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When the day serves, before black-corner'd night,
Find what thou want’st by free and offer'd light.
Come.

Tim. I'll meet you at the turn. What a god's gold,
That he is worshipp'd in a baser temple,
Than where swine feed!
'Tis thou that rigg'st the bark, and plough’st the foam ;
Settlest admired reverence in a slave:
To thee be worship! and thy saints for aye
Be crown'd with plagues, that thee alone obey!
'Fit I do meet them.1

[Advancing Poet. Hail, worthy Timon! Pain.

Our late noble master. Tim. Have I once liv'd to see two honest men ?

Poet. Sir,
Having often of your open bounty tasted,
Hearing you were retir’d, your friends fall’n off,
Whose thankless natures-- abhorred spirits!
Not all the whips of heaven are large enough
What! to you!
Whose star-like nobleness gave life and influence
To their whole being! I'm rapt, and cannot cover
The monstrous bulk of this ingratitude
With any size of words.

Tim. Let it go naked, men may see 't the better:

9

8 When the day serves, &c.) Theobald with some probability assigns these two lines to the Poet. Malone.

before black-corner'd night,] An anonymous correspondent sent me this observation: * As the shadow of the earth's body, which is round, must be necessarily conical over the bemisphere which is opposite to the sun, should we not read blackconed? See Paradise Lost, Book IV.”

To this observation I might add a sentence from Philemon Holland's translation of Pliny's Natural History, B. II: “Neither is the night any thing else but the shade of the earth. Now the figure of this shadow resembleth a pyramis pointed forward, or a top turned upside down.”

I believe, nevertheless, that Shakspeare, by this expression, meant only, Night which is as obscure as a dark corner. In Mea. sure for Measure, Lucio calls the Duke," a duke of dark corners." Mr. M. Mason proposes to read-black-crown'd night;" another correspondent, “ black-cover'd night.” Steevens.

l'Fit I do meet them.] For the sake of harmony in this liemistich, I have supplied the auxiliary verb. Steedens.

you?

You, that are honest, by being what you are,
Make them best seen, and known.
Pain.

He, and myself,
Have travelld in the great shower of your gifts,
And sweetly felt it.
Tim.

Ay, you are honest men. Pain. We are hither come to offer you our service.

Tim. Most honest men! Why, how shall I requite Can you eat roots, and drink cold water? no.

Both. What we can do, we'll do, to do you service. Tim. You are honest men : You have heard that I

have gold; I am sure, you have: speak truth: you are honest men.

Pain. So it is said, my noble lord: but therefore Came not my friend, nor I.

Tim. Good honest men: - Thou draw'st a counterfeit? Best in all Athens: thou art, indeed, the best; Thou counterfeit'st most lively. Pain.

So, so, my lord. Tim. Even so, sir, as I say:---And, for thy fiction,

[To the Poet Why, thy verse swells with stuff so fine and smooth, That thou art even natural in thine art. But, for all this, my honest-natur'd friends, I must needs say, you have a little fault: Marry, 'tis not monstrous in you; neither wish I, You take much pains to mend. Both.

Beseech your honour, To make it known to us. Tim.

You 'll take it ill.
Both. Most thankfully, my lord.
?'im.

Will
you,

indeed ? Both. Doubt it not, worthy lord.

Tim. There's ne'er a one of you but trusts a knave, That mightily deceives you. Boih.

Do we, my lord? Tëm. Ay, and you hear him cog, see him dissemble,

2 a counterfeit -] It has been already observed, that a portrait was so called in our author's time:

What find I here? “Fair Portia's counterfeit." Merchant of Venice. Steerens

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Know his gross patchery, love him, feed him,
Keep in your bosom : yet remain assur’d,
That he's a made-up villain.:

Pain. I know none such, my lord.
Poet.

Nor I.
Tim. Look you, I love you well; I'll give you gold,
Rid me these villains from your companies:
Hang them, or stab them, drown them in a draught, 5
Confound them by some course, and come to me,
I'll give you gold enough.

Both. Name them, my lord, let 's know them.
Tim. You that way, and you this, but two in com-

pany ::—

3

amade-up villain.) That is, a villain that adopts qualities and characters not properly belonging to him; a hypocrite.

Fohnson. A made-up villain, may mean a complete, a finished villain.

M. Mason. 4 Nor I] As it may be supposed (perhaps I anı repeating a re. mark already made on a similar occasion) that our author designed his Poet's address to be not less respectful than that ofl.is Painter, he might originally have finished this defective verse, by writing:

Nor 1, my lord. Steevens.

in a draught,] That is, in the jakes. Johnson. So, in Holinshed, Vol. II, p. 735:“ - he was then sitting on a draught.Steevens

but two in company :] This is an imperfect sentence, and is to be supplied thus, But two in company spoils all. Warburton.

This passage is obscure. I think the meaning is this: but two in company, that is, stand apart, let only two be together; for even when each stands single there are two, he himself and a villain.

Fohnsor. This passage may receive some illustration from another in The Two Gentlemen of Verona: “My master is a kind of knave; but that 's all one, if he be but one knave." The sense is, each man is a double villain, i.e. a villain with more than a single share of guilt. See Dr. Farmer's note on the third Act of The Trvo Gentlemen of Verona, &c. Again, in Promos and Cassandra, 1578: “Go, and a knave with thee.” Again, in The Storye of King Darius, 1565, an interlude:

if you needs will go away, “Take two knaves with you by my fave.” There is a thought not inlike this in The Scornful Lady of Beau. mont and Fletcher:

:-" Take to your chamber when you please, there goes a black one with you, lady.” Steevens.

Each man apart, all single and alone,
Yet an arch-villain keeps him company.
If, where thou art, two villains shall not be,

[To the Painter. Come not near him.-If thou would'st not reside

[ To the Poel. But where one villain is, then him abandon. Hence! pack! there's gold, ye came for gold, ye slaves : You have done work for me, there's payment:7 Hence! You are an alchymist, make gold of that: Out, rascal dogs! [Exit, beating and driving them out.

There are not two words more frequently mistaken for each other, in the printing of these plays, than but and not. I have no doubt but that mistake obtains in this passage, and that we should read it thus:

not two in company:
Each man apart,

M. Mason.
You that way, and you this, but two in company:
Each man apart, all single, und alone,

Yet an arch-villain keeps him company.] The first of these lines has been rendered obscure by false pointing; that is, by connecting the words, “but two in company,” with the subsequent line, instead of connecting them with the preceding hemistich. The second and third line are put in apposition with the first line, and are merely an illustration of the assertion contained in it. Do you (says Timon) go that way, and you this, and yet still each of you will have two in your company: each of you, though single and alone, will be accompanied by an arch-villain. Each man, being himself a villain, will take a villain along with him, and so each of you will have two in company. It is a mere quibble founded on the word company. See the former speech, in which Timon ex. horts each of them to “bang or stab the villain in his company," i. e. himself. The passage quoted by Mr. Steevens from Promos and Cassandra, puts the meaning beyond a doubt. Malone.

7 You have done work &c.) For the insertion of the word done, which, it is manifest, was omitted by the negligence of the compositor, I am answerable. Timon in this line addresses the Painter, whom he before called “excellent workunan;" in the next the Poet. Malone. I had rather read: You've work'd for me, there is your payment: Hence!'

Steevens.

SCENE II.

The same.

Enter FLAVIUS, and Two Senators.
Flav. It is in vain that you would speak with Timon ;
For he is set so only to himself,
That nothing, but himself, which looks like man,
Is friendly with him.
| Sen.

Bring us to his cave:
It is our part, and promise to the Athenians,
To speak with Timon.
2 Sen.

At all times alike
Men are not still the same: 'Twas time, and griefs,
That fram'd him thus: time, with his fairer hand,
Offering the fortunes of his former days,
The former man may make him: Bring us to him,
And chance it as it

may: Flav.

Here is his cave.-
Peace and content be here! Lord Timon! Timon!
Look out, and speak to friends: The Athenians,
y two of their most reverend senate, greet thee:
Speak to them, noble Timon.

Enter Timon.
Tim. Thou sun, that comfort'st, burn! 8-Speak, and

be hang'd: For each true word, a blister! and each false Be as a caut’rizing' to the root o'the tongue, Consuming it with speaking! 1 Sen,

Worthy Timon, T'im. Of none but such as you, and you of Timon.

“O, sun,

8 Thou sun, that comfort'st, burn!] “Thine eyes,” says King Lear to Regan, “do comfort, and not burn." A similar wish occurs in Antony and Cleopatra:

Burn the great sphere thou mov'st in!" Steevens.

-a caut'rizing - ) The old copy reads-cantherizing; the poet might have written, cancering. Steevens.

To cauterize was a word of our author's time; being found in Bullokar's English Expositor, octavo, 1616, where it is explained, - To burn to a sore.” It is the word of the old copy, with the u changed to an n, which has bappened in almost every one of these plays. Malone. VOL. XV.

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