ing that modicum of "small Latin" allowed him by Ben Jonson, would enable him to make out. This seems to have been no unusual mode of becoming acquainted with Greek authors in that age, when many of them were still without English translations; for I have been surprised to observe how often even the learned authors of the age of Elizabeth and James, such as Burton, in the "Anatomy of Melancholy," Jeremy Taylor, and others, refer to and quote the latin versions of Greek fathers and philosophers. COSTUME, ETC. In the literary costume of this drama, the congruity of its details with ancient manners, there are no striking deviations from historical probability, except in the odd transference of such names as Lucullus, Ventidius, etc., to Athens. These, so diligent a reader of North's "Plutarch" as Shakespeare was could not but have known to belong to Rome alone, and could have used them only from haste and inadvertence. This is, then, either an additional mark of the careless haste with which the subordinate parts of the play were sketched out, or else, if there be any ground for the theory of its authorship above suggested, it is an error of the dramatist who filled up the chasms of the original work. The localities, etc., represented in the illustrations of this play, and transferred from the illustrated English editions, are chiefly of such Athenian remains as belong to the historical period of Alcibiades. For the other costume, Mr. Planché of course recommends to the artist the "Elgin marbles" as the principal authorities. "The age of Pericles, (he adds,) rich in art, as well as luxurious and magnificent, was the period which immediately preceded that of Timon; and it would of course suggest the employment, in the representation of the drama, of great scenic splendour." SCENE I.-Athens. A Hall in TIMON's House. Enter Poet, Painter, Jeweller, Merchant, and Poet. Good day, sir. Poet. I have not seen you long. How goes the world? Pain. It wears, sir, as it grows. Ay, that's well known; Nay, that's most fix'd. Poet. I'll say of it, It tutors nature: artificial strife Enter certain Senators, who pass over the stage. Poet. The senators of Athens :-happy men! Poet. You see this confluence, this great flood of visitors. I have in this rough work shap'd out a man, Pain. How shall I understand you? You see how all conditions, how all minds, Pain. I saw them speak together. Poet. Sir, I have upon a high and pleasant hill, Feign'd Fortune to be thron'd: the base o' the mount Is rank'd with all deserts, all kind of natures, One do I personate of lord Timon's frame; Whose present grace to present slaves and servants Poet. Make sacred even his stirrup, and through him Pain. Ay, marry, what of these? Poet. When Fortune, in her shift and change of mood, |