Open Source Shakespeare

Speeches (Lines) for Painter
in "Timon of Athens"

Total: 30

# Act, Scene, Line
(Click to see in context)
Speech text



Poet. Good day, sir.

Painter. I am glad you're well.



Poet. I have not seen you long: how goes the world?

Painter. It wears, sir, as it grows.



Poet. Ay, that's well known:
But what particular rarity? what strange,
Which manifold record not matches? See,
Magic of bounty! all these spirits thy power
Hath conjured to attend. I know the merchant.

Painter. I know them both; th' other's a jeweller.



Jeweller. And rich: here is a water, look ye.

Painter. You are rapt, sir, in some work, some dedication
To the great lord.



Poet. A thing slipp'd idly from me.
Our poesy is as a gum, which oozes
From whence 'tis nourish'd: the fire i' the flint
Shows not till it be struck; our gentle flame
Provokes itself and like the current flies
Each bound it chafes. What have you there?

Painter. A picture, sir. When comes your book forth?



Poet. Upon the heels of my presentment, sir.
Let's see your piece.

Painter. 'Tis a good piece.



Poet. So 'tis: this comes off well and excellent.

Painter. Indifferent.



Poet. Admirable: how this grace
Speaks his own standing! what a mental power
This eye shoots forth! how big imagination
Moves in this lip! to the dumbness of the gesture
One might interpret.

Painter. It is a pretty mocking of the life.
Here is a touch; is't good?



(stage directions). [Enter certain Senators, and pass over]

Painter. How this lord is follow'd!



Poet. The senators of Athens: happy man!

Painter. Look, more!



Poet. You see this confluence, this great flood
of visitors.
I have, in this rough work, shaped out a man,
Whom this beneath world doth embrace and hug
With amplest entertainment: my free drift
Halts not particularly, but moves itself
In a wide sea of wax: no levell'd malice
Infects one comma in the course I hold;
But flies an eagle flight, bold and forth on,
Leaving no tract behind.

Painter. How shall I understand you?



Poet. I will unbolt to you.
You see how all conditions, how all minds,
As well of glib and slippery creatures as
Of grave and austere quality, tender down
Their services to Lord Timon: his large fortune
Upon his good and gracious nature hanging
Subdues and properties to his love and tendance
All sorts of hearts; yea, from the glass-faced flatterer
To Apemantus, that few things loves better
Than to abhor himself: even he drops down
The knee before him, and returns in peace
Most rich in Timon's nod.

Painter. I saw them speak together.



Poet. Sir, I have upon a high and pleasant hill
Feign'd Fortune to be throned: the base o' the mount
Is rank'd with all deserts, all kind of natures,
That labour on the bosom of this sphere
To propagate their states: amongst them all,
Whose eyes are on this sovereign lady fix'd,
One do I personate of Lord Timon's frame,
Whom Fortune with her ivory hand wafts to her;
Whose present grace to present slaves and servants
Translates his rivals.

Painter. 'Tis conceived to scope.
This throne, this Fortune, and this hill, methinks,
With one man beckon'd from the rest below,
Bowing his head against the sleepy mount
To climb his happiness, would be well express'd
In our condition.



Poet. Nay, sir, but hear me on.
All those which were his fellows but of late,
Some better than his value, on the moment
Follow his strides, his lobbies fill with tendance,
Rain sacrificial whisperings in his ear,
Make sacred even his stirrup, and through him
Drink the free air.

Painter. Ay, marry, what of these?



Poet. When Fortune in her shift and change of mood
Spurns down her late beloved, all his dependants
Which labour'd after him to the mountain's top
Even on their knees and hands, let him slip down,
Not one accompanying his declining foot.

Painter. 'Tis common:
A thousand moral paintings I can show
That shall demonstrate these quick blows of Fortune's
More pregnantly than words. Yet you do well
To show Lord Timon that mean eyes have seen
The foot above the head.
[Trumpets sound. Enter TIMON, addressing himself]
courteously to every suitor; a Messenger from
VENTIDIUS talking with him; LUCILIUS and other
servants following]



Timon. I thank you; you shall hear from me anon:
Go not away. What have you there, my friend?

Painter. A piece of painting, which I do beseech
Your lordship to accept.



Timon. Painting is welcome.
The painting is almost the natural man;
or since dishonour traffics with man's nature,
He is but outside: these pencill'd figures are
Even such as they give out. I like your work;
And you shall find I like it: wait attendance
Till you hear further from me.

Painter. The gods preserve ye!



Apemantus. He wrought better that made the painter; and yet
he's but a filthy piece of work.

Painter. You're a dog.



(stage directions). [Enter Poet and Painter; TIMON watching]
them from his cave]

Painter. As I took note of the place, it cannot be far where
he abides.



Poet. What's to be thought of him? does the rumour hold
for true, that he's so full of gold?

Painter. Certain: Alcibiades reports it; Phrynia and
Timandra had gold of him: he likewise enriched poor
straggling soldiers with great quantity: 'tis said
he gave unto his steward a mighty sum.



Poet. Then this breaking of his has been but a try for his friends.

Painter. Nothing else: you shall see him a palm in Athens
again, and flourish with the highest. Therefore
'tis not amiss we tender our loves to him, in this
supposed distress of his: it will show honestly in
us; and is very likely to load our purposes with
what they travail for, if it be a just true report
that goes of his having.



Poet. What have you now to present unto him?

Painter. Nothing at this time but my visitation: only I will
promise him an excellent piece.



Poet. I must serve him so too, tell him of an intent
that's coming toward him.

Painter. Good as the best. Promising is the very air o' the
time: it opens the eyes of expectation:
performance is ever the duller for his act; and,
but in the plainer and simpler kind of people, the
deed of saying is quite out of use. To promise is
most courtly and fashionable: performance is a kind
of will or testament which argues a great sickness
in his judgment that makes it.



Poet. Nay, let's seek him:
Then do we sin against our own estate,
When we may profit meet, and come too late.

Painter. True;
When the day serves, before black-corner'd night,
Find what thou want'st by free and offer'd light. Come.



Poet. Hail, worthy Timon!

Painter. Our late noble master!



Timon. Let it go naked, men may see't the better:
You that are honest, by being what you are,
Make them best seen and known.

Painter. He and myself
Have travail'd in the great shower of your gifts,
And sweetly felt it.



Timon. Ay, you are honest men.

Painter. We are hither come to offer you our service.



Timon. Ye're honest men: ye've heard that I have gold;
I am sure you have: speak truth; ye're honest men.

Painter. So it is said, my noble lord; but therefore
Came not my friend nor I.



Timon. Good honest men! Thou draw'st a counterfeit
Best in all Athens: thou'rt, indeed, the best;
Thou counterfeit'st most lively.

Painter. So, so, my lord.



Timon. Ay, and you hear him cog, see him dissemble,
Know his gross patchery, love him, feed him,
Keep in your bosom: yet remain assured
That he's a made-up villain.

Painter. I know none such, my lord.