And let confusion live!-Plagues incident to men,
Your potent and infectious fevers heap
On Athens, ripe for stroke! Thou cold sciatica,
Cripple our senators, that their limbs may halt
As lamely as their manners! Lust and liberty
Creep in the minds and manners of our youth,
That 'gainst the stream of virtue they may strive,
And drown themselves in riot! Itches, blains,
Sow all th' Athenian bosoms; and their crop
Be general leprosy: breath infect breath,
That their society (as their friendship) may
Be merely poison!"

Timon is here just as ideal in his passion for ill as he had before been in his belief of good. Apemantus was satisfied with the mischief existing in the world, and with his own ill-nature. One of the most decisive intimations of

Timon's morbid jealousy of appearances is in his answer to Apemantus, who asks him,

"What things in the world canst thou nearest compare with thy flatterers?

TIMON. Women nearest: but men, men are the things themselves."

Apemantus, it is said, "loved few things better than to abhor himself." This is not the case with Timon, who neither loves to abhor himself nor others. All his vehement misanthropy is forced, up-hill work. From the slippery turns of fortune, from the turmoils of passion and adversity, he wishes to sink into the quiet of the grave. On that subject his thoughts are intent, on that he finds time and place to grow romantic. digs his own grave by the sea-shore; contrives hist

He

funeral ceremonies amidst the pomp of desolation, and builds his mausoleum of the elements.

"Come not to me again; but say to Athens,
Timon hath made his everlasting mansion
Upon the beached verge of the salt flood;
Which once a-day with his embossed froth

The turbulent surge shall cover.-Thither come,
And let my grave-stone be your oracle."

And again, Alcibiades, after reading his epi

taph, says of him,

"These well express in thee thy latter spirits:

Though thou abhorred'st in us our human griefs,

Scorn'd'st our brain's flow, and those our droplets, which

From niggard nature fall; yet rich conceit

Taught thee to make vast Neptune weep for aye

On thy low grave:"

thus making the winds his funeral dirge, his mourner the murmuring ocean; and seeking in the everlasting solemnities of nature oblivion of the transitory splendour of his life-time.

CORIOLANUS.

SHAKSPEARE has in this play shown himself well versed in history and state-affairs. CORIOLANUS is a store-house of political commonplaces. Any one who studies it may save himself the trouble of reading Burke's Reflections, or Paine's Rights of Man, or the Debates in both Houses of Parliament since the French Revolution or our own. The arguments for and against aristocracy or democracy, on the privileges of the few and the claims of the many, on liberty and slavery, power and the abuse of it, peace and war, are here very ably handled, with the spirit of a poet and the acuteness of a philosopher. Shakspeare himself seems to have had a leaning to the arbitrary side of the question, perhaps from some feeling of contempt for his own origin; and to have spared no occasion of baiting the rabble. What he says of them is very true: what he says of their betters is also very true, though he dwells less upon it. The cause of the people is indeed but ill calculated as a subject for poetry; it

admits of rhetoric, which goes into argument and explanation, but it presents no immediate or distinct images to the mind, "no jutting frieze, buttress, or coigne of vantage" for poetry "to make its pendant and procreant cradle in." The language of poetry naturally falls in with the language of power. The imagination is an exaggerating and exclusive faculty; it takes from one thing to add to another: it accumulates circumstances together to give the greatest possible effect to a favourite object. The understanding is a dividing and measuring faculty: it judges of things, not according to their immediate impression on the mind, but according to their relations to one another. The one is a monopolizing faculty, which seeks the greatest quantity of present excitement by inequality and disproportion; the other is a distributive faculty, which seeks the greatest quantity of ultimate good, by justice and proportion. The one is an aristocratical, the other a republican faculty. The principle of poetry is a very antilevelling principle. It aims at effect, it exists by contrast. It admits of no medium. It is everything by excess. It rises above the ordinary standard of sufferings and crimes. It presents an imposing appearance. It shows its head turretted, crowned, and crested. Its front is gilt and blood-stained. Before it "it carries noise, and behind it it leaves tears." It has its

altars and its victims, sacrifices, human sacrifices. Kings, priests, nobles, are its trainbearers; tyrants and slaves its executioners. "Carnage is its daughter." Poetry is rightroyal. It puts the individual for the species, the one above the infinite many, might before right. A lion hunting a flock of sheep or a herd of wild asses, is a more poetical object than his prey; and we even take part with the lordly beast, because our vanity or some other feeling makes us disposed to place ourselves in the situation of the strongest party. So we feel some concern for the poor citizens of Rome when they meet together to compare their wants and grievances, till Coriolanus comes in, and with blows and big words drives this set of "poor rats," this rascal scum, to their homes and beggary, before him. There is nothing heroical in a multitude of miserable rogues not wishing to be starved, or complaining that they are like to be so; but when a single man comes forward to brave their cries, and to make them submit to the last indignities, from mere pride and self-will, our admiration of his prowess is immediately coupled with contempt for their pusillanimity. The insolence of power is stronger than the plea of necessity. The tame submission to usurped authority, or even the natural resistance to it, has nothing to excite or flatter the imagination; it is the assumption of a right