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Miserable indeed is the man who has not such faith in some of his fellow-men only less miserable than the man who allows himself to forget that such faith is not, strictly speaking, evidence; and when his faith is disappointed, as will happen now and again, turns Timon and blames the universe for his own blunders.
What vestige of Egyptian character is there, for instance, in Cleopatra? of Athenian in Theseus or Timon? of old English in Imogen or Cordelia? of old Scottish in Macbeth? or even of mediæval Italian in Petruchio, the Merchant of Venice, or Desdemona?
I should like to say it was taken from, or suggested by, a few bars in the opening of Beethoven's pianoforte sonata op. 78, and a few bars in the accompaniment to the duet "Hark how the Songsters" in Purcell's Timon of Athens. From the pianoforte arrangement in The Beauties of Purcell by John Clarke, Mus. Doc. Honesty
"There was a report," said the painter, blushing; "but my friend and I did not come for that." "Good honest men!" jeered Timon. "All the same, you shall have plenty of gold if you will rid me of two villains." "Name them," said his two visitors in one breath. "Both of you!" answered Timon. Giving the painter a whack with a big stick, he said, "Put that into your palette and make money out of it."
Burke and Mr. Langton were in company together, and the admirable scolding of Timon of Athens was mentioned, this instance of Johnson's was quoted, and thought to have at least equal excellence. 'As Johnson always allowed the extraordinary talents of Mr. Burke, so Mr. Burke was fully sensible of the wonderful powers of Johnson. Mr.
The smooth and smilling crowd dropped off with a shrug, and Timon went to the other extreme of misanthropy, declaimed against friendship, and cursed men for their ingratitude. But after all he got what he had paid for. He thought he had been buying the hearts of men, and found that he had only bought their mouths, and tongues, and eyes. "He that loves to be flattered is worthy of the flatterer."
Balbilla longed to see Verus content once more, and she therefore came forth from her hiding place. As soon as he saw her he altered the expression of his features and cried out as brightly as ever: "Welcome, fairest of the fair!" She made believe not to recognize him, but, as she passed him and bowed her curly head, she said gravely and in deep tones: "Good day to you, Timon."
Timon would still put him off, and turn the discourse to something else; for nothing is so deaf to remonstrance as riches turned to poverty, nothing is so unwilling to believe its situation, nothing so incredulous to its own true state, and hard to give credit to a reverse.
Besides the Orlando Innamorato, Boiardo wrote a variety of prose works, a comedy in verse on the subject of Timon, lyrics of great elegance, with a vein of natural feeling running through them, and Latin poetry of a like sort, not, indeed, as classical in its style as that of Politian and the other subsequent revivers of the ancient manner, but perhaps not the less interesting on that account; for it is difficult to conceive a thorough copyist in style expressing his own thorough feelings.
As an instance of his manner I shall quote a short passage from the dialogue Timon. It is Zeus who speaks; he has given Hermes orders to send the god of wealth to Timon, who has wasted his fortune by his liberality and is now abandoned by his false friends.
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