But flies an eagle flight, bold, and forth on,
Leaving no tract behind.

This flight of rhetoric is intended to produce a sort of musical effect,
in preparing us by its lofty sound for readily apprehending the lord
Timon with "amplest entertainment." The same is true of all that
follows. The Poet and Painter do but sound a lordly note of preparation,
and move the curtain that is to be lifted before a scene of profusion.
Call it by what name we please, it surely was not accident or
unconscious inspiration,--a rapture or frenzy,--which led Shakspeare to
open this play in this manner. If we remember the old use of choruses,
which was to lift up and excite the fancy, we may well believe that he
intended this flourishing Poet to act as a chorus,--to be a "mighty
whiffler," going before, elevating "the flat unraised spirits" of his
auditory, and working on their "imaginary forces." He is a rhetorical
character, designed to rouse the attention of the house by the pomp
of his language, and to set their fancies in motion by his broad
conceptions. How well he does it! No wonder the Painter is a little
confused as he listens to him.

_Painter_. How shall I understand you?

_Poet_. I'll 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