Every prejudice against them was free to flourish unchecked. Did Shakespeare in a certain measure share these religious prejudices, as he seems to have shared the patriotic prejudices against the Maid of Orleans, if, indeed, he is responsible for the part she plays in _Henry VI._? We may be sure that he was very slightly affected by them, if at all. Had he made a more undisguised effort to place himself at Shylock's standpoint, the censorship, on the one hand, would have intervened, while, on the other hand, the public would have been bewildered and alienated. It is quite in the spirit of the age that Shylock should suffer the punishment which befalls him. To pay him out for his stiff-necked vengefulness, he is mulcted not only of the sum he lent Antonio, but of half his fortune, and is finally, like Marlowe's _Jew of Malta_, compelled to change his religion. The latter detail gives something of a shock to the modern reader. But the respect for personal conviction, when it conflicted with orthodoxy, did not exist in Shakespeare's time. It was not very long since Jews had been forced to choose between kissing the crucifix and mounting the faggots; and in Strasburg, in 1349, nine hundred of them had in one day chosen the latter alternative. It is strange to reflect, too, that just at the time when, on the English stage, one Mediterranean Jew was poisoning his daughter, and another whetting his knife to cut his debtor's flesh, thousands of heroic and enthusiastic Hebrews in Spain and Portugal, who, after the expulsion of the 300,000 at the beginning of the century, had secretly remained faithful to Judaism, were suffering themselves to be tortured, flayed, and burnt alive by the Inquisition, rather than forswear the religion of their race. It is the high-minded Antonio himself who proposes that Shylock shall be forced to become a Christian. This is done for his good; for baptism opens to him the possibility of salvation after death; and his Christian antagonists, who, by dint of the most childish sophisms, have despoiled him of his goods and forced him to forswear his God, can still pose as representing the Christian principle of mercy, in opposition to one who has taken his stand upon the Jewish basis of formal law. That Shakespeare himself, however, in nowise shared the fanatical belief that a Jew was of necessity damned, or could be saved by compulsory conversion, is rendered clear enough for the modern reader in the scene between Launcelot and Jessica (iii. 5), where Launcelot jestingly avers that Jessica is damned. There is only one hope for her, and that is, that her father may not be her father:-- "_Jessica_. That were a kind of bastard hope, indeed: so the sins of my mother should be visited upon me. "_Launcelot_. Truly then I fear you are damned both by father and mother: thus when I shun Scylla, your father, I fall into Charybdis, your mother. Well, you are gone both ways.