Shylock

Henry Irving as Shylock in a late 19th century performance

Jacob Adler and others report that the tradition of playing Shylock sympathetically began in the first half of the 19th century with Edmund Kean.[8] Previously the role had been played "by a comedian as a repulsive clown or, alternatively, as a monster of unrelieved evil". Kean's Shylock established his reputation as an actor.[9]

Since Kean's time, many other actors who have played the role have chosen a sympathetic approach to the character. Edwin Booth was a notable exception, playing him as a simple villain, although his father Junius Brutus Booth had portrayed the character sympathetically. Henry Irving's portrayal of an aristocratic, proud Shylock (first seen at the Lyceum in 1879, with Portia played by Ellen Terry) has been called "the summit of his career".[10] Jacob Adler was the most notable of the early 20th century actors in this role, speaking in Yiddish in an otherwise English-language production.[11]

Kean and Irving presented a Shylock justified in wanting his revenge. Adler's Shylock evolved over the years he played the role, first as a stock Shakespearean villain, then as a man whose better nature was overcome by a desire for revenge, and finally as a man who operated not from revenge but from pride. In a 1902 interview with Theater magazine, Adler pointed out that Shylock is a wealthy man, "rich enough to forgo the interest on three thousand ducats" and that Antonio is "far from the chivalrous gentleman he is made to appear. He has insulted the Jew and spat on him, yet he comes with hypocritical politeness to borrow money of him." Shylock's fatal flaw is to depend on the law, but "would he not walk out of that courtroom head erect, the very apotheosis of defiant hatred and scorn?"[12]

Some modern productions explore the justification of Shylock's thirst for vengeance. For instance, in the 2004 film adaptation directed by Michael Radford and starring Al Pacino as Shylock, the film begins with text and a montage of how the Jewish community is abused by the Christian population of the city. One of the last shots of the film also highlights that, as a convert, Shylock would have been cast out of the Jewish community in Venice, no longer allowed to live in the ghetto. But he would likely not have been fully accepted by the Christians, as they would remember his Jewish birth. Another interpretation of Shylock and a vision of how "must he be acted" appears at the conclusion of the autobiography of Alexander Granach, a noted Jewish stage and film actor in Weimar Germany (and later in Hollywood and on Broadway).[13]

1911 Italian-French film.

Notable actors who have portrayed Shylock include Richard Burbage in the 16th century, Charles Macklin in 1741, Edmund Kean in 1814, William Charles Macready in 1840, Edwin Booth in 1861, Henry Irving in 1880, George Arliss in 1928, and John Gielgud in 1937. Under Nazi rule in 1943, the Vienna Burgtheater presented a notoriously extreme production of The Merchant of Venice with Werner Krauss as an evil Shylock.

After World War II, productions were sometimes featured on TV and in film as well as on stage. Laurence Olivier at the Royal National Theatre in 1972 and on TV in 1973, Patrick Stewart in 1965 at the Theatre Royal, Bristol and 1978. In addition, Stewart developed a one-man show Shylock: Shakespeare's Alien and produced it while acting in the role in 1987 and 2001. Al Pacino acted as Shylock in a 2004 feature film version as well as in Central Park in 2010. F. Murray Abraham played this character at the Royal Shakespeare Company in 2006. In 2015 and 2016, David Serero plays Shylock in New York at the Center for Jewish History.[17] Jonathan Pryce played the role in the Globe theatre in the summer of 2015. This was followed by a touring production in 2016. Pryce's daughter performs the role of Jessica (Shylock's daughter) in the production.

English society in the Elizabethan era has been described as antisemitic.[18]

It was not until the twelfth century that in northern Europe (England, Germany, and France), a region until then peripheral but at this point expanding fast, a form of Judeophobia developed that was considerably more violent because of a new dimension of imagined behaviors, including accusations that Jews engaged in ritual murder, profanation of the host, and the poisoning of wells. With the prejudices of the day against Jews, atheists and non-Christians in general, Jews found it hard to fit in with society. Some say that these attitudes provided the foundations of anti-semitism in the 20th century.

English Jews had been expelled in 1290; Jews were not allowed to settle in the country until the rule of Oliver Cromwell. In the 16th and early 17th centuries, Jews were often presented on the Elizabethan stage in hideous caricature, with hooked noses and bright red wigs. They were usually depicted as avaricious usurers; an example is Christopher Marlowe's play The Jew of Malta, which features a comically wicked Jewish villain called Barabas. They were usually characterised as evil, deceptive, and greedy.

During the 1600s in Venice and in other places, Jews were required to wear a red hat at all times in public to ensure that they were easily identified. If they did not comply with this rule, they could face the death penalty. In Venice, Jews had to live in a ghetto protected by Christians which was probably for their own safety. The Jews were expected to pay their guards.[19]

Shakespeare's play reflected the antisemitic tradition. The title page of the Quarto indicates that the play was sometimes known as The Jew of Venice in its day, which suggests that it was seen as similar to Marlowe's The Jew of Malta. One interpretation of the play's structure is that Shakespeare meant to contrast the mercy of the main Christian characters with the vengeful Shylock, who lacks the religious grace to comprehend mercy. Similarly, it is possible that Shakespeare meant Shylock's forced conversion to Christianity to be a "happy ending" for the character, as it 'redeems' Shylock both from his unbelief and his specific sin of wanting to kill Antonio. This reading of the play would certainly fit with the antisemitic trends present in Elizabethan England.

Shylock and Portia (1835) by Thomas Sully

Many modern readers and audiences have read the play as a plea for tolerance, with Shylock as a sympathetic character. Shylock's 'trial' at the end of the play is a mockery of justice, with Portia acting as a judge when she has no real right to do so. Shakespeare does not question Shylock's intentions, but that the very people who berated Shylock for being dishonest have resorted to trickery in order to win. Shakespeare gives Shylock one of his most eloquent speeches:

Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, heal'd by the same means, warm'd and cool'd by the same winter and summer as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villainy you teach me, I will execute, and it shall go hard but I will better the instruction.

— Act III, scene I

Alexander Granach, who played Shylock in Germany in the 1920s, writes,

[H]ow does it happen that Shylock's defense becomes an accusation? ... The answer must be a perfectly simple one. God and Shakespeare did not create beings of paper, they gave them flesh and blood! Even if the poet did not know Shylock and did not like him, the justice of his genius took the part of his black obstacle [Shylock, the obstacle to the plans of the young lovers] and, out of its prodigal and endless wealth, gave Shylock human greatness and spiritual strength and a great loneliness—things that turn Antonio's gay, singing, sponging, money-borrowing, girl-stealing, marriage-contriving circle into petty idlers and sneak thieves.[20]

Front cover of The Kingdom of Shylock (1917), an antisemitic pamphlet authored by Australian MP Frank Anstey

Antisemites have used the play to support their views throughout its history. The 1619 edition has a subtitle of "With the Extreme Cruelty of Shylock the Jew ..." The Nazis used Shylock for their propaganda.[21] Shortly after Kristallnacht in 1938, the German radio had broadcast a production of The Merchant of Venice to reinforce stereotypes. Productions of the play followed in Lübeck (1938), Berlin (1940), and elsewhere within Nazi-occupied territory.[22]

The depiction of Jews in the literature of England and other English-speaking countries throughout the centuries was influenced by the Shylock character and similar stereotypes. With slight variations much of English literature up until the 20th century depicts the Jew as "a monied, cruel, lecherous, avaricious outsider tolerated only because of his golden hoard".[23]