Places Discussed
Timon’s house
Timon’s house. Large, richly appointed abode in Athens in which Timon’s wealth and good nature win him many false friends and hangers-on, as his vast hall becomes the site of a procession of characters who prey upon his generosity. Loud music, masques, great banquets, and Timon’s bestowal of lavish gifts on guests are customary. William Shakespeare’s purpose here is to reveal through the setting and ceremonious or formal modes of conduct how the prodigal and ostentatious Timon is exploited. The hall itself is important for the play’s second banquet scene, in which Timon somberly parodies religion in his bitter misanthropy by serving lukewarm water and stones to his fellow senators.
Cave
Cave. Place near the seashore where Timon lives after rejecting Athens. The senate (a pure fiction on the part of Shakespeare who clearly was thinking of Rome), Lucullus’s home, and Sempronius’s house are minor settings in short and relatively minor scenes; they take a secondary position to the cave where Timon is alone. Timon’s first great soliloquy comes as he looks back at the walls of Athens and ferociously condemns the city and its inhabitants to total ruin.
The surrounding woods are within an otherwise barren coast that is filled with strange noises, wild beasts, and birds of prey. The extreme harshness of this setting accords with the mental and emotional state of Timon, whose character is revealed by misfortune. Starved and ragged, he has to dig for edible roots to survive. However, within the cave he discovers gold that he gives away as his sign of abnegation. His end comes when he disappears into the cave; however, Shakespeare does not reveal whether his death is by suicide or natural causes.
Modern Connections
The historical figures portrayed in Timon of Athens lived nearly 2,500 years ago. The play itself was penned almost four centuries ago. Despite this, the themes it explores remain relevant, addressing issues like materialism and corruption overshadowing humane social values. In 1973, a Parisian theater presented a version of Timon that transcended cultural, historical, and racial lines. Timon was depicted as a golden-haired, northern European youth; the first banquet featured entertainers performing a Middle Eastern-style dance to Arabian music; Apemantus was portrayed by a black actor, with a costume suggesting he was from northern Africa. This production, directed by Peter Brook, highlighted the universal themes of the play.
Timon of Athens illustrates a society tainted by greed. Many of its citizens are indebted to moneylenders. The concept of conspicuous consumption—using a term from the twentieth century—drives Timon into financial ruin. His natural tendency to host extravagant events and freely distribute what he believes to be an endless wealth leaves him vulnerable to his creditors. By the late twentieth century, personal debt had reached unprecedented levels. Influenced by advertisers who equate happiness with new cars, technologies, and fashionable clothing, many people rely on credit cards, hoping they can settle their debts someday. Consequently, more people find themselves in bankruptcy court.
In contemporary society, materialism faces criticism from various quarters, and fundamental values are emphasized. But which of these values are temporary, and which are lasting? Timon envisions a world where everyone shares their wealth with friends as if it were collectively owned. This notion seems impractical. But what alternatives exist? When faced with harsh realities, an idealist like Timon might react with bitterness and disillusionment, while a pragmatic approach could lead to Apemantus's empty cynicism. One might withdraw from society, rejecting its norms as Timon does; try to reshape it to fit personal beliefs, like Alcibiades attempts; or...
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assume the role of a constant critic, as Apemantus does.
When cynics like Apemantus speak out, how do people typically react? Historically, truth-tellers have rarely been heeded. Their messages are often unappealing, as it is hard to acknowledge our own faults or that what we value may lack intrinsic worth. Timon's unwillingness to listen to Apemantus and his steward is, therefore, understandable.
Timon's generosity is complex. On one hand, he appears driven by genuine kindness, eager to share his fortune with both servants and friends. However, his generosity is not discreet; he showcases it publicly, ensuring others are aware of his gifts. If the highest form of charity is to give anonymously to an unknown recipient, Timon falls short of this ideal. Is his generosity, as demonstrated through his servant Lucilus, true charity?
Timon anticipates some form of reward for his generosity, and he is heartbroken when it doesn't materialize. Giving without expecting anything in return demands an exceptional level of selflessness. How do we react when we donate our time, money, or other valuable resources to others—perhaps to a charitable organization—and the outcome isn't what we had envisioned? What if our gift is utilized in unexpected ways?
The play also explores how to react when we are wronged. Timon curses everyone who betrays him, along with every other person. There is no indication that he acknowledges human weaknesses or forgives those who have harmed him. This inflexibility isolates him from others and leaves him both physically and emotionally detached from society. But is the biblical directive to turn the other cheek suitable when friends betray us? Timon seems certain about his course of action. The rest of us might not be so confident.
Bibliography and Further Reading
Charney, Maurice. "Timon of Athens." In All of Shakespeare, 309-18. New York: Columbia University Press, 1993. This chapter, designed for students, delves into various aspects of Timon of Athens, highlighting its satirical nature. Charney provides a detailed analysis of Timon, portraying him as a figure lacking in traditional tragedy. He also examines the steward's role and extensively discusses the dramatic roles of the poet and the painter, whom he views as satirical characters.
Farley-Hills, David. "Anger's Privilege: Timon of Athens and King Lear." In Shakespeare and the Rival Playwrights, 1600-1606, 166-206. London: Routledge, 1990. Farley-Hills interprets Timon of Athens as a critique of humanity's fixation on wealth and material possessions. In this satirical drama, he argues, characters are symbolic rather than having distinct personalities. He suggests that "Of all Shakespeare's tragic heroes, Timon is the least open to psychological interpretation."
Handelman, Susan. "Timon of Athens: The Rage of Disillusion." American Imago 36, no. 1 (Spring 1979): 45-68. Handelman explores the implications of the limited female presence in Timon of Athens. She notes, "There is no feminine representative of goodness and constancy" as seen in other Shakespearean tragedies; the only women present are the prostitutes with Alcibiades and the performers in the masque. Handelman also critiques Timon, describing him as self-centered and psychologically unable to deal with loss.
Knights, L. C. "Timon of Athens." In The Morality of Art, edited by D. W. Jefferson, 1-17. London: Routledge and Kegan Paul, 1969. Knights examines Timon as a character lacking the genuine means to support his self-centered, idealized image. According to Knights, Timon elevates himself above others through his extravagant generosity, and when his false supports are abruptly removed, he is left with nothing. Knights concludes that Timon fails to achieve self-awareness and never considers his own role in his downfall.
Mellamphy, Ninian. "Wormwood in the Wood Outside Athens: Timon and the Problem for the Audience." In "Bad" Shakespeare: Revaluations of the Shakespeare Canon, edited by Maurice Charney, 166-75. Rutherford, N.J.: Fairleigh Dickinson University Press, 1988. Mellamphy focuses on audience reactions to a 1983 Canadian production of Timon. In this version, Timon is portrayed as a naive idealist whose downfall is caused by his own stubbornness and pride. Alcibiades, in contrast, is depicted as a pragmatist who can adapt, unlike Timon.
Nuttall, A.D. "Timon Says Grace: The Parodic Eucharist." In Timon of Athens, 113-35. Boston: Twayne, 1989. Nuttall closely examines Timon's nature of generosity. He argues that although Timon gives freely without expecting anything in return, his surprise when his friends exploit him reveals an innocence that "is indeed a kind of stupidity." Nuttall also draws an extended comparison between the meal prayers of Apemantus (I.ii.62-71) and Timon (III.vi.70-84).
Oliver, H. J. Introduction to Timon of Athens, by William Shakespeare, pages xiii-lii. London: Methuen, 1959. Oliver offers detailed analyses of the characters Timon, Apemantus, Alcibiades, and the steward. He sees Timon as a fundamentally noble individual, yet susceptible to poor judgment and intense emotions, lacking the "depth or profundity" needed to be considered a significant tragic hero. Oliver also delves into discussions about the possible collaboration with another playwright in the creation of Timon of Athens and whether the play remains unfinished.
Pasco, Richard. "Timon of Athens." In Players of Shakespeare, edited by Philip Brockbank, pages 129-38. Cambridge: Cambridge University Press, 1985. A seasoned British actor with extensive experience in Shakespearean roles, Pasco examines the character of Timon from his experience portraying him in a 1980 Royal Shakespeare Company production. He faced challenges in justifying Timon's intense misanthropy and ensuring Act IV, scene i did not devolve into "one long shouting match between Timon and his visitors." Pasco argues that Timon evolves and matures, ultimately moving beyond misanthropy to a serene acceptance of death.
Walker, Lewis. "Timon of Athens and the Morality Tradition." Shakespeare Studies XI (1979): 159-77. Walker explores Timon of Athens through the lens of medieval English morality plays, which featured characters that are more allegorical than realistic. He suggests that Timon and Apemantus closely resemble symbolic figures from these earlier plays. Walker asserts that Timon's journey through a sinful world towards eventual repentance mirrors the paths taken by allegorical characters like Mankind and Everyman. Shakespeare's Characters for Students 43