Shakespeare and the Emblem Writers: an exposition of their similarities of throught and expression, preceded by a view of emblem-literature down to A.D. 1616Green, Henry
History
Shakespeare and the Emblem Writers: an exposition of their similarities of throught and expression, preceded by a view of emblem-literature down to A.D. 1616
Green, Henry
Emblem books, English -- History; Emblems -- England -- History; Emblems in literature; Shakespeare, William, 1564-1616 -- Sources
“All men did he hate, nor loved himself, nor his kindred,—
One hating mankind was the name, worthy of him, he bore.
This faultiness and disease from the black bile arise,
When freely it flows heavy cares it increases.
Wherefore from a pear tree he is said to have fallen,
To have broken his legs, nor help to have sought for the evil.
From pleasant companions, and sweet conversation
They who withdraw themselves, cruel wounds have to bear.
Wretched this state of theirs, sorrowful what sighs they draw,
And though never a cause arise, ’tis their wish to have died.
But thou, while the power remains, join thy well-known companion,
Thee overwhelmed he strengthens, and free sets the heart from its
grief.
Whom, with a friend that is pleasing, never intercourse touches,
Without companionship, long without assistance they remain.
Either the gods are our own, or false feeling perverteth the soul,
And you fancy men stupid, and their hearts all are vain.
To us at length reasoning power freely being granted,
Into light do thou send them, if of light thou art mindful.”
The character here sketched is deficient in the thorough heartiness of
hatred for which Shakespeare’s Timon is distinguished, yet may it have
served him for the primal material out of which to create the drama. In
Sambucus there is a mistiness of thought and language which might be
said almost to prefigure the doubtful utterances of some of our modern
philosophers, but in Shakespeare the master himself takes in hand the
pencil of true genius, and by the contrasts and harmonies, the
unmistakeable delineations and portraitures, lays on the canvas a
picture as rich in its colouring as it is constant in its fidelity to
nature, and as perfect in its finish as it is bold in its conceptions.
The extravagance of Timon’s hatred may be gathered from only a few of
his expressions,—
“Burn, house! sink, Athens! henceforth hated be
Of Timon man and all humanity.”
_Timon of Athens_, act iii. sc. 6, l. 103
“Timon will to the woods, where he shall find
The unkindest beast more kinder than mankind
The gods confound—hear me, you good gods all!—
The Athenians both within and out that wall!
And grant, as Timon grows, his hate may grow
To the whole race of mankind, high and low!
Amen.”
Act iv. sc. 1, l. 35.
“All is oblique;
There’s nothing level in our cursed natures
But direct villany. Therefore be abhorr’d
All feasts, societies and throngs of men.”
Act iv. sc. 3, l. 18
“I am misanthropos, and hate mankind.
For thy part, I do wish thou wert a dog,
That I might love thee something.”
Act iv. sc. 3, l. 51
Public-domain text, read in full here on John Shaqi.
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