lowing upon the very height of fortune, the struggles
between family affection on the one hand and every interest of revenge
and egotism on the other--these would have made a tragic and tremendous
setting for some character worthy to rank with Shakespeare's best. But
it pleased him to ignore completely all these opportunities; and, in the
play he has given us, the situations, mutilated and degraded, serve
merely as miserable props for the gorgeous clothing of his rhetoric. For
rhetoric, enormously magnificent and extraordinarily elaborate, is the
beginning and the middle and the end of _Coriolanus_. The hero is not a
human being at all; he is the statue of a demi-god cast in bronze, which
roars its perfect periods, to use a phrase of Sir Walter Raleigh's,
through a melodious megaphone. The vigour of the presentment is, it is
true, amazing; but it is a presentment of decoration, not of life. So
far and so quickly had Shakespeare already wandered from the subtleties
of _Cleopatra_. The transformation is indeed astonishing; one wonders,
as one beholds it, what will happen next.

At about the same time, some of the scenes in _Timon of Athens_ were in
all probability composed: scenes which resemble _Coriolanus_ in their
lack of characterisation and abundance of rhetoric, but differ from it
in the peculiar grossness of their tone. For sheer virulence of
foul-mouthed abuse, some of the speeches in Timon are probably
unsurpassed in any literature; an outraged drayman would speak so, if
draymen were in the habit of talking poetry. From this whirlwind of
furious ejaculation, this splendid storm of nastiness, Shakespeare, we
are confidently told, passed in a moment to tranquillity and joy, to
blue skies, to young ladies, and to general forgiveness.

From 1604 to 1610 [says Professor Dowden] a show of tragic figures,
like the kings who passed before Macbeth, filled the vision of
Shakespeare; until at last the desperate image of Timon rose before
him; when, as though unable to endure or to conceive a more
lamentable ruin of man, he turned for relief to the pastoral loves
of Prince Florizel and Perdita; and as soon as the tone of his mind
was restored, gave expression to its ultimate mood of grave
serenity in _The Tempest_, and so ended.

This is a pretty picture, but is it true? It may, indeed, be admitted at
once that Prince Florizel and Perdita are charming creatures, that
Prospero is 'gra