivc., which Schmidt interprets, "it shall be re-

dressed according to your laws;" not very successfully, but with less violence to common-sense than Malone, who

understood it to mean, "it shall be redressed at heaviest answer to your laws. " F. 2, F. 3, and F. 4 have remedied by.227. Lines 70-73: Here lies a wretched corse, "He died in the citie of Hales, and was buried vpon the sea

Ac

.Vow compassedside.

come

to

it:

chaunced so, that the sea getting in, it tombe round about, that no man could and vpon the same was written this Epitaph:it

his

It can only be by an oversight that both the epitaphs from North's Plutarch have been left in the text; it will be seen that they are copied verbatim with the change of wretches to caitiffs (line 71), perhaps suggested, as Malone remarks, by Painter's version. Rolfe says :" They [the two epitaphs] are inconsistent with each other, and Shakespeare cannot have meant to use more than one of them. He seems to have written both in the IIS. when hesitating between them, and afterwards to have neglected to strike one out.228.

Here

lyes

Seeke notleft.

my name:

a wretched corse, of wretched soule bereft: a plague consume you wicked wretches

Line 76: Scom'dst our brains'flow.

Steevens quotes

Sir Gyles

Goosecappe (1006): "I shed not the teares of my Briyne, but the teares of my soule" (act ii. sc. 1; Bullen's Old Plays, vol. iii. p. 34); andBut he from rocks that fountains can command. Cannot yet stay the/buntat'tis of his brain.

It is

reported that Timon himselfe,

this Epitaph: for that

which

is

when he liued, made commonly rehearsed, was

not

his,

but made by the Poet Callimachus:

Drayton, The Miracles of Moses.

WORDS OCCURRING ONLYNote. TheThe compound words marked with anActSc.

IN TIMON OF ATHENS.is

addition of sub., adj., verb, adv. in brackets immediately after a word indicates that the word used as a substantive, adjective, verb, or adverb only in the passage or passages cited.asterisk('

)

are printed as

two separate words

in F.

1.

"All-shunned., Apperil

iv.i.

Line 14 22

32

ApproachesArdent

.

iv.iii.

33

21634 187 18

Argument

1

ii.

2 3511

Backwardly Balsam

.

.

iii.iii.

11047 28 5961

Black-cornered

v.

WainsBountifully... Briber Bridge"-

iv.iii. iii.

26

iv.

321

158 225136

CakedCantherizing CarperCastigate.

ii.

v.

iv. iv.

3 3

209 240

i= contents;in other senses.2

frequently usedof the nose;

= the

bony part

elsewhere usedsense.

in its ordinary

. .

. . .

. . .

. . . ,

1

WORDS PECULIAR To TIMON OF ATHENS.Linelet ft Lin.. .;

\-

ft

.

Line

Half-caps

M

1,1

(ub

)

Sigh viced Singe (verb). Hips' Sonest-natured. .

.

ii.

2

221

v.

4;(

66109 211

iv.Iv. iv.v.

3:i

Misanthrupos.. Mlabegoi Mischief (verb) Monstrousness

iviii.

:;

Rose

i

keeked'

iv.

Trusters8:;

>'-

iv.V.iv.

l 1-J

1011

5:;

29i;.~.7'.'

iv.iii.

Rot (sub.) RotherSacrificial

iv.

6412

I

r.

isubst )....i'

iv.

1

ub-fast

8741

2

i

aagreeable.

.

.

ii.ii.

2 21

42239

Mountanl

.

iv.ii'.

8 81l

186

i.ii.

l

-li

l

Mouth-friends,Night-rest

99176113f.

Sermon

(verb)

2

181I

naptnesa

14051

She-beggarIndisposition.u.

iv.

33381

273I

nbolt"in qi

i.

139

iv.iii.

Shudders (sub.)Skip (verbSlave-liketr)

iv.iv.

137i

barged U

..

v.

4

infected 1 (adj.)i

ivii.

202210

Nutriment....oathable Oozes (verb) Opulency

110i

becked i*..

iv.i.

3l

447168'.'.">

ngenlously...

.

[nacolptnre

.

viii.

6711

iv...i.

31 l

iv.v.iii.

205I

Inviting (sub.).

21

SoftnessSolidares

nclue ie overactionsapeai eable....

iii.

86i

6:;

iv.i.

195

l

v.

88

16i

Kiml

(adv.)...

.

i.

Sorrowed3

l

v.iv.ii..

l:;

162i

280227ll

Sing-killer.

.

iv.

382

Page (verb)....Passive

iv. iv.i.

38l

224254 169

Sour-coldspilth

239i

uremovablyotirable

v.i.

l

2

109

l

Lag (sub.) Large-bandedI.

iii..

9011

iv.

mil

V.iv. v.ii.

84

Liquorish Livings (sub.).,

194 190

Pencilled* Penurious Periods (verb) Plough-torn...

Spital-house

iv.i.

3l

397.">

Unwisely"....rjsuring

ii.

2 5

ls3

iv.i.

3l

2 99193

Steepy

iiLiv.iv.

8

no51631

(

38

iv.i.

3l

Straggling*.... Suitable

v.iii.i.

l

7

9221 11

Voiced"

Long-slnce-due

Pregnantly Procreation

924

Sweep

(sub.).

.

137

iv.

341

Made-up

Tendance ....v.

i.

80 212'''

Wappened Wards"Whittle

....

iv.iii.

8 81

381-::

1

101

MangyManslaughter.

iv.iii.

3:.

37127

Rampired Recan terRecoverableRegardfully... .

v.

47

Throughout(adv.)v.

V.

v.iii.

14913 si61

4

Towardly Tract"Traversed

iii.i.

l

507

Window-bars. Wondrously .. .

iv.iiiii.

34

11671

MarbledMast-arorns Milk-paps.. .

iv.iv.

33

191 422115

iv.

341

v.

4 3

Wrenchl'-

(snb

>.

2

218

RegularReliances

v.ii..

TrenchantTrencher-friends

iv.iii.

115

.

iv.iii.

3(i

= creditors.Printed as one word in P. 1. t., reveal to unfasten,;

22 45 8

6

100

IS

Minute-Jacks Mire* (verb).i-'

107117

RepugnancyRespectivelyRioter

iii.iii.iii.

51

h=1

iv.

3

.

Troilus,

iv.

_.

:t.

5 3

08144

= fruit=1 i

of

tliL-

dog-rose

Roofs c5'

iv.

Lover's Complaint, 333.fe;

1"

^

Lover's

Complaint,its ordi-

Venus and Adonis, Bonnet lxiii. Lucrece, 428. = iwrsous attending; u'">.

uis

a-nnassailed.

= unrestrained; = uncontraiii.l.

dicted, in Her. "f Ven.'

-.

17

Lucrece,i

10.

238.

Used elsewhere iu

Lucrece,

1

187.

cart-,v....

attention, inS3;

i.

I. r>7; iii.

Cymb,-'.

isis

= proclaimed.if

nary senses. * to sink in mud.

= skulls;

used frequently iu

Henry VIII.

148.

a door-lock4.

;

Lucrece.

3":(:

=

other senses.

ii

= trace, track.

Bonnet xhiii.

ORIGINAL EMENDATIONS ADOPTED.None.

ORIGINAL KMKNDATIONSNote04.ii.

Sl( itJKSTKICome mind'

).

1.

35:

And

have the DEBTS innever

05.

ii.

2. 5, 6:

Woe ever122.iii. 6.

so unwise, to be so kind.

'he gods, The rest qf my priends, senators of Athens, together icith the common what is amiss in them, you lag of people,B9:Is,

make suitable/or

destruction.

73

CTMBELIKE.NOTES AND INTRODUCTION BY H. A. EVANS.

DRAMATIS PERSONS.(

'vmhei.i.ne,

king of Britain.to the

Clotex, son

Queen by a former husband.

Phsthi'mi's Leoxatus, a gentleman, husband to Imogen.

Belarus,Guiderius,

a]

banished lord, disguised under the name of Morgan.sons to(

ymbeline, disguised under the names of Polydore

AryiragusJIachimo, friend

and Cadwal, supposed sons to Morgan.|

Philario, friend to Posthumus,to Philario,

J

A(

French Gentleman, friend to Philario.

'aius Lucius, general of the

Roman

forces.

A Roman Captain.TwoBritish Captains.

Pisaxio, servant to Posthumus.

Cornelius, a physician.

Two Lords of Cymbeline's court. Two Gentlemen of the same. Two Gaolers.Queen, wife to Cymbeline.Imogen, daughter to Cymbeline by a former queen.Helen*, a lady attending on Imogen.Lords, Ladies,

Roman

Senators, Tribunes, a Soothsayer, aOfficers, Captains, Soldiers,

man, Musicians,

Dutch Gentleman, a Spanish GentleMessengers, and Attendants.

Apparitions.

Scene

Sometimes

in Britain,

sometimes in

Italy.

Historic Period:

Latter part of the

first

century

b.c.

TIME OF ACTIONAct I. Scenes 1-3. Interval; Posthumus's journey to Rome. Day 2: Act I. Scene Interval; Iachimo's jour1:

(according

to.

Daniel).

Twelve days, withDay

intervals.III. Scenes 2 and 3. Interval, including one clear day; Imogen and Pisanio journey to Wales. Interval, including one 7 Act III. Scene 4. clear day; Pisanio returns to court. 8 Act III. Scenes 5 and 6. Interval, including one clear day Cloten journeys to Wales. Interval, a feu9 Act IV. Scenes 1 and 2. days perhaps. 10: Act IV. Scene 3. 11: Act IV. Scene 4. 12: Act V. Scenes 1-5.o': :

Day

Act

4

ney to Britain. Day 3: Act I. Scenes 5 and 6; Act II. Scene 1 and part of Scene 2. Day 4 Act II. Scene 2, in part, and Scene 3; Act II T. Scene 1. Interval; Iachimo's return journey to Rome. Day 5: Act II. Scenes 4 and 5. Interval; time for Posthumus's letters from Rome to arrive:

DayDay

:

;

DayDay Day Day

:

in Britain.

Between Days

5

and

6:

Act

III.

Scene

7.

76

CYMBELINE.INTRODUCTION.LITERARY B1ST0RY.Cymbeline was first printnl in the Folio, our earliest mention of the plaj occurs in the MS. f Dr. Simon Forman, the astrologer, already quoted by Mr. Symons in his IntroForman witnessed a duction tit Mail tli. performance of Macbeth on April 2()th, Kilo, and one of The Winter's Tale (the only other Shakespearian drama mentioned by him) on May 15th, 1611, both at the Globe Theatre, but he gives no date for the performance ofI

England, and was taken prisoner, and aft who had turned herself into mans apparrell, and fled to mete her lovereveled to Lnnogen,at

hi

t

Milford Haven, and chanchsed toin

fall

on

the cave

the wodes

wherhertwo

brothers

were; and howe, by eating a aleping dram. they thought she had Kin deed, and laid her in the wodes, and the body of Cloten by her in her loves apparrell that he left behind him; and howe she was found by Lucius, etcIf

Cymbeline wasthese notes,it

a

new

play

when Forman

Cymbeline; it cannot, however, be later than September, 1611, the date of his death. The following is his account: "Of Cimbalin King

must be assigned to the years 1610 or 1611, and this date would be in accordance with the conclusions drawn frominternal evidencestyle

made

considerations,which

that

is,

of

Remember also the storri of of England. Cymbalin, King of England in Lucius tyme; howe Lucius earn from Octavus Cesar for tribut, and being denied, after sent Lucius with a create armi nf souldiara, who landed at MilEord

andto

mar

would bring it The Winter's Tale and The Tempestmetrethe present state of ourlie

It is impossible, in

knowledge, tois

mure

precise,

but

thi

a certain

looseness of construction about

Eaven, and

affter

wer vanquished by

Cimbalin, and Ian-ins taken prisoner; and all by means nf three outlawes, of the which two of them were the sunns of Cimbalin, stolen

the play which undoubtedly gives some colour to the theory of a double date advoto this theory

from him when they were but two vers old by an old man whom ymkdin banished, and he kept them as his own sunns twenty vers with him in a rave; and howe of [? one] of(

According and Eugleby. some scenes were written early as 1606 or 1607, and the rest in 1609 or 1610, but the two critics differ as to which scenes belong to the earlier and which to thecated

by

Fleay

them slewe

*

Hotan, that

was the

qu.-ns

s

i,

eoiuee to Milford

Haven

to sek the love of

Ennogen, the kinges' daughter,

whom

[sic]

he

had banished and howe theconveied

also for lovinge his daughter;Italian that

According to Fleay the part deHolinshed belongs to the earlier date, while [neleby think- that the earlierwritten scenes are the bedchambei ii. 2; n this

occasion

first

used an

responsible,

Kemble is believed to have amended version for which he is in which he changed the name

Morgan, Guiderius to Polydore, and Arviragus to Cadwal, and assigned the On French gentleman the name of Lewis. the revival at Covent Garden, 18th Jan. 1806, Kemble had these names appear on the bill. The cast of a mania for changing names. It is this performance deserves preservation.of Belarius to

as follows

:

minis = Kemble. Iachimo = Cooke. Polydore H. Johnston. Cadwal = Brunton. Morg-an = Murray.

ClotenPisanio

=

Farley.

Claremont.

CymbelineLewis

=

Cresswell.

=

Treby.

Imogen = Miss Smith. Queen = Mrs. Saint Leger.of

&c. (ib.

ii.

68).

The name

the actor

who

played Lewisof

Considerable interest was felt in a revival1823,

was Tebay, but Kemble, in the exercise of his whim, insisted on calling him Treby. For Young's benefit at Covent Garden, 3rd June, 1812, that actor appeared as Iachimo to K< ml tie's Posthumus, C. Kemble's Polydore, and Mrs. H. Johnston's Imogen. Kemble and Young reappeared in these parts at the same house, 29th May, 1816, when Terry for the first time was Morgan, Listoh for the first time CInteii. ;nid Miss Stephens for the first time Imogen, Egertou and bis wife being respectively ymbeline and the Queen. When, for Farley's benefit, 2nd June, 1825, ymbeline was again given at Covent Garden, Charles Kemble was Posthumus, and Miss Foote Imogen. On 9th Feb. 1829, at Drury Lane, Young was Posthumus, Cooper Iachimo, and Miss Phillips for the first time Imogen. Macready had essayed Posthumus in Newcastle in the season of 1811-12. His first appearance in it in London took place at'

Cymbeline at Drury Lane, 22nd January, which Genest inexplicably omits from

his index.

Kean and Young

played together:

the former as Posthumus, the latter as Iachimo.

A

Miss Williams made as Imogen her first appearance on the stage, was a failure, and was replaced on the 29th by Mrs. W. West, critic, probably who was little better.

A

(

Monthly, says that Kean's Posthumus was " fitful, passionate and wayward; with occasional touches of tender His supthought and pathetic remorse. pressed passion where Iachimo first questions Imogen's virtue was finely portrayed: though his best exertions were reserved for the scene where the scoffer returns apparently triumphHere the transitions from indifference ant. to rage, from rage to listening anxiety: from suspense to the agony of conviction, with the relapses into hope and love, were 'hit fiery off Young's Iachimo indeed " (vol. ix. p. 106).Talfourd,in

the

New

:

Coventgen.is

Garden, 30th June, 1818, for the benefit of "Sally" Booth, who played ImoHi- own comment on his performance simply that as a Shakespearian characterto hislistit

is

declared admirable:

"The

cool

dry sar-

added

was firm ground84

to

him

casms were given with mosl appropriate voice and gesture; and the descriptions of Imogen, with a poetic fervour which seemed to redeem a pari morally despicable, and to cast an in-

INTRODUCTION.tellectuaJ

glory around ineffable meanness of(ib.).

Bince BLemble

is

the part intimately a

purpose and of action

Cymbeline was not one of Charles Kean's It is probable thai be, Shakespeare revivals. in common with most actors of his own, previous,and immediately succeeding tunes, tookthe character in the course of tuition or ofhis third

and Imogen is the solitary p ession of M Of actors whom w.- must resign to Faucit. America the elder Booth was the best P< humus. His performance of it at ovent iarden, loth March, 1817, with Miss Costello from Cheltenham as Imogen, attracted much

disloyal thing,

1

my youth,

thou hea]sir,

Queen.If

Be

brief, I1

Imo.

I beseech you,of c

the king come, I shall incur

know

Harm

not yourself with your vexation:

II't "a

Such thoughts and such; or] could make him swear

Na\

,

come,Well,

^>>

together.

Sec. Lord.

my

lord.

[Ext ant.

The ahes of Italy ahould aoi betray Mine interest 6 and his honour; or have chargedhim,30

Scene

[II.

A room in OymbeThe same. line's pala,

A',-/-

/

Imogen and Pisanio.

Tmo.

1

would thou grew'st unto the shoreshaven,

At the sixth hour of morn, at noun, at midnight, T' encounter me with orisons, for then am in heaven for him or ere could had set Give him thai parting kiss which Betwixt two charming 6 words, comes in my1;

1