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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.


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Drury Lane, 1824. Duke of Venice... Mr. Powell. Shylock..

Kean. Antonio

46 Pope. Bassanio.

Wallack. Gratiano

Browne. Lorenzo...

Horn. Solanie..

4 Younge. Salarino..

Mercer. Old Gobbo

Gattie. Launcrlot Gobbo....

H Liston.



Arch St., Phil., 1847.
Mr. Marsh,

J. Scott.
W. Wood,

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“ Bartley Stephano.... Portia

Mrs. West. Jessica......

Miss Povey. Nerissa....

Mrs. Orger.

Mrs. Burke.
Miss Wood.



Mrs. Wallack.

" 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.



SCENE I.-A Street in Venice.

Ant. (c.) In sooth, I know not why I am so sad :
It wearies me; you say it wearies you ;
But how I caught it, found it, or came by it,
What stuff 'tis made of, whereof it is born,
I am to learn ;
And such a want-wit sadness makes of

me, That I have much ado to know myself.

Sol. (R. c.) Your mind is tossing on the ocean;
There, where your argosies with portly sail,
Like signiors and rich burghers of the flood,
Do over-peer the petty traffickers,
That curt'sy to them, do them reverence,
As they fly by them with their woven wings.

Sala. (i. c.) Believe me, sir, had I such venture forth,
The better part of my affections would
Be with my hopes abroad. I should be still
Plucking the grass to know where sits the wind;
Peering in maps for ports, and piers, and roads;
And every object that might make me fear
Misfortune to my ventures, out of doubt,
Would make me sad.

Sol. My wind, cooling my broth,
Would blow me to an ague, when I thought
What harm a wind too great might do at sea.
I should not see the sandy hour-glass run,

But I should think of shallows and of flats;
And see my wealthy Andrew docked in sand,
Vailing her high top lower than her ribs,
To kiss her burial.
Shall I have the thought
To think on this ? and shall I lack the thought,
That such a thing, bechanced, would make me sad ?
But, tell not me; I know Antonio
Is sad to think upon his merchandize.

Ant. Believe me, no: I thank my fortune for it,
My ventures are not in one bottom trusted,
Nor to one place; nor is my whole estate
Upon the fortune of this present year:
Therefore my merchandize makes me not sad.

Sala. Why, then, you are in love.
Ant. Fie, fie!

Sala. Not in love neither? Then let's say you are sad,
Because you are not merry: and 'twere as easy
For you to laugh, and leap, and say you are merry,
Because you are not sad. Now, by two-headed Janus,
Nature hath framed strange fellows in her time:
Some that will evermore peep through their eyes,
And laugh like parrots at a bag-piper ;
And others of such vinegar aspect,
That they'll not show their teeth in way of smile,
Though Nestor swear the jest be laughable.
Sol. (r.) Here comes Bassamio, your most noble kinse

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

If worthier friends had not prevented me.

Ant. Your worth is very dear in my regard.
I take it your own business calls on you,

embrace the occasion to depart.
Sala. Good morrow, my good lords.
Bass. (c.) Good signiors both, when shall we laugh?

[Crosses to Sala. You grow exceeding strange : must it be so ?

say, when ?

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