Memphis daily appeal. [volume] (Memphis, Tenn.) 1847-1886, 1883-11-11
IRVING AS "SHYLOCK,"
And Miss Terry as '.POrtia'' in the
Merchant of Venice

New York Tribune: In Shakespeare's
time The Merchant Of Venice appears to
have been treated as a comedy, with
''Shylock" as an eccentric character part
played by Burbage, who wore a red wig
and Il false nose. In Queen Anne's time
Lord Lansdowne's wretched perversion of
the original was accepted, with Dogget as
"Shylock," who wore the red wig and
turned the Jew into farce. Macklin took
up the Jew in l741 and astonished his
generation by showing what could be done
with the part as Shakespeare wrote it.
Edmund kean came later and surpassed
him. Stage history since then teens with
fine "Shylocks Cook, old
Booth, Macready, old Wallack, G.. V.
Brooke, J. w. Wallack, jr., Edwin Booth,
f. l.. Davenport, Dawson and Bandman,
for example-but The Merchant of Venice
itself has scarcely ever been treated in a
thoroughly artistic and right manner.
Mr.. Irving presents a good "Shylock."
His ideal is right and his execution is full
OF subtle touches of art. Douglas Jerrold
said OF Edmund Kean that his ''Shylock"
made you think of "a chapter out OF the
book of Genesis" The Jew may be pre-
sented as acting from personal covetous-
ness and hatred, or he may be presented
as acting from this motive, commingled
with high and stern religious fanaticism.
The latter view eXalts the character, and
therefore is the right one. Antonio" in
"Shylock's" mind, has outraged "Shy-
| locks" nation and religion, as well as
! ''Shylock's" self The Jew, in pursuing
| Antonio" to the torture and the death, is
| feeding his ancient grudge but likewise he
| is avenging the wrongs of his sacred people.
He thinks himself the vicegerent of di-
vine justice, and he has san oath in
| heaven" This, apparently, was Edmund
kean's theory of the character, and this
is the ideal reasserted by Henry Irving.
His mental grasp of the part is perfect.
His expression of austerity, of vindictive
malignity, of the sullen resentment that
broods over long-hoarded wrongs, was
wonderfully tine-backed by great weight
OF intellect and by fierce, hot-blooded
inveterate purpose. His denotement OF
"Shylock's" domestic affections, which are
equally profound, passionate and pathetic
was clear and thrilling-especially in the
frantic lamentation over his fugitive
daughter and the heart-broken words
about Leah" and the turquoise ring.
The chief honors of the performance
were accorded-and rightly accorded-tC
Miss Ellen Terry, as "Portia." The comedy
of this actress is delicious. Her voice i:
perfect music. Her clear, bell-like elocu
ton is more than a refreshment-it is q
! luxury. her simple manner always large
and adequate, with nothing puny or mine
ing about it, is one of the greatest beau
ties of the art which it so deity conceals
Her embodiment of woman's loveliness
such as, in "Portia," should be at once
stately and fascinating and inspire at once
respect and passion, was felicitouS
beyond the reach of descriptive phrases
During most part of the comedy she was ar
rayed in robe OF what seemed flowing
gold. In the trial scene she wore scarlet
velvet Her delivery of the mercy speech
was one of the few perfectly modulated
and entirely beautiful pieces of eloquence
that will dwell forever in memory. Her
sweet and sparkling by-play, in the "busi
ness about the ring and in her exit car
only be called exquisite. Better comedy
has not in our time been seem The house
rang with applause, and Miss Terry had
many and deserved recalls, Her "Portia'
was the perfect success of this occasion.