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bond: it is the first scene in which he is introdai ed; no previs vus insight into his real character is given by the poet-it is left to its own development. The Jew is applied to by Bassanio for the loan of three thousand ducats, and Antonio, the merchant, is offered as security. Shylock exhibits no malignity, no desire to revenge himself, for injuries received from his Christian enemies, in this colloquy; on the contrary, he is a model of patience, forbearance, and amiable feeling. This is all in direct opposition to the after-development of the character, as evinced in the subsequent scenes. But we are not left in doubt as to his real feel. ing, even in this scene. The soliloquy is as intense an exhibition of his hatred for wrongs inflicted, as is the open expression of it in the third act, and his malignant ferocity in the trial scene. The exposé of his feelings towards Antonio
"If I can catch him once upon the hip,
I will feed fat the ancient grudge I bear him," Is at once the key to the true character of Shylock, and we conceive that it also warrants an entirely different conception of this whole scene, than that usually rendered on the stage. We believe that, acting upon the hope of catching Antonio on the hip, Shylock assumes the friendly, jocose manners and language put into his mouth, merely to wheedle the merchant into the bond, which, in " a merry mood,” he insists upon as security for the loan. The whole tenor of the language warrants this assumption; there is a genuine comic vein of huniour running through all Shylock says; excepting, perhaps, the reproachful appeal to Bassanio, which should be given with feeling, and not vindictively. We hold that a bantering humour, and an apparently frank, jocular vein, should characterize Shylock's delineation of this scene. Such a conception reconciles the apparent anomaly of the character, and furnishes some reasonable apology for the misconception of the olden times, when a low comedian was al. ways selected to play the part.
Such a conception of Shylock as we have endeavoured to sketch, would enable a great actor to mark the separate grades of the character as they are dereloped in each scene, and thus a succession of contrasted effects might be produced, at once original and impressive.
Drury Lane, 1824. Duke of Venice... Mr. Powell. Shylock..
46 Pope. Bassanio.
4 Younge. Salarino..
Mercer. Old Gobbo
Gattie. Launcrlot Gobbo....
Arch St., Phil., 1847.
“ Bartley Stephano.... Portia
Mrs. West. Jessica......
Miss Povey. Nerissa....
" Sergeant. Miss Telbin.
COSTUMES. DUKE.-Crimson velvet jacket and breeches, spotted velvet robe, ermine cape
white shoes, and crimson roses. ANTONIO.-Black velvet Venetian dress, black shoes, and roses. BASSANI0.-Grey and pink, russet boots, and white gloves. Second dress: White
tunic, trimmed with silver ; blue satin waistcoat, embroidered, and blue sash-belt, white silk stocking pantaloons, white shoes, and roses. SHYLOCK.-Black cloth gabardine, scarlet sash, blue stockings black shoes, and
buckles. SOLANIO.- Grey Spanish dress, trimmed with silver, pantaloons, and russet boots. GRATIANO.--Green velvet coat, white waistcoat, worsted pantaloons, and russet
boots. SALARINO.-Scarlet Spanish coat, white waistcoat, white worsted pantaloons,
trimmed with scarlet, and russet boots. LORENZO.-Green and buff Spanish dress, and russet boots.
(UBAL.-Black stuff gabardine, trimmed with grey, hat, shoes, and buckles. LAUNCELOT.–Plain black shape, long red stockings, and russet shoes. Sacond
dress : Brown and red, shoes, and red roses. GORBO.-Plain brown shape, leather belt, blue stockings, and russet shoes. BALTHAZAR.-Green and orange livery. SENATORS.-Black gows, trimmed with white, and white caps. PORTIA.-Salmon-coloured gown, trimmed with silver. Second dress: Black silk
stockings, black tunic, and lawyer's gown. Third dress: White Spanish pelisse,
white satin hat, and feathers. JESSICA.-White and spangles. NERISSA.— White and spangles, with coloured body. Second dress: As Portia's
second dress, but no gown.
EXITS AND ENTRANCES. R. means Right; L. Left: R. D. Right oor; L. D. Left Door ; 8. E. Second Entrance ; U. E. Upper Entrance; M. D. Middle Door.
RELATIVE POSITIONS. R., means Right; L., Left; C., Centre ; R. C., Right of Centre; L. C., I eft of Centre.
THE MERCHANT OF VENICE.
SCENE I.-A Street in Venice.
Enter ANTONIO, SALARINO, and SOLANIO, R.
me, That I have much ado to know myself.
Sol. (R. c.) Your mind is tossing on the ocean;
Sala. (i. c.) Believe me, sir, had I such venture forth,
Sol. My wind, cooling my broth,
But I should think of shallows and of flats;
Ant. Believe me, no: I thank my fortune for it,
Sala. Why, then, you are in love.
Sala. Not in love neither? Then let's say you are sad,
man, Gratiano and Lorenzo : fare you well; We leave you now with better company, Sala. (R.) I would have stayed till I had made you
Ant. Your worth is very dear in my regard.
embrace the occasion to depart.
[Crosses to Sala. You grow exceeding strange : must it be so ?
say, when ?