with young lawyers. Linguistic analyses of the text have all discovered apparent confirmation of the theory that Middleton wrote much of the play. It contains numerous words, phrases, and punctuation choices that are characteristic of his work but rare in Shakespeare. These linguistic markers cluster in certain scenes, apparently indicating that the play is a collaboration between Middleton and Shakespeare, not a revision of one's work by the other. The evidence suggests that Middleton wrote around one third of the play, mostly the central scenes. The editor of the Oxford edition, John Jowett, states that Middleton, wrote the banquet scene (Sc. 2), the central scenes with Timon's creditors and Alcibiades' confrontation with the senate, and most of the episodes figuring the Steward. The play's abrasively harsh humour and its depiction of social relationships that involve a denial of personal relationships are Middletonian traits[.] Jowett stresses that Middleton's presence does not mean the play should be disregarded, stating "Timon of Athens is all the more interesting because the text articulates a dialogue between two dramatists of a very different temper." Analysis and criticism Many scholars find much unfinished about this play including unexplained plot developments, characters who appear unexplained and say little, prose sections that a polished version would have in verse (although close analysis would show this to be almost exclusively in the lines of Apemantus, and probably an intentional character trait), and the two epitaphs, one of which doubtless would have been cancelled in the final version. However, similar duplications appear in Julius Caesar and Love's Labour's Lost and are generally thought to be examples of two versions being printed when only one was ultimately used in production, which could easily be the case here. Frank Kermode refers to the play as "a poor relation of the major tragedies." This is the majority view, but the play has many scholarly defenders as well. Nevertheless, and perhaps unsurprisingly due to its subject matter, it has not proven to be among Shakespeare's popular works. An anonymous play, Timon, also survives. Its Timon is explicitly hedonistic and spends his money much more on himself than in Shakespeare's version. He also has a mistress. It mentions a London inn called The Seven Stars that did not exist before 1602, yet it contains elements that are in Shakespeare's play but not in Plutarch or in Lucian's dialogue, Timon the Misanthrope, the other major accepted