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ORIGINAL AND SELECTED,
BY SAMUEL WELLER SINGER, F.S. A.
A LIFE OF THE POET,
As You Like It. Act iv. Sc. 3.
Shylock. [Aside.] How like a fawning publican he looks ! I hate him for he is a Christian.
Act i. Sc. 3.
Merchant of Venice.
PRELIMINARY REMARKS. The Merchant of Venice,” says Schlegel, “ is one of Shakspeare's most perfect works : popular to an extraordinary degree, and calculated to produce the most powerful effect on the stage, and at the same time a wonder of ingenuity and art for the reflecting critic. Shylock, the Jew, is one of the inconceivable masterpieces of characterisation of which Shakspeare alone furnishes us with examples. It is easy for the poet and the player to exhibit a caricature of national sentiments, modes of speaking, and gestures. Shylock, however, is every thing but a common Jew: he possesses a very determinate and original individuality, and yet we perceive a slight touch of Judaism in every thing which he says or does. We imagine we hear a sprinkling of the Jewish pronunciation in the mere written words, as we sometimes still find it in the higher classes, notwithstanding their social refinement. In tranquil situations what is foreign to the European blood and Christian sentiments is less perceivable, but in passion the national stamp appears more strongly marked. All these inimitable niceties the finished art of a great actor can alone properly express. Shylock is a man of information, even a thinker in his own way; he has only not discovered the region where human feelings dwell: his morality is founded on the disbelief in goodness and magnanimity. The desire of revenging the oppressions and humiliations suffered by his nation is, after avarice, his principal spring of action. His hate is naturally directed chiefly against those Christians who possess truly Christian sentiments: the example of disinterested love of our neighbour seems to him the most unrelenting persecution of the Jews. The letter of the law is his idol; he refuses to lend an ear to the voice of mercy, which speaks to him from the mouth of Portia with heavenly eloquence: he insists on severe and inflexible justice, and it at last recoils on his own head. Here he becomes a symbol of the general history of his unfortunate nation. The melancholy and self-neglectful magnanimity of Antonio is affectingly sublime. Like a royal merchant, he is surrounded with a whole train of noble friends. The contrast which this forms to the selfish cruelty of the usurer Shylock, was necessary to redeem the honour of human nature. The judgment scene