ACT IV. SCENE I. Without the Walls of Athens. Enter TIMON. TIM. Let me look back upon thee, O thou wall, That girdlest in those wolves! Dive in the earth, And fence not Athens! Matrons, turn incontinent; Obedience fail in children! slaves, and fools, Pluck the grave wrinkled senate from the bench, And minister in their steads to general filths" Convert o' the instant, green' virginity! Do't in your parents' eyes! bankrupts, hold fast; Rather than render back, out with your knives, And cut your trusters' throats! bound servants, steal! Large-handed robbers your grave masters are, And pill by law: maid, to thy master's bed; Thy mistress is o' the brothel2! son of sixteen, Pluck the lin❜d crutch from the old limping sire, With it beat out his brains! piety, and fear, Religion to the gods, peace, justice, truth, Domestick awe, night-rest, and neighbourhood, I 2 general filths-] i. e. common sewers. STEEVENS. green i. e. immature. So, in Antony and Cleopatra : "When I was green in judgment—." STEEVENS. O' the brothel!] So the old copies. Sir Thomas Hanmer reads, i' the brothel. JOHNSON. One would suppose it to mean, that the mistress frequented the brothel; and so Sir Thomas Hanmer understood it. RITSON. The meaning is, go to thy master's bed, for he is alone; thy mistress is now of the brothel; is now there. In the old copy, ith, o'th', and a'th', are written with very little care, or rather seem to have been set down at random in different places. MALONE. Of the brothel!" is the true reading. So, in King Lear, Act II: Sc. II. the Steward says to Kent, "Art of the house?" STEEVENS. Instruction, manners, mysteries, and trades, 4 And yet confusion live!-Plagues, incident to men, Your potent and infectious fevers heap On Athens, ripe for stroke! thou cold sciatica, 3 [Exit. CONFOUNDING contraries.] i. e. contrarieties whose nature it is to waste or destroy each other. So, in King Henry V.: as doth a galled rock 4 66 "O'erhang and jutty his confounded base." STEEVENS. YET confusion -] Sir Thomas Hanmer reads, let confusion; but the meaning may be, "though by such confusion all things seem to hasten to dissolution, yet let not dissolution come, but the miseries of confusion continue. JOHNSON. -- liberty] Liberty is here used for libertinism. So, in The Comedy of Errors: "And many such like liberties of sin; apparently meaning-libertines. STEEVENS. MULTIPLYING banns!] i. e. accumulated curses. Multiplying for multiplied: the active participle with a passive signification. See vol. iv. p. 66, n. 1. STEEVENS. SCENE II. Athens. A Room in TIMON'S House. Enter FLAVIUS', with Two or Three Servants. 1 SERV. Hear you, master steward, where's our master ? Are we undone? cast off? nothing remaining? FLAV. Alack, my fellows, what should I say to you? Let me be recorded by the righteous gods, I am as poor as you. 1 SERV. Such a house broke ! So noble a master fallen! All gone! and not 2 SERV. 7 Enter FLAVIUS,] 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 domesticks; nothing but impartial kindness can gain affection from dependants. JOHNSON. 8 Let ME be recorded-] In compliance with ancient elliptical phraseology, the word me, which disorders the measure, might be omitted. Sir Theinas Hanmer reads: 9 To his buried fortunes -] So the old copies. Sir T. Hanmer reads from ; but the old reading might stand. JOHNSON. I should suppose that the words from, in the second line, and to in the third line, have been misplaced, and that the original reading was : "As we do turn our backs "To our companion thrown into his grave, "So his familiars from his buried fortunes "Slink all away ;· When we leave a person, we turn our backs to him, not from him. "So his familiars to his buried fortunes," &c. So those who Slink all away; leave their false vows with him, A dedicated beggar to the air, poor self, With his disease of all-shunn'd poverty, Walks, like contempt, alone.-More of our fellows. Enter other Servants. FLAV. All broken implements of a ruin'd house. 3 SERV. Yet do our hearts wear Timon's livery, That see I by our faces; we are fellows still, Serving alike in sorrow: Leak'd is our bark; And we, poor mates, stand on the dying deck, Hearing the surges threat: we must all part Into this sea of air. FLAV Good fellows all, The latest of my wealth I'll share amongst you. Nay, put out all your hands. 2 Let each take some; [Exeunt Servants. O, the fierce wretchedness that glory brings us! were familiar to his buried fortunes, who in the most ample manner participated of them, slink all away," &c. MALONE. I-RICH in sorrow, parting POOR.] This conceit occurs again. in King Lear : "Fairest Cordelia, thou art most rich, being poor." STEEVENS. 2 O, the FIERCE wretchedness-] I believe fierce is here used for hasty, precipitate. Perhaps it is employed in the same sense by Ben Jonson in his Poetaster: "And Lupus, for your fierce credulity "One fit him with a larger pair of ears." In King Henry VIII. our author has fierce vanities. In all instances it may mean glaring, conspicuous, violent. So, in Ben Jonson's Bartholomew Fair, the Puritan says: Who would not wish to be from wealth exempt, To have his pomp, and all what state compounds, "Thy hobby-horse is an idol, a fierce and rank idol." Again, in King John : "O vanity of sickness! fierce extremes 66 In their continuance will not feel themselves.” Again, in Love's Labour's Lost: 3 "With all the fierce endeavour of your wit." STEEVENS. Strange, unusual BLOOD,] Of this passage, I suppose, every reader would wish for a correction: but the word, harsh as it is, stands fortified by the rhyme, to which, perhaps, it owes its introduction. I know not what to propose. Perhaps 66 Strange, unusual mood," may, by some, be thought better, and by others worse. JOHNSON. In The Yorkshire Tragedy, 1608, attributed to Shakspeare, blood seems to be used for inclination, propensity: "For 'tis our blood to love what we are forbidden." Strange, unusual blood," may therefore mean, 'strange unusual disposition.' Again, in the 5th book of Gower, De Confessione Amantis : "And thus of thilke unkinde blood "Stant the memorie unto this daie." Gower is speaking of the ingratitude of one Adrian, a lord of Rome. STEEVENS. Throughout these plays blood is frequently used in the sense of natural propensity or disposition. MALONE. |