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No.

CLXVI. Critical remarks continued.-Italian li-

terature. Machiavel. Guicciardini.

Bentivoglio. Davila. Italian poetry.

Goldoni. Tasso. Ariosto. Guari-

ni. Metastasio

228

CLXVII. On the coalition between painting and

poetry. To Sylvia, a poem

243

CLXVIII. On the powers of music

254

CLXIX. Peter, a German tale

262

CLXX. Critical remarks continued.- Spanish

literature. Cervantes. Mexio. Ma-

riana. Don Alonzo d'Ercilla

273

CLXXI. On the various stages of improvement

and decline in the history of nations

CLXXII. The same continued..

292

CLXXIII. The same concluded..

299

CLXXIV. Critical remarks concluded.-Distinc-

tion between poetry and prose. Wil-

kie's Epigoniad. Blank verse,

Shakspeare as a dramatic writer-a

rhymer. Milton's Paradise Lost, Al-

legro. Penseroso. Lycidas. Comus 306

CLXXV. On the Folly of being discontented with

our native country. Allen Brooke,

a poem

321

CLXXVI. Critical observations on Scottish songs 334

CLXXVII. Adventures of Emma, a tale

349

CLXXVIII. The same continued

369

CLXXIX. The same continued

377

CLXXX. The same concluded ..

394

CLXXXI. Desultory observations on The Robbers

of Schiller ..

411

CLXXXII. The same concluded

421

CLXXXIII. On filial piety

CLXXXIV. The Will, an Arabian tale. Ode to
Æolus's Harp

447
CLXXXV. On the nature of inscriptive writing.

Inscriptions from the Greek, from

Shenstone, and Lyttelton ..

454

CLXXXVI. Osreidan of Damascus, an Arabian tale.

La Partenza, from Metastasio ......

463

CLXXXVII. Biographical and literary anecdotes of

Collins

474

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-Goodness wounds itself,
And sweet affection proves the spring of woe.

SAAKSPEARE.

The character of Timon of Athens presents a delineation of sudden change in the principles of human action, which, though drawn by the pen of Shakspeare himself, whose knowledge of the heart appears almost intuitive, has been censured as extravagant and unnatural. The glowing generosity, the indefatigable friendship, the expansive openness of soul, which mark the earlier features of the character of Timon, are suddenly, on a change of fortune which discovers treachery in his supposed friends, subverted to their foundation. The whole mental scene, shifting with rapidity and violence, presents in their room the most inveterate and ferocious

VOL. IV.

detestation directed against all mankind. In my mind, the poet has here only afforded another proof of the keenness of that penetration which, glancing through all the springs and movers of the human soul, fixes the changing features of the mental portrait, and holds a mirror to nature herself. He perceived, that on the ruins of our best feelings the temple of misanthropy is ever erected. The force of this truth he has exemplified by characters, stamped with the kindliest affections of nature, containing those propensities on which the fairest structure of human happiness is raised, in which those benefits, so far from tending to their proper end, ill managed and abused, involve their possessors in delusion and misery, and naturally end in a frame of mind inimical to mankind, and incapable of felicity. Of these Timon is one ; although inconsiderate ostentation forms a striking feature in the delineation of Shakspeare, the violence of misanthropy is to be traced to other causes; and we are led to exclaim from a thorough knowledge of his character, with the faithful Flavius,

Poor, honest lord, brought low by his own heart,
Undone by goodness.

To follow the general idea of the poet more

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