Read William Shakespeare: The Complete Works 2nd Edition Online
Authors: William Shakespeare
Tags: #Drama, #Literary Criticism, #Shakespeare
William Shakespeare: The Complete Works 2nd Edition (426 page)
BOOK: William Shakespeare: The Complete Works 2nd Edition
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The story of Timon was well known and had been told in an anonymous play which seems to have been acted at one of the Inns of Court in 1602 or 1603. The classical sources of Timon’s story are a brief, anecdotal passage in Plutarch’s Life of Mark Antony, and a Greek dialogue by Lucian, who wrote during the second century AD, the former was certainly known to the authors of
Timon of Athens
; the latter influences them directly or indirectly. Plutarch records two epitaphs, one written by Timon himself, which recur, conflated as one epitaph, almost word for word in the play. In Lucian, as in the play, Timon is a misanthrope because his friends flattered and sponged on him in prosperity but abandoned him in poverty. The first part of the play dramatizes this process; in the second part, as in Lucian, Timon finds gold and suddenly becomes attractive again to his old friends.
Timon of Athens
; the latter influences them directly or indirectly. Plutarch records two epitaphs, one written by Timon himself, which recur, conflated as one epitaph, almost word for word in the play. In Lucian, as in the play, Timon is a misanthrope because his friends flattered and sponged on him in prosperity but abandoned him in poverty. The first part of the play dramatizes this process; in the second part, as in Lucian, Timon finds gold and suddenly becomes attractive again to his old friends.
Timon of Athens
is an exceptionally schematic play falling into two sharply contrasting parts, the second a kind of mirror image of the first. Many of the characters are presented two-dimensionally, as if the dramatists were more concerned with the play’s pattern of ideas than with psychological realism. The overall tone is harsh and bitter; there are passages of magnificent invective along with brilliant satire, but there is also tenderness in the portrayal of Timon’s servants, especially his ‘one honest man’, Flavius. In the play’s comparatively rare performances some adaptation has usually been found necessary; but the exceptionally long role of Timon offers great opportunities to an actor who can convey his vulnerability as well as his virulence, especially in the strange music of the closing scenes which suggests in him a vision beyond the ordinary.
is an exceptionally schematic play falling into two sharply contrasting parts, the second a kind of mirror image of the first. Many of the characters are presented two-dimensionally, as if the dramatists were more concerned with the play’s pattern of ideas than with psychological realism. The overall tone is harsh and bitter; there are passages of magnificent invective along with brilliant satire, but there is also tenderness in the portrayal of Timon’s servants, especially his ‘one honest man’, Flavius. In the play’s comparatively rare performances some adaptation has usually been found necessary; but the exceptionally long role of Timon offers great opportunities to an actor who can convey his vulnerability as well as his virulence, especially in the strange music of the closing scenes which suggests in him a vision beyond the ordinary.
THE PERSONS OF THE PLAY
Enter Poet
⌈
at one door
⌉
, Painter carrying a picture [at another door], [followed by] Jeweller, Merchant, and Mercer, at several doors
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.
Which manifold record not matches?—See,
Magic of bounty, all these spirits thy power
Hath conjured to attend.
⌈
Merchant and Jeweller meet. Mercer passes over
the stage, and exits
⌉
Merchant and Jeweller meet. Mercer passes over
the stage, and exits
⌉
I know the merchant.
PAINTER
I know them both. Th’other’s a jeweller.
MERCHANT (to Jeweller)
O, ’tis a worthy lord!
JEWELLER Nay, that’s most fixed.
MERCHANT
A most incomparable man, breathed, as it were,
To an untirable and continuate goodness.
He passes.
To an untirable and continuate goodness.
He passes.
JEWELLER (showing
a
jewel) I have a jewel here.
a
jewel) I have a jewel here.
MERCHANT
O, pray, let’s see’t. For the Lord Timon, sir?
JEWELLER
If he will touch the estimate. But for that—
POET (to
himself)
himself)
‘When we for recompense have praised the vile,
It stains the glory in that happy verse
Which aptly sings the good.’
It stains the glory in that happy verse
Which aptly sings the good.’
MERCHANT (to Jeweller) ’Tis a good form.
JEWELLER
And rich. Here is a water, look ye.
PAINTER (to
Poet)
Poet)
You are rapt, sir, in some work, some dedication
To the great lord.
To the great lord.
POET A thing slipped idly from me.
Our poesy is as a gum which oozes
From whence ‘tis nourished. The fire i’th’ 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?
From whence ‘tis nourished. The fire i’th’ 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.
Let’s see your piece.
PAINTER (showing the picture) ’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 th’ dumbness of the gesture
One might interpret.
This eye shoots forth! How big imagination
Moves in this lip! To th’ dumbness of the gesture
One might interpret.
PAINTER
It is a pretty mocking of the life.
Here is a touch; is’t good?
Here is a touch; is’t good?
POET I will say of it,
It tutors nature. Artificial strife
Lives in these touches livelier than life.
Lives in these touches livelier than life.
Enter certain Senators
PAINTER How this lord is followed!
POET
The senators of Athens. Happy man!
PAINTER Look, more.
⌈
The Senators pass over the stage, and exeunt]
The Senators pass over the stage, and exeunt]
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 tax. No levelled malice
Infects one comma in the course I hold,
But flies an eagle flight, bold and forth on,
Leaving no tract behind.
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 tax. No levelled 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 slipp’ry creatures as
Of grave and austere quality, tender down
Their service 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.
As well of glib and slipp’ry creatures as
Of grave and austere quality, tender down
Their service 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
Feigned Fortune to be throned. The base o’th’ mount
Is ranked 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 fixed
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.
Feigned Fortune to be throned. The base o’th’ mount
Is ranked 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 fixed
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 beckoned from the rest below,
Bowing his head against the steepy mount
To climb his happiness, would be well expressed
In our condition.
With one man beckoned from the rest below,
Bowing his head against the steepy mount
To climb his happiness, would be well expressed
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.
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 laboured after him to the mountain’s top
Even on their knees and hands, let him fall down,
Not one accompanying his declining foot.
Spurns down her late beloved, all his dependants,
Which laboured after him to the mountain’s top
Even on their knees and hands, let him fall 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.
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 [wearing a rich
jewell, with a Messenger from Ventidius; Lucilius
⌈
and other Servants] attending. Timon addresses
himself courteously to every suitor, then speaks to
the Messenger
TIMON Imprisoned is he, say you?
MESSENGER
Ay, my good lord. Five talents is his debt,
His means most short, his creditors most strait.
Your honourable letter he desires
To those have shut him up, which failing,
Periods his comfort.
His means most short, his creditors most strait.
Your honourable letter he desires
To those have shut him up, which failing,
Periods his comfort.
TIMON Noble Ventidius! Well,
I am not of that feather to shake off
My friend when he must need me. I do know him
A gentleman that well deserves a help,
Which he shall have. I’ll pay the debt and free him.
My friend when he must need me. I do know him
A gentleman that well deserves a help,
Which he shall have. I’ll pay the debt and free him.
MESSENGER Your lordship ever binds him.
TIMON
Commend me to him. I will send his ransom;
And, being enfranchised, bid him come to me.
’Tis not enough to help the feeble up,
But to support him after. Fare you well.
And, being enfranchised, bid him come to me.
’Tis not enough to help the feeble up,
But to support him after. Fare you well.
MESSENGER All happiness to your honour. Exit
Enter an Old Athenian
OLD ATHENIAN
Lord Timon, hear me speak.
TIMON Freely, good father.
OLD ATHENIAN
Thou hast a servant named Lucilius.
TIMON I have so. What of him?
OLD ATHENIAN
Most noble Timon, call the man before thee.
TIMON
Attends he here or no? Lucilius!
LUCILIUS
(coming forward)
Here at your lordship’s service.
(coming forward)
Here at your lordship’s service.
OLD ATHENIAN
This fellow here, Lord Timon, this thy creature,
By night frequents my house. I am a man
That from my first have been inclined to thrift,
And my estate deserves an heir more raised
Than one which holds a trencher.
By night frequents my house. I am a man
That from my first have been inclined to thrift,
And my estate deserves an heir more raised
Than one which holds a trencher.
TIMON Well, what further?
OLD ATHENIAN
One only daughter have I, no kin else
On whom I may confer what I have got.
The maid is fair, o’th’ youngest for a bride,
And I have bred her at my dearest cost
In qualities of the best. This man of thine
Attempts her love. I prithee, noble lord,
Join with me to forbid him her resort.
Myself have spoke in vain.
On whom I may confer what I have got.
The maid is fair, o’th’ youngest for a bride,
And I have bred her at my dearest cost
In qualities of the best. This man of thine
Attempts her love. I prithee, noble lord,
Join with me to forbid him her resort.
Myself have spoke in vain.
TIMON The man is honest.
OLD ATHENIAN Therefore he will be, Timon.
His honesty rewards him in itself;
It must not bear my daughter.
It must not bear my daughter.
TIMON Does she love him?
OLD ATHENIAN She is young and apt.
Our own precedent passions do instruct us
What levity’s in youth.
What levity’s in youth.
TIMON
(to Lucilius)
Love you the maid?
(to Lucilius)
Love you the maid?
LUCILIUS
Ay, my good lord, and she accepts of it.
OLD ATHENIAN
If in her marriage my consent be missing,
I call the gods to witness, I will choose
Mine heir from forth the beggars of the world,
And dispossess her all.
I call the gods to witness, I will choose
Mine heir from forth the beggars of the world,
And dispossess her all.
TIMON How shall she be endowed
If she be mated with an equal husband?
OLD ATHENIAN
Three talents on the present; in future, all.
TIMON
This gentleman of mine hath served me long.
To build his fortune I will strain a little,
For ’tis a bond in men. Give him thy daughter.
What you bestow in him I’ll counterpoise,
And make him weigh with her.
To build his fortune I will strain a little,
For ’tis a bond in men. Give him thy daughter.
What you bestow in him I’ll counterpoise,
And make him weigh with her.
OLD ATHENIAN Most noble lord,
Pawn me to this your honour, she is his.
TIMON
My hand to thee; mine honour on my promise.
LUCILIUS
Humbly I thank your lordship. Never may
That state or fortune fall into my keeping
Which is not owed to you.
That state or fortune fall into my keeping
Which is not owed to you.
Exeunt Lucilius and Old Athenian
BOOK: William Shakespeare: The Complete Works 2nd Edition
8.15Mb size Format: txt, pdf, ePub
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