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The Power of Money as Seen in Shakespeare's Works
Shakespeare had ample opportunities to observe the growth of capitalism as the chief tendency of his epoch. The theme of the power of money is treated in many of his plays: in the dialogue between Romeo and the Apothecary in "Romeo and Juliet"; "King John", "Henry IV”, “The Merry Wives of Windsor". "Measure for Measure"; it is one of the main motifs in "The Merchant of Venice"; it is summed up in "Timon of Athens", the last tragedy Shakespeare ever wrote. Although the story of Timon is taken from ancient authors and the scene of the play is laid in ancient Athens, we see the society of Shakespeare's time. Timon, a rich and noble Athenian, is generous to his friends, but when he meets financial difficulties, they refuse to'help him, and he is completely ruined. He becomes a misanthrope (a hater of mankind), and retires to a forest cave. The speeches of Timon in which he curses humanity are among the most powerful lines written by Shakespeare. His skill in the composition of this tragedy is seen by the fact that we neither resent Timon's bitter and pessimistic views nor share
them, but experience a deep sympathy for him and an even deeper hatred of the vicious social order that brought this kind and generous man to such a state.
While living in the cave, Timon finds a treasure, aboard of gold and speaks of it in the following words:
“Timon of Athens" is one of the earliest works of literature condemning the power of money, and, probably, the greatest. No wonder Karl Marx held a very high opinion of the tragedy, and quoted it in "Capital".
'Timon of Athens" ended the third period of Shakespeare's literary . work. The end of the period was also marked by the publication of his sonnets.
THE SONNETS
Shakespeare's sonnets can't be placed among his best works; only a few of them may be placed among the best English sonnets in general but they occupy a unique place in the Shakespearian heritage, because they are his only lyrical pieces, the only things he has, it seems, written about himself.
Critics differ in establishing the degree in which the poet's life was reflected in the sonnets: spme hold the opinion that literally every line is absolutely autobiographical, while others think them mere variations on themes traditional in Renaissance poetry. The truth, probably, lies some place halfway.
We do not know for certain who were the prototypes of the sonnets' characters and, unless some yet undiscovered authentic documents come to light, we shall never know. It would be wiser to treat the sonnet sequence just as a story written in verse without dying to probe to(» deeply into the real-life facts behind it.
The three main characters are the Poet, his Friend, and the Dark Lady. The Poet expresses the warmest admiration for the Friend, almost prostrating himself before him. Some of his words may seem exaggerated to us, but at that time it was customary to express one's friendship in a most ardent manner unusual in our days.
The Dark Lady is the beloved of the Poet; unlike the idealized ladies in the sonnets of Petrarch and his followers, she is false and vicious, but the Poet, though aware of the fact, can't help loving her. (The adjective "dark" does not mean merely "dark-haired", but is a synonym for "wicked", "sinister".)
And then conies the tragedy: the Friend and the Dark Lady betray the Poet.
By reading between the lines of the sonnets, we may see a tragedy in Shakespeare's life, a tragedy which he might not have fully undarstood himself Despite the author's intention, we see that the Poet's Friend, who is praised with such great feeling, is a shallow, cruel and petulant man; the Dark Lady, likewise, is shown to be wicked and lying. And so in the sonnets we may see the great misfor.tun'e of a genius who wasted his life and his soul for the sake of persons unworthy of him.
This event must have produced a powerful impression on Shakespeare, for in many of his plays there are two characters, a younger and an elder one; the elder entertains a great affection for the younger, and the younger betrays the elder. Sometimes we, sympathize with the elder character, sometimes with the younger, but the situation is the same; remember Falstaffand Prince Henry, Julius Caesar and Brutus, Othello and lago, Menenius Agrippa and. Coriolanus.
There is a major theme running through the cycle: the themp of the implacability of Time. How can one triumph over it? Shakespeare gives two answers. The first is: one lives for ever in one's children, on one's posterity. The second is: one may achieve immortality if one's features are preserved by ail, and particularly in poetry. Here Shakespeare, composes some masterful variations on the theme of the immortality of poetry, a theme that was introduced by the great Roman poet Horace.
The sonnets show how Shakespeare's incomparable poetic style was forged and perfected; to some extent they raise the veil over his private life, of which we know so little. Quite a number of them may be read as lyrical pieces, independent of the whole.