Questions on Timon of Athens.

1. To what period of the Poet's career is Timon of Athens assigned? With what other plays is it associated in the time scheme? 2. What has been said by critics about the doubtful authorship of parts? What parts are assigned to Shakespeare? Who have been suggested as co-authors?

3. From what sources were the materials of the play probably derived?

4. Is it recorded that Timon of Athens was ever played upon the stage in Shakespeare's era? Do you see any reason that makes it unsuitable for a stage-play?

ACT FIRST.

5. Interpret the meaning of the expression concerning the world, in line 3, It wears, sir, as it grows.

6. What does the opening Scene convey of the atmosphere in which the life of Timon is passed?

7. Give some estimate of the character of the Poet as indicated by his account of his art beginning line 20.

8. What standard of excellence is assumed for the judging of the art of printing in the conversation of the Poet and the Painter? 9. How does the Poet describe the people who surround Timon? What does he say of Apemantus? What is foreshadowed by the allegory that he draws for the Painter? How is the Painter himself affected by the recital?

10. Show what the Ventidius episode contributes to the plot. Comment on the naturalism of the subsequent colloquy with the Old Athenian concerning the marriage of his daughter.

II. Show the dramatic purpose in introducing Apemantus at this stage of the play. What is there in this colloquy from line 184 onward that has led to its condemnation as the work of Shakespeare? From previous hints is it not likely that Shakespeare designed the character?

12. In Sc. ii. what does Timon say about the return of gifts?

13. How does Apemantus reveal himself in the grace he offers to the gods?

14. Does Timon's speech upon friendship show him to be a bad observer of men?

15. Does the generosity of Timon strike you as fulsome? Is this impression conveyed aside from the fact that the speech of Flavius soon apprises us of his approaching bankruptcy?

16. What has Act I. established as the underlying idea of the plot? What are the positive elements of Timon's character? Do they win admiration? Does the Act fail to present certain elements concerning him that might aid in a higher appreciation?

ACT SECOND.

17. Show the turn in the tide indicated by the Senator's speeches in Sc. i. How is prudence here weighed against friendship, marking a sharp contrast with parts of the first Act?

18. For what does Flavius's speech at the opening of Sc. ii. prepare? How does Flavius prove himself a resourceful servant? What dramatic expedient is served by his manner of disposing of the servants of Timon's creditors?

19. Why are lines 45-126 judged non-Shakespearian?

20. What is Timon's proposal when he hears that his treasury is exhausted? How does he extenuate his past conduct? Upon what does he place reliance?

21. To what does Timon refer in line 204 when he speaks of the Senators, of whom, even to the state's best health, he has deserved a hearing?

22. What is the state of Ventidius's fortune when Timon applies to him for aid?

ACT THIRD.

23. How does Flaminius, Timon's servant, fare at the house of Lucullus? How does he reflect upon the ingratitude of Lucullus?

24. What type of man is portrayed in Lucius in Sc. ii.?

25. Is there any ironic intention in the words of the First Stranger; or do you interpret his words as a sincere utterance like those of Flaminius at the close of the first Scene?

26. What is the excuse made by Sempronius?

27. How is Timon affected in body and in mind by the treatment of his false friends? What does he finally determine upon?

28. Does the episode which is brought out in Sc. v. seem to invalidate the unity of the play? Would the case be improved by naming the friend for whom Alcibiades pleads?

29. Is there not a subtle harmony between the case of Timon in his present distress and that of the man under condemnation by the Senate? Is the unity which at first sight seemed destroyed in respect of this episode partially, at least, restored?

30. What does the Senate visit upon Alcibiades for his persistent pleading? How is this later inwrought into the texture of the story?

31. Sc. vi. is said to be of undoubted Shakespearian authorship. What qualities differentiate it from the rest of the Act?

32. Who were present at Timon's last banquet? Would a lesser dramatist have brought Lucullus, Lucius, Sempronius, and Ventidius again upon the stage? Why did not Shakespeare?

33. How does he address them when they sit at the table? 34. Compare the breaking up of assembly with the similar device in the play scene of Hamlet.

35. With what final words does Timon quit the scene?

ACT FOURTH.

36. Mention some elements of the picture of human society that Timon draws in his imprecations upon Athens. Are these the words of a sane man? Is a man sane who is possessed by so powerful a passion?

37. How does he compare mankind and the beasts? What does he implore of the gods?

38. What is the purpose of Sc. ii.? Mention some un-Shakespearian qualities of Flavius's speech beginning with line 30.

39. What things are the object of Timon's curse in the opening of Sc. iii.? Does he include himself in his general disdain. of humanity? Upon what does he subsist?

40. What does he find in digging in the earth? How does he describe the power of money?

41. How is Alcibiades accompanied upon his entrance? Does Timon recognize him? Why does Timon say, I do wish thou wert a dog, that I might love thee something?

42. What does Timon name himself? What does he now say

or imply concerning friendship? When, in his opinion, did he suffer miseries?

43. Against Athens, how has Alcibiades arrayed himself? What injunctions concerning Athens does Timon lay upon him? Notice how at the mention of pity by Alcibiades, Timon turns his invective mainly against pity as a possible accompaniment of war.

44. What attitude to Alcibiades personally does Timon persist in? What is his attitude towards the women who accompany Alcibiades?

45. Indicate the attitude of the dramatist towards women by the way these two curry profit out of Timon's misanthropy?

46. How in line 176 does Timon define his malady?

47. Is Nature included in the curses Timon heaps upon mankind, and if so to what extent is she exonerated?

48. Show the dramatic purpose in bringing Timon and Apemantus together. How do you contrast their respective views of human society?

49. With what arguments does Apemantus try to persuade Timon of the folly of his present course? What is there in Timon that makes such a life as Apemantus recommends impossible?

50. In lines 239 et seq. how does Apemantus read Timon? What degree of truth is there in his words?

51. How does Timon retort upon Apemantus? Is there truth in his analysis?

52. Does either man compel admiration?

53. When does Timon resolve to die?

54. How does he apostrophize gold in lines beginning with 385? 55. How does Timon meet the Banditti who come out to rob him? What warrant from nature's laws does he give them for practising theft? Compare this view of nature with that of a modern author, Robert Louis Stevenson, in an essay called Pulvis et Umbra.

56. What effect have Timon's words upon the Banditti?

57. How is the cause of Timon's misanthropy again sounded in the words of Flavius?

58. In what way does the unselfishness of Flavius cause Timon to modify his new creed? How does Flavius again point cut the weakness of Timon?

59. With what admonitions does Timon accompany his gift of gold to Flavius? In this is he consistent?

ACT FIFTH.'

60. Does the scene between Timon and the Poet and Painter suggest Hamlet's dialogue with Rosencrantz and Guildenstern in the method employed in leading them into self-conviction?

61. Who are the last visitors to Timon and by whom are they sent? What inducements are used to persuade Timon to return to Athens? What has led the Senate to make this request? What has the play revealed of Timon's past history to warrant this confidence in him?

62. Indicate the immediate effect upon him of the words of the Senators.

63. In the speech beginning line 171 does Timon show a genuine pity for mankind, assuming his point of view as a just and righteous one? In other words does Shakespeare prove the case of misanthropy as a legitimate moral view-point?

64. Does Timon in his latest speeches reach a pitch of pessimism that seems to involve more than mankind in his arraignment for the evils, to use his words, that nature's fragile vessel doth sustain in life's uncertain voyage? Is there ever a hint that men are helpless in the hands of malevolent deities? 65. What is effected by Scenes ii. and iii.?

66. What charges does Alcibiades bring against Athens in Sc. iv.? How do the Senators exonerate Athens and the present inhabitants from blame for that which Alcibiades is bringing punishment? Upon whom do they allow punishment to fall?

67. From whence did Shakespeare derive the epitaph of Timon? Of the two couplets which do you consider the more appropriate? 68. What humour is there in the comment of Alcibiades upon Timon's choice of a resting-place? What sublimity in the fact itself?

69. How does this Scene present a justification of Timon?

70. The hero of a drama should commend himself to the intellectual approbation if not to the moral affections. Does Timon fulfil either of these demands? Show in what way this is effected, if you decide affirmatively. Has Shakespeare ever before set himself so difficult a problem?

71. Does religion or philosophy set any approval upon misanthropy? Is it a legitimate motif for dramatic art? Has any