New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1884-05-17

is like to spit upon him again. and invites him
scornfuly to lend him money no, Ss 10 ms ,a
Int rather 10 his enemy, who, If he break, ne may
with better force exact the penalty-lrom that
moment imagine Shvlock resolving 10 pr9pose, nis
pound of flesh. perhaps without any hope OF geI,iig
H. Then he puts on that hypocriticai snow OF
pleasantly which far dcceiyes them as 10 eIlciI
from Antonio the remark that the Hebrew VII u
turn Christian he grows KIND wen, lhG ooh h 10 =,
to be sealed and when next we meet the Jew ne Is
still broodng his wrongs, ana therc Is III 1lS
words constant, though vague, suggestion OF a de-
continual sense of uDdeserved humiliation ana per-
II saw n Jew once, in Tunis, tear his hair, his
raiment, fling himself in the sand, ana virtue ID
rage about a question of money, beside hihseli
with passion. saw him again. self-poSSesscu anu
fawning end again. expressing real gratitude
never undigniifed until he tore at his hair
and fnng himself down, and then ne
was picturesque he was old, bnt erect even
stately and full of resource and as he walked BE-
hind his team of mules he carried himself with the
lofty air of king. He was a Spanish Jew-Shy-
lock probably was of Frankfort; but Shakespeare
Jew was a type. not mere individual he was
typo of the great grand race-nOt msre liouils-
ditch usurer He was man famous on the klalto;
probably foremost man IN his synagogne pIo;u t
of his descent conscious OF his moral superiority
to maDy of the Christians who scoited AT MN, ana
fanatic enough, religionist to believe that MS
vengeance had in 1t the element OF a gOdllke JUS
tice Now, you say that some of my critics cyl
IDENTIFY look for more fire IN the delivery OF ms
speechesto Solanio and have heardfrlends say that
John Kemble and the keans brought doWn tne
house for the way they Numbered out the threats
against Antonio, and the defence OF the jewish
race. II is in this scene that we realize 10Y me st
time that Shyl0ck has resolved 10 enforce his Oohd
Three times during a very short speech, he says
Let him look to his bondP A bcggar that was
used to come so Snug upon the mart; let nm look
to his bond he was won't TO call me uslrcr let
him look TO his bond he was wont to lend money
for Christian courteSy let him look to his bond
Now, even an ord mary man who had maze up ms
mind to have the heart of him II he forfeit
would not shout and rave and storm. Ny friend at
unis tore his hair at a tnflng disappointment
if he had resolved to stab his rival he wOuld have
muttered his intention between his teeth not have
screeched it. How much less likely still would
this bitterly. prosecuted Jew, merchant OF Venice
have gwen his resolve loud and noisy utterance
Would not his settled hate have BEEN more nkeiy
to show itself in the clinched hand the hrnly
planted foot the flashing eye, and the deep under
ZONES in which he would utter the closing threat:
Let him look to his bond'Y think so.
" In Davenant's time-and some dare to say he
got his traditions from Shakespeare hllnseiiIthey
PLAYED ShylOck as a comic character, IN red Wig;
and to make il, as they thought, consistent, they
cut out the nobest lines the author had put into
mis- mouth, and added some OF their own we have
WI Who would would insist Wv upon our observ-
ance of it means: what we have is bad
jiarrick played Othello in red coat and epauletes
and If we are to go back to ShakeSpeare's days
some of these stcklers for socaed tradition forget
that the women were played by boys. Shakespeare
the best he could if he. were living now
Tradition 1t is enough to make .o 09e
sick to hear the pretenlious nonsense
that is talked about the stage in the name
of tradition. 1t seems to me that there, are
two ways of representing Shakespeare on nave
seen Davids picture of Napoleon ana that by
Delaroche The first is n heroic tGure,-head
thrown back, arm extended, cloak fylng,-on a
white horse of the most powerful, but unreal, char
acter, which is rearing up almost upon is haunchcs
its forelegs paving the ar That is Napoleon cross
ing the Alps | think there is lightning in the
clouds. Ii is picture calculated to terrlty;
something unearthy i'll Its suggestion OF physical
power as 10 cut it Off from human comprehension.
NOw this represents TO me one way Of playing
Shakespeare. The other picture is still tne same
subject, Napoleon crossing the Alps; but III tins
one we see reflective, deep-br0wed man, enveloped
IN his cloak and sitting upon sturdy mule, which,
with sure and steady foot, IS climbing the noun
tain, led by peasant guide. This picture repre-
sents to me the other way of playing Shakespeare
The question is, which is right think the truer
DictdIe is the right to the poet who himself de-
scrbed the actors art 10 hold, as 1t were, the
(which should bring us very naturally back to
Shylock. Let return to your brief dissertation
at the point where he is meditating vengeance III
case of forfeiture of the bond e.,:.
Well the latest mood of Shylock dates from TINS
time-it is one of implacable revenge. Nothing
shakes hun. He thanks God for Alronlos lll-luck.
There is in this darkness of his mind tender recol-
lection of Leah. And then the calm command 10
Tubal 'Respeak me an officer What is a little odd
is his request that Tubal shall meet HIM at the syna
gogue. 1t might be hat Shakespeare suggested
here the idea of certain sacredneSs OF Justice IN
Shylocks view OF vengeance on Antonio. Or II
might he to accentuate the religious character OF
the jews habits; for Shylock was assnredly re-
lgIOus jew strict i'll his worship, and deeply read
in his BiDleno small thing, this latter knowledge,
in those days. ] think this idea of something divine
in his act of vengeance IS the keynote to the trial
scene coupled of course, with the intense provOca-
ton he has received.
Everything indicatesa stern, firm, persistent i'm
placabe purpose which in all our experience of men
is asa rule, accompanied by an apparently calm man
ner. mans passion which unpacKs itself IN Oatls
and threats which stamps and sWears ana SHOUTS,
may 90 out in tears, but not in vengeance; On the
other hand there are those VINO argue that Anto-
mos reference to his own patience ana to ShylQcks
fury implies noisy passion on the part OF the Jew
but, without taking advagtage OF any question as
to the meaning of fury Ill this connection, III
seems to me that ShylOck's contempt for his enc
mics, his sheer at Gratlano -
9TH thou can'st rail the seal from off my bond,
Thou but ohend'st thy lungs to speak 50 loud -
and his action thr oughout the court scene, quite
outweigh any argument IN favor OF very Demon
stand here for law!' Then note when he realizes
the force of the technical flaws III his bond-and
there are lawyers who contend the law was severe
Nv and uncOnstiutionaly strained IN tins decision
Of he court-he is willing to take his bond paid
thrice he cannot get that, he asks Tor the pllncl-
pal when that is refused he loses ms temper as ~
occurs Ume for the first time during the trial and
in rage exclaims Why, then the devil give him
good of It'll There is "a peculiar and SPECIAL touch
at the end OF that scene, which, THINK is intended
to mark and aCcentuate the crushing nature OF te |
blow which has fallen upon him. When Antonio |
stpulates that ShylOck shall become Christian,
and record deed of gift to Lorenzo the Jew can
else do recant the pardon. Porta turns and ques-
tions him. lie is hardly able to utter word, L |
am content is al he says and what follows is as |
plain an instruction as was ever written IN regard |
TO the conduct and manner of the jew. Clerk, |
draw deed of gift SAYS POrta. Note ShylockS |
reply his last words the answer of the defeated |
litigant who is utterly crushed and borne down - |
az pray YOU give me leave to 20 fro IN hence;
I am not well send the deed alter me-
And | Will sign it,
as If possible to imagine anything more helpless |
=, nc oI of he
2ive me leave to 90 from hence' How interesting |
L is TO think this out and how much we all learn |
from the actors, when, TO the best of their ability,
-bey give the characters they assume as If they |
we're really present, working ont their studies i'll
heir own way and endowlng them with the char
,ctcriZaton of their own Individuality 1t ls cruel
o insist that one actor shall simply follow III the
footsteps of another and 1t is unfair 10 Judge an
lctors interpretatiOn Of character from The stand