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Lucian tells of Timon’s spectacular fall from prosperity. However, the dialogue does not show Timon as he lived in Athens; he is placed only in the ‘desert corner’ where he digs for a living. This part of the story corresponds to the play’s Sc. 14, and Lucian’s satirical account of Timon’s friends as they process one by one to visit him informs the scene’s structure (see Appendix B). Some passages recollect Timon’s earlier and more prosperous days. ’ Timon’s gift to enable his servant Ventidius to marry recalls Timon in Lucian, who remembers that the parasite Philiades ‘had from me a whole lordship, and two talents I gave his daughter to her marriage’.

This return to human fellowship, to love and loss, is something that Timon rigorously denies himself. Timon will never return—unlike the forest-goers in Shakespeare’s romantic comedies, and in some ways even unlike Lear. Timon continues to talk obsessively about Athens, but his speech is always an act of aggressive repulsion, pushing Athens away, stripping its tenacious filth off him, and flinging it back so as to keep his distance. 2 He is also a man who forcibly confronts areas of knowledge that his society represses, a mind on the edge of madness, a voice of wild vision and extreme emotion, a figure with no destiny other than death.

These propositions are both contestible: plays such as Jonson’s Volpone and Middleton’s Chaste Maid give strong expression to the corroding effect of money on humanity; and, though the idea of an economic system is anachronistic, Timon of Athens does show a society organized in such a way that economistic behaviour is unavoidable. But Knight finds his focus elsewhere, in Timon’s ‘resplendent personality’. His generosity is supremely benevolent, and the disillusioned Timon is ‘embittered by his own degraded social consciousness’.

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100kv from a Bike Generator


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