The Complete Works of William Shakespeare - Israel Gollancz William Shakespeare [2787]
where the traces of his hand break off; but I should now be inclined to guess rather that on reconsideration of the subjects chosen he had rejected or dismissed them for a time at least as unfit for dramatic handling. It could have needed no great expenditure of reasoning or reflection to convince a man of lesser mind and less experience than Shakespeare’s that no subject could possibly be more unmanageable, more indomitably improper for such a purpose, than he had selected in Timon of Athens. How he came ever to fall across such a subject, to hit upon such a choice, we can spend no profitable time or pains in trying to conjecture. It is clear, however, that at all events there was a season when the inexplicable attraction of it was too strong for him to resist the singular temptation to embody in palpable form, to array in dramatic raiment, to invest with imaginative magnificence, the godless ascetic passion of misanthropy, the martyrdom of an atheistic Stylites. Timon is doubtless a man of far nobler type than any monomaniac of the tribe of Macarius: but his immeasurable superiority in spiritual rank to the hermit fathers of the desert serves merely to make him a thought madder and a grain more miserable than the whole Thebaid of Christomaniacs rolled into one. Foolish and fruitless as it has ever been to hunt through Shakespeare’s plays and sonnets on the false scent of a fantastic trail, to put thaumaturgic trust in a dark dream of tracking his untraceable personality through labyrinthine byways of life and visionary crossroads of character, it is yet surely no blind assumption to accept the plain evidence in both so patent before us, that he too like other men had his dark seasons of outer or of inner life, and like other poets found them or made them fruitful as well as bitter, though it might be but of bitter fruit. And of such there is here enough to glut the gorge of all the monks in monkery, or strengthen for a forty days’ fast any brutallest unwashed theomaniac of the Thebaid. The most unconscionably unclean of all foul-minded fanatics might have been satisfied with the application to all women from his mother upwards of the monstrous and magnificent obloquy found by Timon as insufficient to overwhelm as his gold was inadequate to satisfy one insatiable and indomitable “brace of harlots.” In Troilus and Cressida we found too much that Swift might have written when half inspired by the genius of Shakespeare; in the great and terrible fourth act of Timon we find such tragedy as Juvenal might have written when half deified by the spirit of Æschylus.
There is a noticeable difference between the case of Timon and the two other cases (diverse enough between themselves) of late or mature work but partially assignable to the hand of Shakespeare. In Pericles we may know exactly how much was added by Shakespeare to the work of we know not whom; in The Two Noble Kinsmen we can tell sometimes to a hair’s breadth in a hemistich by whom how much was added to the posthumous text of Shakespeare; in Timon we cannot assert with the same confidence in the same accuracy that just so many scenes and no more, just so many speeches and none other, were the work of Shakespeare’s or of some other hand. Throughout the first act his presence lightens on us by flashes, as his voice peals out by fits, from behind or above the too meanly decorated altar of tragic or satiric song: in the second it is more sensibly continuous; in the third it is all but utterly eclipsed; in the fourth it is but very rarely intercepted for a very brief interval in the dark divine service of a darker Commination Day: in the fifth it predominates generally over the sullen and brooding atmosphere with the fierce imperious glare of a “bloody sun” like that which the wasting shipmen watched at noon “in a hot and copper sky.” There is here no more to say of a poem inspired at once by the triune Furies of Ezekiel, of Juvenal, and of Dante.
I can imagine no reason but that already suggested why Shakespeare should in a double sense have taken Chaucer for his model or