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The gift-giver expresses a need to lose or destroy the surplus, and yet by this means to gain in prestige and sense of virtue. 2 Pre-capitalist societies found a place for the gift-giver that has been lost in modern societies driven by the utilitarian urge. The position of Timon of Athens as an early modern text allows it to anticipate the modern in its description of a society driven by monetary laws, whilst Timon himself conforms to the munificence of the gift-giver of a pre-capitalist society in which patronage plays a central role.

1603) and Heinrich Cornelius Agrippa’s De vanitate artium et scientiarum (1530; trans. James Sanford as Of the Vanity of Arts and Sciences, 1569), which are important texts in the contemptus mundi tradition, but which do not discuss Timon. 128–30. 22 Introduction Stephen Gosson’s Ephemerides of Philao. More generally, the play’s textual field encompasses the whole Renaissance myth of Timon;1 the literary and theatrical tradition of Diogenes and the cynic; the tropes of city comedy, of Shakespearian tragedy, and of court masque; Renaissance discussions of art, of ancient Greece,2 of friendship and homosociality,3 of misogyny, of misanthropy, of patronage, of the city,4 of money and credit, of disease; and much more besides.

Edn. 1949), p. 239. 4 Knight, Shakespearian Production (1964), p. 223, quoting Craig, On the Art of the Theatre (1924). 1 3 34 Introduction the bread and wine of the sacrament have been, as it were, antimiracled into stones and water. In Sc. 2 he speaks a language of communitarian love, he places his actions within a framework of significance that is beyond the comprehension of his friends, and his aspirations to end social ills through acts of loving generosity are little short of Messianic. Even though it is not knowingly selfdestructive, his giving is an act of self-sacrifice in both spirit and effect.

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