SHYLOCK - A TRAGIC OR A CUNNING VILLAIN OR A PATHETIC CHARACTER - MERCHANT OF VENICE, SHAKESPEAREAN PLAY

 

Shylock

Shylock, in “The Merchant of Venice” has been portrayed, apparently, as an evil Jew and villain. A closer look into this character brings out otherwise notions. He is a foreigner with a deep pocket, frugal mind and devoid of pleasure-seeking emotion. He is a man of fact. But, he loves his wife Leah. He rages at the throw away deal of his engagement Tarquise ring by his extravagant daughter. He does not like Launcelot to laze away time. All his daily activities are guided by profit maximisation.

Shakespeare seems to say that he does not in any way consider Shylock a tragic character. Shylock's conduct, in general, makes a decided comic expression, and particularly in the scene of the outburst of his sorrow and rage at the elopement of his daughter and the loss of his ducats, which alternates the sharpest contrast with his diabolical expressions of joy at the losses experienced by Antonio. His behaviour at the trial scene has somewhat the flavour of comedy, because his whole being, his manner of expressing himself in word and gesture, are obviously described in such a way as to verge upon caricature. And if the punishment which overtakes him is offensive to our feelings, we must bear in mind that the scene of the play belongs to the 16th century, and that Shylock forfeits our pity owing to his inhuman wickedness and hardness of heart, and has lost all claim to human treatment.

The conception of Shylock as a comic character was formerly a common one. He was shown in pictures as a hook-nosed bearded buffoon, with a knife in one hand and weighing scales in the other. He had no more sympathy than a captured hyena would get from the village people. He is a man who was "more sinned against than sinning." It is not open to serious questions that this was passe. The text itself preserves sufficient evidence of the author's fixed intent to exhibit his Shylock as an inhuman scoundrel, whose diabolical cunning intent is bent on gratifying Satanic lust for human flesh. This, indeed, is how Shylock is described by every character in the play who is cast to secure the sympathy of the audience.

His daughter Jessica and his servant Launcelot, are enrolled to heap up the ignominy. This is particularly remarkable, because these characters are invented, and are not in the original story. Another invention-the penalty finally imposed on Shylock, that he become a Christian-is a sufficient indication not only of the dramatist's intention to expose Shylock to shame, but, by the callousness of the punishment, of his unrelenting antipathy to the figure he had been minded to create.

It is most likely that in his racial passion, Shakespeare never consciously meant the character Shylock to be entitled to more sympathy or to less callous cruelty than is meted to him when Salarino and Salanio allow themselves to be merry with him over the flight of Jessica, a disgusting exhibition two of sheer heartlessness (Act III, sc. i). Indeed, Shylock's moral deformity might in great measure be justly attributed to the influence of social circumstances; and he felt that the Jew, even in a temper of malignity, might convincingly show to Christians that their persecuting spirit impressed on his tribe the character that the Jew bore in society. 

Shylock is a man whose intellectual prowess is not to be despised, a man who can deeply feel and powerfully protest against the indignity to which he is subjected. He cannot be allowed any Christian advocate among the dramatis personae, but he himself can demonstrate that it is far more reasonable for him to act according to what was said by them in olden times; 'an eye for an eye and a tooth for a tooth' than it is for the Christians to boast of the excellence of Gospel charity which their conduct habitually violates. 

Does Antonio’s treatment justify Shylock’s pound of flesh?

Had the Jew been able to present in proper time, and with proper impunity, any wrongs that might have been inflicted on him, his resentment would have had vent and have left his heart capable of charity, but he might had to endure injury and insult, time after time, until his heart became hardened as a stone that would whet keenly the knife of vengeance should legal justice ever give him an opportunity of obtaining redress. Antonio is a philanthropist, doing g0od to others, in contrast.

Shylock is a sharp man of business lacking in sentiments. The Jew can inflict suffering in order to fill his own coffers. Antonio holds the belief that to take interest on lent money is immoral. Antonio insulted Shylock, mocked at his religion, defamed him socially and caused his financial losses. This shocks us, and is far removed from Christian charity. This was an adequate explanation for Shylock's revengeful attitude later on. There is justification for such a view, but too much can be made of it.

The typical "blood-sucking" money lender is a repugnant character. The rich man who makes a fortune by interest on loans is deemed to the poor as evil and a menace to society. Such a man would surely be obnoxious to Antonio. We cannot approve of the manner in which Antonio showers his hot scorn and contempt, but we must conclude that such a man as Shylock deserve scorn and contempt. And the manner in which Antonio had shown this had caused a deep and revengeful hatred to grow up inside Shylock. This hatred is perfectly natural and understandable, but we must not on that account assume that it is legitimate or justifiable. Shylock's ill treatment of Antonio has been largely deserved.

Shylock is a direct foil and contrast to Antonio in every respect. He is loved by all, whereas Shylock does not possess a single friend. His associate, Tubal, goes in search of the runaway Jessica, but on return he reports to Shylock of her acts of extravaganza and has no word of sympathy for him. No one supports Shylock in the court, while all are on the side of Antonio.

Antonio's chief dramatic defect is his want of prudence, which makes him impotent and Lear himself, not an agent of mercy rather at the mercy of others. His attitude towards danger and possible death, in the trial scene, shows calm fortitude. Shylock is an important and dynamic character who has aroused interest and a variety of conflicting criticisms. In him, cruelty and malicious revenge are the main features.

He is of independent character, and this earns him a certain respect. Shakespeare hardly designed him as a villain for whom we should feel only hatred. He knew that a character who is wholly evil aroused only detestation. Shakespeare meant him to be defeated and humiliated, but it was necessary first to arouse interest in him, before making it appear that his punishment was deserved. So he is shown as unyielding in his hatred, and unmoved by the strong appeals of Antonio's powerful friends, even by the Duke himself. We can admire strength in a villain.

Like Macbeth, another wicked character, Shylock retains some sympathy as a strong fighter. He is not given any redeeming qualities to set against his evil. He has a deep pride in his nation and a fanatical love towards his religion. 

Shylock is unlike all other Jews. Tubal and Jessica are also Jews, but entirely different from Shylock, who is not to be accounted for by religion or nationality. He is unusual, possibly because he has brooded over his wrongs so much. He has nursed a sense of injury in his heart till it has become overpowering. Shylock brings on his downfall by his own acts, and they are such as to raise the best feelings of men against him. Strangers are against him, and his overthrow is brought about by the courage of a lady and the skill of a lawyer, neither of whom he has ever seen.

Shakespeare seems to have felt the need of some motive to account for the malignity of Shylock. He makes him speak bitterly for nis treatment at the hands of Antony.