Shylock is an arresting presence on the stage, and although Antonio may be the character for whom the play is named, it is Shylock who has come to dominate the imaginations of critics and audiences alike. Shylock’s physical presence in the play is actually not so large, as he speaks fewer lines than other characters and does not even appear in the play’s final act. However, in many ways, the play belongs to Shylock. The use of a Jew as the central villain was not unknown to Renaissance comedy, as evidenced by The Jew of Malta, a wildly popular play by Shakespeare’s contemporary Christopher Marlowe, which revolves around a malevolent, bloodthirsty Jewish character named Barabas. Shylock, however, differs in that his malice seems to stem, at least in part, from the unkindness of his Christian colleagues. Exactly how to read Shylock has been a matter of some debate, and even the most persuasive scholars would be hard-pressed to call him a flattering portrait of a Jew. One could certainly argue, however, that Shylock receives far less of a stock portrayal than what was common in Shakespeare’s time, and that, given the constant degradation he endures, we can even feel something akin to sympathy for him.
Posted on: Sun, 25 Aug 2013 03:48:48 +0000
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