Playwrights on playmaking : $b and other studies of the stageMatthews, Brander
History
Playwrights on playmaking : $b and other studies of the stage
Matthews, Brander
Drama -- History and criticism; Theater
To anyone who has familiarized himself with the attitude of
Elizabethan playgoers toward usurers and toward the Jews, it is
evident that Shakspere intended the ‘Merchant of Venice’ to be a
Portia play; its action begins with talk about Belmont and it ends at
Belmont itself; and Shylock is absent from the final act. In spite
of this intent of the author, the ‘Merchant of Venice’ has become in
our eyes a Shylock play. In fact, Macready four-score years ago used
to appear in a three-act version which ended with the trial scene,—a
most inartistic perversion of the comedy. After all, the ‘Merchant
of Venice’ _is_ a comedy, even if its love-story is sustained and
stiffened by a terrible underplot. Shakspere created the abhorrent
Shylock that the lovely Portia could cleverly circumvent him and
score off him and put him to shame. His hardness of heart was to
make more refulgent her brightness of soul. Shylock was set up to
be scorned and hated and derided; he is a vindictive moneylender,
insisting on a horrible penalty; no one in the play has a good word
for him or a kindly thought; his servant detests him and his daughter
has no natural affection for him.
When all is said, we cannot but feel that Shakspere in his treatment
of Shylock displays a callousness not uncommon in Elizabethan
England. And yet—and yet Shakspere is true to his genius; he endows
Shylock with life. The Jew stands before us and speaks for himself;
and we feel that we understand him better than the genius who made
him. Our sympathy goes out to him; and altho we do not wish the
play to end otherwise than it does, we are almost ready to regard
him as the victim of a miscarriage of justice, guilty though he is.
Ellen Terry has quoted from a letter of Henry Irving’s a significant
confession: “Shylock is a ferocity, I know—but I cannot play him that
way!” Why couldn’t he? It was because the nineteenth century was not
the sixteenth, because Victorian audiences were not Elizabethan,
because the peoples who have English for their mother-tongue are
less callous and more civilized than their forebears of three hundred
years ago.
III
Public-domain text, read in full here on John Shaqi.
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