Upload
others
View
0
Download
0
Embed Size (px)
Citation preview
Hokkaido University of Education
�
�
Titleユダヤ人としてのシャイロック ヴェニスの商人におけるエリザベス朝の
ユダヤ人観
Author(s) 佐々尾, 知; 東川, 洋一
Citation 北海道教育大学紀要. 人文科学・社会科学編, 56(1): 83-109
Issue Date 2005-08
URL http://s-ir.sap.hokkyodai.ac.jp/dspace/handle/123456789/808
Rights
北海道教育人学紀要(人文科学・社会科学編)第56巻 第1弓 JournalofHokkaidoUniversityofEducation(HumanitiesandSocialSciences)Vol.56,No.1
平成17年8月 August,2005
ShylockasaJew:
TheElizabethanViewofJewsin The胞rchantqfT々nice
SASAOTomoandHIGASHIKAWAYoichi*
GraduateSchoolofEducation,HokkaidoUniversityofEducation
*DepartmentofEnglishLiterature,SapporoCampus,HokkaidoUniversityofEducation
ユダヤ人としてのシャイロック
『ヴェニスの商人』におけるエリザベス朝のユダヤ人観
佐々尾 知・東川 洋一*
北海道教育人草人学院教育学研究科
*北海道教育人学札幌校英文学研究室
Abstract
IntheElizabethanera,althoughtherewasnoJewofficially,theprejudiceagainstJewswasdeeply
rooted.Asurprisingcasehappenedin1594;theJewishphysicianLopezattemptedtopoisontheQueen.
Marlowe’s TheJew ofMalta,firstplayedin1592,WaSreplayed atleastfifteen timesin1594.
Shakespeare’s The脇rchantqftjbnicewasplayedprobablyin1596.Elizabethanssawtheseeventsand
dramasinthesameviewandformedatypeofJew.Whenthetwoplaysareviewedasthesucceeding
playswiththeprejudiceformedbytheLopezcase,itrevealshowcloselytheseplayswereinterrelated
WitheachotherandhowvariouslyeachplaycrystallizedtheviewofJews,inwhichbothdramatists
WOuldhavedifferentviewsofJewsandintendedtoexpresseachfigurepartlyinthesimi1arwaybut
mostlyinthedifferentway.Shylockneededtobealosereconomicallyandreligiously.Shakespeareused
theMarlowe’straditionalviewofJewstoestablishthenewviewofJewsbywhichElizabethansrecog-
nizedJewsasaliens.The脇rchantqftjbnicewasasocialcomedyandthefigureofJewwasakindofa
SCapegOatfortherecoveryoftheElizabethansidentityandconfidence.
analyzeChristopherMarlowe’s TheJewqf腸Ir
ta,Writteninthesameperiod,Whichprobably
influenced The腸rchantげtjbnice.Inthelate
Sixteenthcentury,anumberofplaysabout
JewswereperformedinLondon,butexceptfor
1.Introduction
Thepurposeofthisthesisistoexaminethe
ElizabethanviewofJews,mainlyinWilliam
Shakespeare’s TheMerchantqftjbnice.Iwi11
83
SASAO Tomo and HIGASHIKAWA Yoichi
ThreeLadiesqfLondon,nOfavorableJewwas
portrayed.InElizabethanperiodtherewereno
Jewsofficially.TheJewwasdescribednotas
StrangerSinappearanceorreligiousdoctrine,
butasothersofLondon.AmongtheseJewish
characters,themostfamousandcontroversial
CharacterisShylockinThe脇rchantqftjbnice.
ThedifferencebetweenShylockandthe
OthercharacterswasthatShylockwasinvested
withhumanity,Whichmadehimatragicchar-
acter.Shylocksurelyhadhumanity,butthe
humanitywasnotthesameasthatofaudiences
inElizabethanperiod.Wereanyofhisspeeches,
performancesandinsistencesbasedonhis
Jewishness?WhenweviewtheJewishnessin
the historicalcontinuanceElizabethan audi-
encewatched TheMerchantofVeniceaj壱w
yearsqfierTheJewqfA4dlta,itmakesclear
WhathappenedbetweenShylockandBarabas
and how Jewish figures had been formed
throughthetwodramas.1
AsforShylock,ElmerEdgarStollsuggests
thatalthoughmanycriticshaveseenShylockin
themoderncontext,WeShouldviewhiminthe
Elizabethancontext.IfweseeShylockinthe
Elizabethancontext,thenweknowShylockwas
no doubt a comical”character at the Eli-
zabethanperiod(Stol1274).IIarleyGranville-
BarkersaysofTheMerchantofVenicethatit
is afairytaleandthatShylockisfabulous
(Granville-Barker55).MaxPlowmansuggests
thatTheMerchant。fVeniceisa“r。mantic
COmedyofheart’sdesire,designedtothrowthe
life-Valueandmoney-Valueintothestrongest
possiblecontrast,”andShylockdefeatsPortia,
because he depends only on the power of
money(Plowman79).HaroldFischseesShy-
lock as“thecharacteristicsofGalut,”theHeb-
rewtermfortheDiaspora,inShylock(Fisch
34).Manyresearchershaveformedvarious
Shylock’straits.
Atfirst,Wewi11analyzeJewishdaughters,
AbigailandJessica.Inthecomparisonofthe
two,Wewi11viewhowthetwoJewishdaught-
ersseemtobedescribedasJews,andintheir
relationshipstotheirfathers,BarabasandShy-
lock,Weknowthatthetwodaughtersarere-
gardedasJewishrepresentation.Secondary,We
wi11viewBarabasasthepredecessorofShy-
lock,eSpeCiallyabouthisreligiousdoctrineand
moneyastheyappearinbothhisspeechesand
his acts.We know that he was seen as a tradi-
tionalJewishcharacter.Lastly,Wewi11scruti-
nizeShylock.AlthoughShylock’scharacteris
partlyinheritedfromBarabas’,hisidentityis
SharplydistinguishedfromBarabas’one.When
WeCOnSiderShylockinthelightofElizabethan
Situations,WeknowthatShylocktranscended
thetraditionalviewoftheJewandthathis
identityasaJewwascり7Siallizedtofiercelyex-
presshisJewishness,equatingandconfronting
withChristiansintheeconomical,SOCial,andre-
1ig10uSSituations.
2.Abig・ailandJessic
Amongmanydramaswhicharerelevantto
theportrayalofJewsin1iterature,theclosestto
TheMerchantqftjbniceisChristopherMar-
lowe’s TheJew ofMalta.In aseriesofEli-
Zabethandramas,TheMerchantofVenice
/′・/∴1小∴ヾ.ヾ′∴ご′J/り.ヾ/′.リイ/り/り/い:/;′り仙′「/■∫川ノ7日1帖
hasastrongrelationshipto TheJewqf腸Ita
J〈、/J/(、/J/∫∫′/んJ/(り/′//イ/〃/)(・♪り二/iげ〃け′り)▲川ノJl封lユ
Lopez,aJewishphysician,isbroadlyknownas
asocialincidentofJew.Lopezwasaccusedof
tryingtopoisontheQueen.Aftertheincident,
TheJewげ肋Itawasplayedagainandagain,
SOtheygotagoodreputation.TheJezL,qf腸Iia
WOuldinfluence TheMerchantqftjbnice:au-
84
ShylockasaJew:TheElizabethanViewofJewsin TheA忽rchantqf.一々nice
diencesprobablywatcheditremembering The
ノー〃・イlんイ/′∴
One ofthe similarities between the twois
theJewishmerchantBarabasandhisdaughter
Abigail,andtheJewishmoneylenderShylock
andhisdaughterJessica.TheroleofJewish
daughterhadnotappearedbeforetheperiod.
Thetwoauthors,thoughMarlowefirstim-
agined,WOuldassignspecifictraitstothese
Characters.Ontheonehand,thetwodaughters
aredescribedasaJewandbothhaveChristian
lovers,andtheywishtoconverttoChristianity.
Onthecontrary,theyresultedinaquitedif-
ferentsituation.Abigailbelievedherfather’s
WOrdsandfinallylostherlover,WhileJessicais
married to herlover and receives halfofher
father’sfortune.Itisnecessarytoviewwhat
roletheyareplayingandhowtheyarede-
SCribed.JoanOzarkHolmerarguesthat“these
playsalsoincludeacontrary,andperhapsquite
remarkableandcomplicating,elementofphilo-
Semitism embodied in the Christian love and
admirationthatthetwoJewishdaughtersin-
Spireintheirrespectivedramaticworlds”
(HolmerllOrlll).Saito regards the two
daughtersasasymbolofconflictinreligionand
Culture,andhealsosuggeststhatShakespeare
Selectedtheoppositeconsequenceasthecoun-
terpartofMarlowe(Saito177).Iwi11viewtheir
processthroughwhichtheyseemtobetrans-
formedintoChristianityandtheirJewishness
Whichtheyarenotconsciousof.
OzawadescribestheChristian society
aroundJessicainThe腸rchantqftjbnice.Jessi-
Caisapartfromherfatherandfledwithher
lover,Lorenzo.Theadjectivejdirisusedrepe-
atedlyintheprocessofherturningChristian
(Ozawal17).ThefollowingspeechisLorenzo’s:
Andwhiterthanthepaperitwriton
Isthefair handthatwrit.
(rゐg腸γCゐα〝≠げ睡〝毎Ⅲ.vii.11-13)乞
Lorenzousestheword“fair”whenhecallsJes-
Sica.Othercharactersoftheplaycallher“fair
Jessica”aswellexceptforShylock.Additionally,
the“fair”is alsousedinthe case ofPortia.Bas-
saniotalksofPortia:
InBelmontisaladyrichlyleft,
Andsheisfair,and,(fairerthanthat
word), (朋γⅠ.i.161-62)
Theword“fair”expressesthebeautyinappear-
anceandmind.Thewordoriginallyexpresses
PortiaanditsmeaningaddsthesensethatJes-
SicahasapossibilitytoturntoChristianinthe
blessingoffairChristian.Thewordfairalso
means“givingpromiseofsuccess”(OEDfair,
14.a).ThisisPortia’sspeechwhenMorocco
visits Belmontto selectone outofthree caskets:
Your self(renowned prince)then
stood as fair
AsanycomerIhavelook’donyet
Formyaffection. (MVII.i.20r22)
Thefairhassomewhatironicalmeaning.When
Moroccofailstoselecttherightcasket,Portia
Sighed,relieved,andsaid:
Agentleriddance,rdrawthecurtains,
gO,‾
Letallofhiscomplexionchoosemeso.
(朋ⅤⅢ.vii.78-79)
Theword“gentle”hasapunofgentileand
SeemStOhaveastrongrelationshipwithfair.
Thewordfairoftenfunctionsasasymbolof Iknowthehand,infaith’tisafairhand,
85
SASAO Tomo and HIGASHIKAWA Yoichi
Christiancelebration,Whichworksasthemark
foreliminatinggentile.
David Bevington argues that“His
[Barabas’]loveforhisdaughterAbigailproves
tobemerelyan expressionofhisself-absorbed
greed”(Bevington35).Abigailislovedbythe
MaltaseGovernor’sson,Lodowick,Whomshe
doesnotloveatall,andbyMathias,Whomshe
trulyloves.Inthebeginningoftheplay,Abigail
likes herfather and believes hisword.After
Barabas forfeited all his wealth to the Maltase
Governor,BarabasmetAbigailandsaid:
OrderofBarabas,MathiasandLodowicktryto
COnVertherintoChristianity by usingthe
Christianizedfair.Asseeingabriefview,the
twoJewishdaughtersarecelebratedbythe
WOrdwhich signifiesChristian beautyinboth
internalandexternalbeauty.Theyseemtobe
COnVertedtoChristianity.
Thereisnoclueforthespecificpointof
ViewforaJewishdaughterinElizabethan
period.Wassheblessedwiththewordfairby
theaudiences?PeopleinthePostReformation
PeriodthoughtthatJewwasneversavedwith-
OutSalvation.AlthoughAbigaildiesinthemid-
dleoftheplay,itisclearthatshedoesconvert
toChristianityinherspeech.ThisisAbigail’s
SpeeChatthepointofdeath:
ButwhitherwendsmybeauteousAbi-
gall?
Ohwhathasmademylovelydaughter
sad?
What,WOman,mOanenOtforalittle
losse:
Thyfatherhasenoughinstorefor
thee.3
(TheJewqf腸Iia,I.ii.224r27.,italics
mine)
Abigail.SoIhaveheard;praythere-
forekeepeitclose.
Deathseizethonmyheart:ahgentle
Fryar,
Convert my father that he may be
SaV’d,
AndwitnessethatIdyeaChristian.
ニハム.ヾ.]
2.Fryar:I,and a Virgin too,that
grleVeSmemOSt:
ButImusttotheJewandexclaimeon
him,Andmakehimstandinfeareof
Barabasuses“beauteous,”not“fair.”True,ifthe
fairisasymbolofChristianityinElizabethan
period,heneverusesit:heisaJew.Onthecon-
trary,MathiascallsAbigailinthefollowing
Way:
朗Ⅲ.vi.37-43) me.
Whosethis?Faire Abigalltherich
JewesdaughterBecomeaNun?
朗Ⅰ.ii.366-68)
Herdyingwishhereexpresseshergentlemind
forherfathereventhoughherdeathisderived
fromhim.Abigailalsodeclaresthattheconver-
SiontoChristianityistheonlywayofsalvation
forhim.Then,Whatshewishesforisthatthe
gentlefriarturnsBarabasintoaChristianand
giveshimakindofeasebyGod’sgrace.Butthe
friardoesnotintendasshewishes;thefriar’s
SpeeChmakesitclearthatheintendstogive
Lodowicksaysaswell:
YondWalkstheJew,nOWforfaireAbi-
gall. ㈹Ⅲ.iii.38)
ForAbigailwhopretendstobeanunbythe
86
ShylockasaJew:TheElizabethanViewofJewsin TheA忽rchantqf.一々nice
SayIwi11come. (M㌣II.v.2839) Barabasfear.Fromhisspeech,the“gentle”re-
mindsusofthewordgentiletherepeatedly
usedimagefortheJew.Audiencesmaybeanx-
iousabouthereaseofconvertingtoChristian-
ity.Theword“virgin,”whichmeansChristian
chastity,lostitsmeanmg.4
Jessica,unlikeAbigail,ismarriedtoLoren-
ZO,andcallsherselfChristian.Holmerindicates
thesimi1aritybetweentherolesoftwodaught-
ers.He alsothinksthatMarloweisthefirstdra-
matistthatpresentedJew’smarriagetoChrist-
ian,andShakespearecreatedthedramain
Whichthemarriageiscelebrated.Healsowrites
that“marriagemightbeseenassymbolizing
theidealunionofloveintermsofmutualassist-
ancetoeternalsalvation”(HolmerllOrll).But
Jessicasometimesexpressesasadcountenance.
AfterhertalkwithLauncelotGobboJessica
isnotsavedbecausesheisaJew,Jessica
seems to be sad because Lorenzo calls her
“whatcheer.”5continuallyshesays,“Iam
nevermerrywhenIhearsweetmusic”(Ⅴ.i
.69).The“sweetmusic”isambiguous.Thefol-
lowingisShylock’s speechaboutthe mas-
querade:
Shylockexpresseshostilityforthesoundin
masquerade.Theword“sweet”whichJessica
usesimplies“pleasingtothemindorfeeling
(OEDsweet,5.a).The“sweet”necessarilyim-
pliesthefestivalsoundwhichShylockhates.6
ThefestivalsareheldintheChristiansociety,
WhichisheterogeneousfortheJew.Jessica
feelssadfromthesweetmusicnotonlybecause
sheis sentimentalbut also she takesfrom her
deepJewishness.
Frombothcases,Jessicadoesnotneces-
SarilyturntoChristianity;herJewishnessdis-
turbsher.Sheisconstantlyafraidofbecoming
aChristianeventhoughsheinsiststhat“Ishall
besav’dbymyhusband,-hehathmademea
Christian!”(Ⅲ.v.17r18).Bothdaughtersdonot
becomeChristiancomfortably.Atleasttheaudi-
encecannotfeelthattheyaresaved.
Theothersimi1arityofthetwodaughtersis
therepresentationofjewelsaroundthem.In
Venice,SuCCeSSfulJewishmoneylendersoften
accumulatedquantitiesofunredeemedpledges,
especiallyjewels.In TheJewqfMdlta,Lodo-
Wick,Who wants Barabas to act as a go-
betweenforLodowickandAbigail’smarriage,
talked to Barabas:
Whataretheremasques?Hearyoume
Jessica,Lockupmydoors,andwhen
youhearthedrum
And the vile squealingofthewry-
neck’dfifeClambernotyouuptothe
CaSementSthenNorthrustyourhead
into the public street To gaze on
ChristianfooIs withvarnish’dfaces:
Butstopmyhouse’sears,Imeanmy
CaSementS,Letnotthesoundofshal-
lowfopp’ryenterMysoberhouse.By
Jacob’sstaffIswearIhavenomindof
feastingforthto-night:
ButIwi11go:Goyoubeforeme,Sirrah,
Lodowick.Well,Barabas,CanSthelpe
metoaDiamond?
Barabas.Oh,Sir,yOurfatherhadmy
Diamonds.
YetIhaveoneleftthatwi11serveyour
turne:
/川=.リJ=ノり・′J′.リJ、ぐ/ご/-∫・.・-/りJ/-、∫・-/ご=/ご-〃
ゐαγgゐgγ』∫ブdg. 朗Ⅲ.iii.48-51)
LodowicklikensAbigailtoadiamond.IIeex-
pressesherbeautylikethatofadiamond.Bara-
87
SASAO Tomo and HIGASHIKAWA Yoichi
bas recognizes that the diamond is the
metaphorofhisdaughter,andanswerstohim
aswell:Barabasacceptsherastherepresenta-
tionofajewel.Additionally,Barabastalkedto
MathiasinthefollowlngWay:
HowIshalltake herfrom herfather’s
house,
Whatgoldandjewelssheisfurnish’d
With,
Whatpage’ssuitshehathinreadiness,-
If e’er theJew her father come to
heaven,
Itwi11beforhisgentledaughter’ssake,
(〃㌣Ⅲ.iv.29-34)
PardonmethoughIweepe;theGov-
ernorssonneWill,WhetherIwi1lorno,
haveノ4∂な昔JJ:
Hesendsherletters,bracelets,jewels,
rings. UMII.iii.257r59) LorenzointendstobringnotonlyJessicaher-
Self,butalsoShylock’sgoldandjewels.When
hehearsthatJessicaisfleeingwithLorenzo
andsheisnotfoundyet,Shylockcriesasfol-
lows:
BarabasregulatesLodowickwithinhistitle;
ShylockdoesseeLodowickonlyinconnection
Withhisfather,theMaltesegovernor.Addi-
tionallyLodowicksendsAbigailajewelwhich
representsher.AsissorrowfulforLodowick,
hispresentsneverheldherheart;forthejewel
CandefineherasJew.Inadditiontothepre-
ViousLodowick’swords,theBarabas’following
SpeeChalsolinksAbigailtojewels:
Whythere,there,there,there!adi-
amondgonecost
metwothousandducatsinFrankfort,-
the curse
neverfelluponournationtillnow,I
neverfeltittill
now,-tWOthousand ducatsinthat,and
Otherprecious,
preciousjewels;Iwouldmydaughter
Were
deadatmyfoot,andthejewelsinher
ear!:WOuld she
Were hears’d at my foot,and the
ducatsinhercoffin:(Mtj:Ⅲ.i.76r82)
Bagsoffiery(ブタals,S*hires,Amatisis,
ノ′.・■・.ごJJ/.ヾ∴l;-l・tl/り/り∴ヾ、、ぐ∫・′∴ヾ.ヾい、ぐ∫・=…
/二1ナノけ/1〃//′人.
BeauteousRuわ′eS,SparklingDhImOndk,
Andseildsenecostlystonesofsogreat
prlCe, UMI.i.25r28)
Barabasusestheadjective“beauteous”tode-
SCribejewelswhichepithetheattachestohis
daughter,Abigail.
How is Jessica described in The
Shakespeare’sDrama?Thefollowinglinesre-
VealthestrongrelationshipbetweenJessicaand
thejewel.ThisistheLorenzo’sspeechwhenhe
bringsJessicaduringthemasquerade:
Shylockisbesidehimselfwithanger.Shylock
Cries,“thejewelsinherear!”Itremindstheau-
diencesofthestrongrelationshipbetweenJessi-
Caandthejewel.Ofcoursethejewelsareex-
Changeableforgoldandmoney.Asisclearfrom
thewordsofTubal,aShylock’stribe,Jessica
usesthejeweltobuyamonkey.Thejewelhas
twofunctions:arepreSentationofaJewanda
metonymyofgoldandmoney.
Imustneedstelltheeall,-Shehath
directed
88
ShylockasaJew:TheElizabethanViewofJewsin TheA忽rchantqf.一々nice
ItisclearthattheJewishdaughtersand
JeWelhaveastrongrelationshiplnthetwo
plays.Ajewelsometimesrelatesthemandrep-
resentsthemasaJew.Abigailisrepresentedas
ajewelitselfandisportrayedasafortune-
bearertoherfather,Barabas.Whilethejewelis
anornamentofJessica,Sheisportratedasa
fortune-Stealer from her father,Shylock.
Althoughbothdaughtersseemedtobesavedin
Christiancelebrationbythewordfairtheydo
not become true Christians because oftheirim-
agecloselyrelatedtojewelsandmoneywhich
theaudiencealwaysassociateswithaJew.7
Theyarenottrulyblessed.Theirfathersdonot
know the difference between surface fair
CelebrationanddeepJewishnessinjewels.Asa
result,themisunderstandingfathershavea
StrOngmOtiveforrevengetowardsChristians.
doesnotsuggesttheChristian’svictoryorthe
Jewishdefeat.Rather,“TheJewqf肋Itacon-
tinuallydemonstrateshowcloseBarabasisto
the gentile world against which heis set”
(Greenblatt210).villainsareChristiansaswell
asBarabasintheplay.MarlowemploysBara-
bastosatirizeChristianmoralpretensions.Con-
SideringMarloweasanatheist,“hehascapitu-
1atedtovulgaranti-Semiticprejudice.”8when
hecomposedthedramawhoseliterarysource
wasnotknown,hewouldusetheElizabethan
COnVentionaboutaJewishtradition,afolktale,
andofcourseprejudice.Hisfigurecouldsurely
influenceShakespeare’sShylock.Atfirst,We
needtorevealBarabas’Jewishness.
Surfaceparticularity,Orphysicalcharacter-
isticsare,aSIthamoresays,Only“bottlenose
(Ⅲ.iii.10)whichisusedtoexpressthetypical
viewofaJew.9Nodescriptionsofsurfacetraits
areseenintheplayexceptforthenose.Bara-
bas’physicalfeatureisintheexpression“mas-
ty.”Duringtheplay,thereisnorelevancebe-
tweenhimbeingfatandthatheisaJew.The
WOrdmasty,however,Startedtobeusedfor
swinefromthefourteenthcentury,(OEDmasty,
2)whichmayhaverelevancetomarano,pigin
EnglishadiscriminativewordforJewswho
COnVertedtoChristianity.IIisJewishnessisex-
pressedinthehierology,faith.ThenameBara-
basisfrom New Testament.The biblicalBara-
basisacriminal.Hisnameoriginallysignifies
theconfrontationtoChristianity.
It was the most wellknownin the Eli-
ZabethanperiodthatJewishcharactersoften
quotedthetextoftheOldTestamentintheir
SpeeCh.Therearemanybiblicalquotationsin
TheJewqf腸Ita.ThisisBarabas’speechafter
theforfeiture.
3.Barabas
Barabas,theprotagonistinTheJewqf腸Ir
ta,isaJewishmerchant.Hehastradewith
forelgnCOuntries.Therearemanyviewpoints
aboutBarabas:anunrepentingprotagonist
when the play is regarded as a homiletic
tragedy(Bevington31)and,aS T.S.Eliot
Writes,theprotagonistwhentheplayisviewed
asafarce(Eliot92).Bevingtonarguesthat“he
isclever,miserly,devoidofconscience”inthe
firsthalfoftheplayandthat“Barabasgrows
moreviolentandevil”inthelasthalfoftheplay
(Bevington35,44).Grossarguesthat“Mar-
loweputsagooddealofhimselfintoBarabas-
hispowerfantasies,hisdynamism,hisscornfor
receivedopinion”(Gross21).Fischsuggests
that“the old ritual-murderthemeis recalledin
thequestionofFriarJacomo”(Fisch27).Even
ifBarabashasaclearmalice,andifMachiavelli
declares“thetragedyofaJew,”thedramaitself What tellyou me ofJob?Iwot his
89
SASAO Tomo and HIGASHIKAWA Yoichi
wealth
Was written thus:he had seven
thousandsheepe,
ThreethousandCamels,andtwohun-
dred yoake
OflabouringOxen,andfivehundred
Shee-Asses:butforeveryoneofthose,
Hadtheybeenevaluedatindifferent
rate,
Ihadathome,andinmineargosie
Andothershipsthatcamefrom蝕少t
last,
Asmuchaswouldhaveboughthis
beastsandhim,
And yet have kept enough to live
Sixthly,theyoughttobestoppedfrom
usury.[Usurymeansanydegreeofin-
terest,nOtOnlyanexorbitantrate.]All
their cash and valuablesifsilver and
goldoughttobetakenfromthemand
putasideforsafekeeping.Forthis
reason,aSSaidbefore,eVerythingthat
theypossesstheystoleandrobbed
fromusthroughtheirusury,forthey
havenoothermeansofsupport.This
moneyshouldbeusedinthecase(and
innoother)whereaJewhashonestly
bec。meaChristian.11
(Ⅰ.ii.181-90) Barabasis also a usurer as wellas a merchant.
ChristiansregardedthefortuneoftheJewsas
WhatwasstolenfromChristian,Whichisclear
inFerneze’sspeech.Theideaunderlyingthe
proverbistrueofthenotionoffortune;thefor-
tuneistransferredfromChristianstoJews,and
VICeVerSa.
AsforBarabas’Jewishness,CharlesLamb
arguesthat“hisJewishnessdefineshisconde-
mnation”andEliotinsiststhat“hisJewishness
actuallydefinesnothingnotallitis,inafact,
asubjecttheplayinvestigates.”12Barabas,
Jewishnessdefinesnotonlyhiscondemnation,
butalsohisidentityspringingupfromthe
hatredagainstaChristian.ExceptforBarabas’
hatredofChristians,Weneedtofocusonthere-
1evancybetweenmoneyandtheJew.
In the beginning ofthe play,Barabas’
argosyreturnstotheMaltaseharborinSceneI,
ActI.Barabasis described as amerchantwho
hasmanyargosiesandfortune.Theglobalmer-
Chantpraiseshisjewels.Barabasisproudthat
therearemanyJewishmerchantsintheworld,
andthattheyallarerich,Whichshowsboththe
largeeconomicalnetworkformedbyJewsand
upOn;
ThoughthereisacomparisontoJobonthefor-
tuneindex,Barabasnotonlycriesforthelossof
hisfortune,butalsodeclaresJewishcompara-
tivethinkingJewsalwayscomparetheirex-
periencetothepastone.10Barabasquotesthe
bibleinhisspeechbecauseofhishatredagainst
Christians.Eachspeechmakesclearthecon-
frontation:Ontheonehand,Ithamore’s“Toun-
dueaJewischarity,andnotsinne.”(Ⅳ.v.81)
resonates asBarabas‥‘It’sno sinneto deceive a
Christian”(II.iii.311).Eachjustifieshisownbe-
havior.ThisisBarabas’speech:
ThisisthelifeweJewesareus’dto
lead;
Andreasontoo,forChristiansdoethe
like: (Ⅴ.ii.115-16)
Barabas here expresses a Jewish biblical
proverb“eyeforeye”(Exodus,ⅩⅩi:24).This
proverbstrangelyechoesMartinLuther’sConr
Cg”gブ′gg≠ゐg′g紆∫α′gd rゐgブγ⊥ゴビ∫in1543,in
Whichhedeclaredtheampleanti-Semitism.
90
ShylockasaJew:TheElizabethanViewofJewsin TheA忽rchantqf.一々nice
theirsuffocationfrompower. meansoriginallyfather’sjoy.ForBarabaswho
eagerlydesiresmoney,Abigailandthejewel
Whichisexchangeablewithmoneyareunited.
Barabas has dualmeanings aboutmoney,
jewels.fJethinksofjewelsaslikepebblestones
andking’sransom(I.i.7r23).Histhinking
Showsthatmoneyhasavaluenotwhenitisin
hishand,butwhenitisused;inotherwords,
Whosevalueisnotinhispossession,butinhis
COntrOl,incurrency.Thisthinkingalsocorres-
pondstothecurrencysysteminthemonetary
economyandtherepresentationofjewelsin
Abigail:BarabasiscuriousaboutAbigailwhen
Sheisinhishand,buthelosesthecuriosityas
SOOnaSitscontrolislost,inotherwords,Shebe-
COmeSa“pebblestone.”Thephrase“Kingran-
SOm”isremindedofthepasteventthatRichard
rsransominthetwelfthcentury.Inthosedays,
JewspaidaransomofRichardI.SinceEngland
COuldnotreimbursethemoney,Jewswerede-
portedfromEngland.Barabasclearlysatirizes
thepastevents.Barabas’sethnicismasaJew
appearshere.
Barabasspeaksaboutthemarriagebe-
tweenAbigalandLodowick:
Bagsoffiery(ブタals,S砂hires,Amatisis,
Jacints,hard To♪as,graSSe-greene
/■.1川り1〃///人.
Beauteous Rubyes,Sparkling Dir
//〃川JJ′J∫.
Andseildsenecostlystonesofsogreat
prlCe,
Asoneofthemindifferentlyrated,
AndofaCarrectofthisquantity,
Mayserveinperillofcalamlty
ToransomegreatKingsfromcaptiv-
ity.(Ⅰ.i.25-32)
InthetalkwithAbigail,afterhereceiveshis
hiddenmoneywhichAbigailbrings,hespeaks:
Omygirle,
Mygold,myfortune,myfelicity;
Strengthtomysoule,deathtomine
enemy;
Welcomethefirstbeginnerofmyblis-
Se:
OhAbigal,Abigal,thatIhadtheehere
too,
Thenmydesireswerefullysatisfied,
ButIwillpractisethyenlargement
thence:
Ohgirle,Ohgold,Ohbeauty,Ohmyblis-
se!
Oh,butIknowyourLordshipwuddis-
daine
TomarrywiththedaughterofaJew:
AndyetI’1egivehermanyagolden
CrOSSe
WithChristianposiesroundaboutthe (Ⅲ.i.47-54) 川1ぐ.ヾ/∴1ヾ/一′.こぐ.ヾ.
(Ⅲ.iii.294-97) rlng.
BeforeBarabasgothisownhiddenfortune,he
mentionedtohisjewel(1.ii.349).Despitethe
StrOngpraiseforJeWels,thejoyforthejewels
doesnotappearinhisspeech;itcanbesaid
Simultaneouslythatthevalueofjewelsbecomes
thatofgoldandthatthevalueofthedaughter
becomesthatofthejewels.Thename“Abigail”
Thisspeechmakesclear“thesubtleidentifica-
tionofreligious’profession’withfinancialadvan-
tageifthewoodencrossdividesJewand
Christian,thegoldenoneunitesthem”(Levin
66).Abigailalsoimpliestherelevancyabout
Jewsandmoney.
91
SASAO Tomo and HIGASHIKAWA Yoichi
Abigailasjewelswhosevalueisnotitsbeauty,
butitsexchangeability.Fromtheviewpointof
themonetaryeconomy,thereisnocleardistinc-
tionbetweenJewsandChristians.Bothdesire
moneyandtheirviewsabouttheinterestare
inversed.
Althoughthereseemstobeareligiousdis-
tinctionbetweenthetwo,aStheplaygoeson,
the distinctreligionis beingunitedinthe
mediumofthedesireforthemoney.Forthe
playshowsnoChristianvirtuewhichisalways
attached totheChristian play.Finallythe
Christians’imageisunitedwithBarabas’image.
Thisambiguous,OrCOmmOn,religiousdistinc-
tionneedstobefixed.Thedistinctionemerges
ill川(∴1んソ・(、/J′川/(イl’r〃/什.
GivechargetoMoプ少heusthathemay
dream
Agoldendreame,andofthesudden
wake,
Come and receive the TreasureIhave
found. (II.i.36r38)
Abigailwishes Barabas to have a’golden’
dreamwhichiscloselyrelatedwithmoney.
AdditionallyBarabasdeclarestheirrelationin
hisspeech:“Whohatethmebutformyhap-
pinesse?RatherhasIaJewbehatedthus,”(I.
i.113r14).Butthedesireformoneyisnotonly
forBarabas,mOrebroadly,forJews.Thespeech
OfFerneze,theChristianGovernor,“Bepatient
andthyricheswi11increase”(I.ii.122)clearly
COntraStSwithBarabas’speech:“Ofnoughtis
nothingmade”(I.ii.104).Thesespeechesre-
mindusnotonlyoffortuneitselfbutalsoofthe
interestwhichthefortune breeds.Totake an
interesthasbeenprohibitedinaChristiansocie-
ty.ChristiansseverelycondemnJewsbecause
Oftheirtakinginterest.AlthoughBarabasisex-
pressedasaJewishmerchant,itisrevealed
duringtheplaythatheisalsoausurer.Onthe
Onehand,Barabasinsiststhatmoneydoesnot
increasewithoutthebase,Whichisobviouslya
Christianconceptforaninterest.Ontheother
hand,Fernezeinsiststhatmoneyincreasesby
itself,anditisaJewishconcept.Ferneze’s
SpeeChshowstheconvertedconceptionabout
interest. 13
TheJewishnessaroundBarabasgivesthe
audienceakindofprejudiceformedbyanold
JewishtraditionsuchasaccountsintheOld
Testament.Barabasisintegratedintothe
monetaryeconomicsystemwithAbigailwhois
representedbythejewel.Barabas’strongde-
Sireformoneyisreinforcedbytheimageof
4.Shylock
4.1BackgroundofShylock
Among Shakespeare’s plays,the best
knownJewishcharacterisinTheMerchantqf
t句nice.AsLeslieA.Fiedlersuggests,“The脇rr
ChantofVeniceisundeniably,amOngOther
things,aplayaboutaJew”(Fiedler86).AJew-
ishmoneylenderShylockperformsthecentral
roleintheplay.ShylocklendsAntoniothree
thousandducats.AlthoughShylockdoesnot
Chargeanymonetaryinterest,Shylocksaysto
Antoniothathewouldtakeapoundoffleshif
Antoniocannotrepay themoney.Antonio
agreestothesuggestionandentersintoabond
WithShylock.Later,Shylocktakesactionbe-
CauSeAntoniocouldnotrepayit.Inthejudg-
ment,Shylockinsistsonhislegitimacyrepe-
atedly.Portiadisguisedasanlawyerdefeats
Shylockinthemiddleofthecourtscene.Shy-
lockloses andisforced toconverttoChristian.
Thefirstperformanceof The脇rcha71tqf
Veniceissaidtohavetakenplacein1596.In
92
ShylockasaJew:TheElizabethanViewofJewsin TheA忽rchantqf.一々nice
thelastpartofthesixteenthcentury,there
WeremanyplaysaboutJewssuchasthelost
play TheJewwhichwasmentionedinStephen
Gosson’spamphletandanalmostunknown workbyThomasT)ekker,TheJewqftjbnice.14
Inmanyplays,Jewswereseeninthetradition-
alviewofJewexceptWilson’s ThreeLadiesqf
London.ThesourceofThe脇rchantqftjbnice
istheItaliannovel,11Pecorone.Althoughthe
twoplaysaresimi1araboutthedramaticaction,
thesearenotaboutJews.First,inllPecorone,
theJewishmoneylenderhasnonameandno
noteworthyfeatures.Second,inthelastscene,
heisangryforthesentence,tearSthecontract
andexitsfromthecourt.Third,thereisnoJew-
ishdaughterintheItaliannovel.Asforthe
third,manyCriticshavepointedoutthesimilar-
ityofTheJewqf腸Iia(Brownxxxi.).Although
thereareotherdifferencesbetweenthetwo,
maybeShakespearecreatedtheJewishfigure
COnSideringthesocialproblemsoftheJewsin
London.Oneoftheconspicuousexampleswas
Lopez’sjudgmentin1592,Whowasexecuted
fortryingtopoisontheQueen.15
Fiedlersaysthat The腸rchantqftjbniceis
acomedywrittenatamomentwhenaquite
uncomiccourtscandalinvoIvingaJewishphysi-
Cianhadstirredthepassionsofacommunity,”
(Fiedler86)andtheeventprobablygavea
StrOnginfluenceto TheMerchantqftjbnice.
EvenifShakespearedidnotseetheexecution,
hewouldsurelyhaveheardabouttheincident.
Lopez,theQueen’sphysicianandtheMarano,
WaSjudgedbecauseofthediscordwithEssex
althoughLopezhadbeenunderthewingof
Essex.16Lopezwaseventuallyconvictedonthe
basisofaconfession extracted underthreatof
torture,hung,drawnandquarteredatTyburn.
WhenLopezwasatthegallowshedeclared
thathelovedtheQueenaswellasheloved
JesusChrist,WhichcomingfromoneoftheJew-
ishprofessionmovednosmalllaughterinthe
Standers-by.Abouttheevent,itissaidthat
thereweresomepointsalludedin TheMerr
Chantqftjbnice.Oneofthemappearedinthe
COurt SCene:
thycurrishspirit
Govern’dawolf,Whohang’dforhuman
Slaughter-
Evenfromthegallowsdidhisfellsoul
fleet,
Andwhilstthoulayestinthyunhal-
loweddam,
Infus’ditselfinthee: (Ⅵ.i.133r37)
AlthoughGracianospeaksofawolf,hemaybe
thinkingofaman.Thewordwolfmeanslupus
inLatin,andthewordalludestoLopez.WoIves
WereOftenhungsoitcouldberelatedtoLopez.
Ausurerwasoftencalledawolfintheperiod,
andwolfisthesymbolofgreed.17Theselines
havemanysuggestions.Grossarguesthathu-
manpredatorswereoftencomparedtowoIves
anyway.Brownarguesthat“themoregeneral
theorythatShakespearewrote The腸rchant
qftjbniceasaresponsetotheLopezcaseand
therenewedsuccessof TheJezL,OfMalta,is
likewiseinsecure”(Brownxxiv).Howeverallof
theseimagesgreed,humanpredator,andus-
uryremindusofBarabas,Shylock,andJews.
AlthoughShakespearedidnotwritetheplayas
aresponsetotheLopezcase,Shakespeare
perhapswroteitthinkingofLopez.Theimage
OfLopezthepoisoningJewishdoctoris
trueofBarabasratherthanofShylock.The
firstplayofTheJewqf腸Iia,aSmanyOpinions
haveit,WaSperformedprobably26Februaryin
1592,andthelastwasprobablylFebruaryin
1593.Theplayswerereplayedatleastfifteen
93
SASAO Tomo and HIGASHIKAWA Yoichi
timesaftertheLopez’sduranceon4February
in1594.Barabas’declarationsofpastcrimes
SuChas“SometimesIgoeaboutandpoyson
wells”(II.iii.176),and“BeingyoungIstudied
Physicke”(II.iii.181)haveastrongassociation
WithLopez.InRobertWistrich’sAntisemitism:
TheLongestHatred,hesuggestsofTheMerr
chantqftjbnicethat“his[Shakespeare’s]por-
traitservedtocrystallizeandreinforceananti-
Semiticliterarystereotypeforcenturiestocom-
e”(WistrichlO2).Rather,eVeniftheplayreinr
jbrcesthestereotypeforcenturiestocome,the
Criticalplaywhichcrystallizesthestereotype
forJewswasnot TheMerchantqftjbnicebut
TheJewqf腸IiaintermsoftheLopezcase.A
poisoningJew”wasreinforcedbothwithBara-
bas’declaration,pOisoningpottageoftheNun-
nery,andlearningphysicsinItalyandwiththe
ChristiantraditionalprejudiceforJews.Asfor
anothercluethatShakespeareintendedtowrite
aboutLopez,SOmeCriticshavepointedoutthe
similar name between AntonioinThe脇rchant
qft句niceandSpanishMarano,DonAntonio,
WhostayedinLondon.ButAntonioisapopular
nameintheShakespeareandramasuchas
TweLfih几なht,SOitisnotnecessarilycrucial.
ExceptfortheLopezcase,therearemany
COntrOVerSiesabouttheJewsinthesixteenth
CenturyLondon.Ontheonehand,Bradbrook
arguesthat“Elizabethanshadvirtuallynoex-
periencewithJews”(105).180ntheotherhand,
KogishiarguesthatMaranostayedinLondon
becauseoftheordinanceaboutusury;Queen
Elizabethwasphilo-Semitistandifshetrusted
Lopezdearly,ShetooktheJewishusurersinto
accountandtheystayedinLondontoaclear
extentforcitizens(Kogishi63).Inconsidering
theElizabethan economicalsituationthein-
crease oftheinternationaltrade and the rise of
financiers,JewishcitizenscouldliveinLon-
donthoughtheywerebanishedin1290.Again,
Shakespearedidnotnecessarilymeetandsee
Jews,butatleastheprobablyknewabout
Lopez.
Shylock’spossiblefigurescouldbemadein
thesesituations.19Asmanycriticspointedout,
Shylockclearlyresemblesanddiffersfrom
Barabas.BradbrookandKitagawaargue,Shy-
lockis notsomuchdemonic as humanethan
Barabas,(BradbrooklO7,Kitagawal12)and
Elizabethan audiences more orlessfeltthat he
WaS.ShylockisclearlypresentedasaJew:he
CannOtfleefromhisethnicity.Itismostimpor-
tanttoconsiderwhatkindofJewShylockisde-
scribed tobe.
ThereseemstobenorecordsofhowShy-
lock’scharacterwasperformedontheEli-
Zabethanstage.VariousShylockcharactersin
theeighteenthcenturyshowtheambiguous
Shylock.200neclearclueisthefrontpageon
thequartoversionofThe腸rchantqftjbnice
publishedin1621:
The mostexcellent
Historie ofthe MerchantofVenice.
ⅤViththeextreamecrueltieofShylocke
theIewe
towardsthesaydMerchant,incutting
aiustpound
Ofhisflesh:andtheobtayningofPortia
bythechoyseofthreechests.
Asithathbeenediuerstimesactedby
the Lord
Chamberlaine his Servant.(italics
mine)
This“extremecruelty”showedtheviewpointof
JewsinElizabethanperiod.Theplaycouldpost-
ulatethosewhohaveaprejudicecreatedbythe
Lopezcaseand TheJewqf肋Ita.Besides,the
94
ShylockasaJew:TheElizabethanViewofJewsin TheA忽rchantqf.一々nice
frontpageshows‘theJew’functionedasthe
markofracial,ethical,Orreligiousdistinction.
EventhenamesofAntonioand Bassanioare
notdescribedonthepage;Antonioisimpliedin
amerchant.”Fromthefrontpage,thereseems
neitherrelig10uSCOnfrontation,nOrapparent
vocationalone such as amerchant and a usurer
thoughtheJewimpliesausurer:Shylockisfi-
guredonlyin“theJew.”Thereisalsonoim-
plicationoflaterjudgmentscene,eVenOfBel-
mont.Thepageshowsthatextremelycruel
Shylockcutsamerchant’sfreshinamainplot
andsomeoneobtainsPortiabythechoiceof
threecasketsinsecondplot.Astheplaygoes
On,itrevealsthatShylockisconfrontedwith
Portia,nOtAntonio.Shylockwouldperformasa
representativeofJewsandPortiawouldasa
representativeofChristians.Beforethebegin-
ningoftheplay,audienceneverknowsthedif-
ferenceinthegeographicalborderbetween
VeniceandBelmontandinthereligiousborder
betweenShylockandtheotherChristians.
Fewlinesarethereabouttheappearance
OfShylockonthestage.Asforclothes,nOde-
SCriptionabouthischaracteristicsexceptthat
Shylock’scostumeis“Jewishgabardine”appears
inSceneIActⅢ(I.iii.107)Shylockputson
theyellowbadgewhichdistinguishedtheJews
fromothermen.Althoughsomecriticsassume
thatShylockhadabottle-nOSelikeBarabas,and
ared-hairedwigwhichwascharacteristicof
Jewishcharacters,thereisnoevidencethat
Shylockwasplayedasacomiccharacterin
Shakespeare,sday.210nthestage,Shylock
would have no distinctfeaturesfromtheother
Characters.Portia’sspeechclarifiesthesimi1ar-
itybetweenthem.
Duke:AntonioandoldShylock,both
standforth.
Portia:IsyournameShylock?
Shylock:Shylockismyname.
(Ⅳ.i.170-73)
Althoughaudiencesalreadyknewwhichone
WaSAntonioandShylock,Portiadoesnotknow
them.Afterthewordofduke,Portiadisting-
uishesthetwoandtalkstoShylock,“Isyour
nameShylock?”PortiacanperceiveShylock’s
physicalcharacteristicorparticularappearance.
Inthiscourtscene,Elizabethanaudiencewould
recognizeJewishpeculiaritydifferentfromEn-
glishalthoughJewishgabardinecouldbean
ordinarycIothamongLondoners.22 Thesur-
facedifferencestrengthensShylock’sJewish-
ness.Duringthejudgment,Portiacallshim
“Shylock”threetimes,“theJew”ninetimes.The
SuCCeedingcourtmarkshimwiththeJewor
otherswhois derived notsomuchfrom his
appearanceasfromhisethnicity.
Shylock,Who was distinct from other
Citizens,WaSmarkedasotherswhetherornot
thathestayedinLondonandexpressedout-
burstsofhisidentity.WeneedtoviewShylock
bythefollowingthreeelementsbywhichShy-
lockismarkedasaJew,Others:Shylockasa
usurer,Shylockasafather,ShylockasaJew.
4.2MoneyandShylock
Itisdifficulttoextractusuryfromthese
elementswhichformShylock’sfigure;uSury
meantJewintheElizabethanera.23Forallthe
Jewishvarietiesinrelationtotheconceptionof
usury,itisnecessarytoviewtheusuryalone
forgraspingthedynamicmovementfroma
usurertoaJewasIwi11arguelater.Itisalso
difficult to use freely the inclusive word
money”withoutsubdividingitintomany
Portia:Whichis the merchant here?
andwhichtheJew?
95
SASAO Tomo and HIGASHIKAWA Yoichi
elements;inthefrequencyoftheuseinthe
play.Thefollowingthreesubcategorieswi11be
usefultoread:1)goldormoney.(goldisused
twentytwotimesincludinggolden):2)interest
(usedsixtimes,Whichcamealmostallfromthe
speechesbetweenAntonioandShylock):3)
jewels(usedfivetimes)ThoughIhavesug-
gestedtheexchangeabilitybetweenmoneyand
jewel,Itakethemonebyoneinthelightof
eachdramatic effect.
In TheMerchantqftjbnice,manymOney
elementsaredeeplyinscribedintothestructure
Ofthedrama.AntonioborrowsitfromShylock
becauseAntoniohadnomoney.Bassaniowants
Antoniotoborrowthemoneybecauseheneeds
ittopaythedebthimselfandtoobtainthe
handofPortia.Jessicabringsmuchmoneyand
jewelswhenshefleeswithLorenzo.Shylock,
Whois ofcourse a usurer,Speaks,“Three
thousandducats,Well”athisentrance(I.iii.1),
Which“identifiesShylockfromtheoutsetwith
thespiritofcalculationandmoney”(Gross
47).Inspiteofusingthesamewordmoney,
Antonio,Bassanio,andPortiauseitinadif-
ferentwayfromShylock.Antoniousesmoney
forhisfriendandPortiaforherhusband,Whose
moneyisdescribedasaChristianvirtue,pOSi-
tivewealth.Shylock,bycontrast,embodiesa
money-pOWerinitsmostnakedform.
SigurdBurckhardtarguesthatmoney
makesitpossibletouniteShylockandPortia
betweenthetworealms,VeniceandBelmont
and that money also unites the lovers
(Burckhardt211r12).precisely,mOneyOrin-
terestseemstobeShylock’sstrongmotiveof
revengeforAntoniountilJessicafleesfromher
father.
Butmore,forthatinlowsimplicity
Helendsoutmoneygratisandbrings
down
The rate of usance here with usin
Venice.
IfIcancatchhimonceuponthehip,
Iwillfeedfatthe ancientgrudgeI
bear him.
He hatesour sacrednation,and he
rails
(Eventherewheremerchantsmostdo
congregate)
Onme,mybargains,andmywell-WOn
thrift,
Whichhecallsinterest:CurSedbemy
tribe
IfIforglVehim! (I.iii.36r47)
ShylockhatesAntonionotonlybecauseheisa
Christian,butalsobecausehetakesnointerest
fromanyone.ShylockalsocomplainsthatAnto-
nioregardsinterestnotasprofitbutas“ven-
ture”(I.iii.85).Thewordinterestwasabetter
namethanusury.Interestcanbethetermbe-
tweenwhatShylockcalls“thrift”andwhat
Christianscall“usury,”whichunitesShylock
andAntoniostronglyintheeconomicalsociety.
Incidentally,thisinterestiscorrelatedwith
Jews.ChristiansintheElizabethanperiodwere
prohibitedtotakeinterest,WhileJewsinsisted
upontheirlegitimacybecauseofthequotation
fromtheOldTestament.24Antonio,sspeech,
“Butlenditrathertothineenemy”(I.iii.30),eX-
emplifiesthatheisinvokingthebiblicaltradi-
tionasmostChristiansinterpretit.
Bothdifferent attitudestowardstheinterest
areexpressedinthefollowingwords:
IIowlikeafawningpublicanhelooks!
Ihate himfor heis aChristian:
Ifthouwi1tlendthismoney,1enditnot
Astothyfriends,forwhendidfriend-
96
ShylockasaJew:TheElizabethanViewofJewsin TheA忽rchantqf.一々nice
ship take
A breedfor barren metalofhisfriend?
(Ⅰ.iii.127-29)
Ididreceivefairspeechlessmessages:
HernameisPortia,nOthingunder-
valu’d
ToCato’sdaughter,Brutus’Portia,
Noristhewideworldignorantofher
worth,
Forthefourwindsblowinfromevery
COaSt
Renownedsuitors,andhersunnylocks
Hang on her templeslike agolden
fleece,
(I.i.161r70.,italicsmine)
ThisclearlycontrastswithShylock’s,“Tcannot
tell,Imakeitbreedasfast”(I.iii.91).Antonio
regards money as“barren metal,”which
negatestheinterestwhichmoneyproduces.
Shylockcontrarilyaffirmstheinterestwhich
moneybreeds.Apointshouldbemadeclear:
Antonio’smoneyisrepresentedasamotifofex-
Changebasedonthetrade,Venture.Thesame
image,however,isusedbybothcharacters
Whentheyspeakaboutinterest.Theimageis
produceandbirth,inotherwords,SOmethingis
madefromnothing.Inasense,aSmanyCritics
havepointedout,Antoniocan be seen asa
homosexual.25AntoniowhosecretlylovesBas-
sanioisexpressedasa“barren”character.26
ShylockspeakstoAntoniowithametaphorof
ewesandrams,”towhichAntonioresponds:
BassaniocomparesPortiato“goldenfleece
Whichimpliesmoney.HerePortiais“asymboI
ofthefortunesfor whichmerchants ventured”
andasymbolofmoneyitself.27 Astheplay
goeson,however,Antoniospeakswithadif-
ferentaspect:
Youmayaswellusequestionwiththe
wolf,
Whyhehathmadetheewebleatfor
thelamb: (Ⅵ.i.73r74)
ThiswasaventuresirthatJacobserv’dfor,
Athingnotinhispowertobringtopass,
Butsway’dandfashion’dbythehandofheaven.
Wasthisinsertedtomakeinterestgood?
Orisyourgoldandsilverewesandrams?(I.
iii.86-90)
ThoughAntoniocondemnsShylockwiththe
imageofthewolfoftenusedasametaphorof
usury,thenextlineofhisaddsthatanother
meaningtotheimageofewethatthewolfkills
theewe.Shylockneverkillstheewewhichis
deeplyimplicatedwithinterest.Itisnecessary
toconsiderwhethertheuseofimageherehas
COherencyornot.Antoniospeaksinthecourt:
AgainAntonioclearlynegatesShylock’sviewof
interest.Nevertheless,Antoniousestheimage
Ofsheep.ThestronglmplicationwithmoneylS
notonlyforAntonioandShylock.Bassanio
shows as well:
Iamataintedwetheroftheflock,
Meetestfordeath,-theweakestkindof
fruit
Dropsearliesttotheground,andsolet
me;
Youcannotbetterbeemploy’dBassa-
InBelmontisaladyrichlyleft,
Andsheisfair,and(fairerthanthat
word),
Ofwondrousvirtues,-SOmetimesfrom
hereyes
97
SASAO Tomo and HIGASHIKAWA Yoichi
(Ⅳ.i.11417) girl,
Shehaththestonesuponher,andthe
ducats.” (II.viii.15r22)
nlO.
Antoniocallshimself“ataintedwether,”andhis
WOrdsfinishaseriesofimages:Shylock,the
wolfkills Antonio the wether.The shift ofhis
imagefromaeweorinteresttoawetherhasa
dualmeaning;theonesignifiesthatAntonio
CannOtbreedmoney;theothermeansthathe
losesthemale.Itisnoteworthythatthisspeech
is hislastone before Portia’s entrance.Antonio
atfirstnegatestheinterestandtheimageof
eweandram,”butgraduallyheusestheimage
repeatedly,SOfinallyexpresseshimselfasa
wether.”This shows Antonio’s conscious shift
aroundinterestandmoney.Antonioisinte-
gratedintotheworldofinterestwhereShylock
lives. 28
ShylockcriesbothforJessica,“myOWnflesh
andblood”(Ⅲ.i.31)fleesfromhimandforhis
lostmoney.HerewhatShylockproposedasa
merrysport”(I.iii.141),thebond,becomes
Ser10uS.
AnoteworthysuggestionaboutJessicaand
ShylockisshowninMarcShell’sArt&肋nり′:
Having lost the person of his own
“fleshandblood”hissupposedlycon-
SanguineouschildJessicaShylockis
COnCernedwiththelossofhispurse,Or
SCrOtum,bymeansofwhichhemight
generateanothersuchchild.Andlike
manyamoneydevilinChristianideolo-
gy,Shylockcriesoutatthelossofthe
purse,Or mOneybag,by means of
Whichhemightgenerateothercoinsas
interest.(34)
4.3JessicaandShylock
JessicaisShylock’sdaughter,andshe
wishestoconverttoChristianity.Shylockdoes
notloveJessicaasmuchasBarabas.Fromthe
first,ShylocktellshernottomeettheChristian.
ButJessicametherdearest,Lorenzo,andflees
fromherfatherwithhim.Shylockcriesout
Whenheheardofherescapefromhim:
Shellarguesthe stone hasthe dualityin a
monetarychildandinakindredchild.Inaddi-
tiontothat,manyrepeatedcries,“daughterand
ducats”canidentifythemasone.ForJessicais
representedbyajewelexchangeablewith
moneyaswasseenbefore:
“My daughter!O my ducats!O my
daughter!
FledwithaChristian!OmyChristian
ducats!
Justice,thelaw,myducats,andmy
daughter!
A sealed bag,tWO Sealed bags of
ducats,
Ofdoubleducats,StOl’nfrommebymy
daughter!
Andjewels,tWOStOneS,tWOrichand
preciousstones,
Stol’nbymydaughter!Justice!-findthe
Whythere,there,there,there!adi-
amondgonecost
me two thousand ducatsin Frank-
fort,thecurse
neverfelluponournationtillnow,I
neverfeltittill
now,tWOthousand ducatsinthat,
andotherpre-
Cious,preCiousjewels;Iwould my
98
ShylockasaJew:TheElizabethanViewofJewsin TheA忽rchantqf.一々nice
daughter were
deadatmyfoot,andthejewelsinher
ear:WOuld she
Were hears’d at my foot,and the
ducatsinhercoffin! (Ⅲ.i.76r82)
gold.AdiamondisaholystoneintheOldTes-
tament.29Thereremainsanotherspeechabout
」eWel:
Outuponher!Thoutorturestme,Tub-
al:itwasmy
turquoise;IhaditofLeahwhenIwas
abachelor:
Iwouldnothavegivenitforawi1der-
nessofmonkeys.(Ⅲ.i.110r12)
ShylockisangrythatJessicasoldhisjewels.Of
COurSe,ShylockisanxiousforJessicaevenif
Shylock’sindignationdoesnotseemtocarefor
Jessicaherself;forShylock,Jessicaisequalto
hisJewishdaughterwhoonlycanbreedhisde-
SCendants.Jessicaalsohasthedualityina
monetarychildandinakindredchild.Precisely,
jewelsarespecialforJews.IntheOldTes-
tament,therearesomelinesaboutjewels,One
ofwhichis asfollows:
ShylockfuriouslytakesoffenceatJessicabe-
CauSeShesoldhisringwhichwasgivenhimby
hiswife,Leah.Turquoiseswerewidelybelieved
tohavemaglCalproperties.Theyweresup-
posed“toreconcilemanandwife”;theywere
Saidtochangecolor,inordertowarnthosewho
worethemofimpendingdanger(Gross69).
Thejewelwasnotforsaleatall.Here,three
arethreereasonsforShylock’sanger;firstJessi-
CatOOkjewelswithherwhichbreedmuch
money;SeCOnd,theunpurchasablejewelfor
Shylockissoldbyhisdaughter;third,Jessica
SOldthejewelwhichrepresentsherself.Jessica
isoutofthecircleofharmonyinBelmont.She
alsohastheanxietythatshecannotbecomea
trueChristianbecauseofherJewishblood,
deeplylinkedtoheranxietyaboutprospective
issues.JessicadoesnotbecomeaChristiandis-
turbedbyherjewelimageandherbloodasI
explainedbefore.AlthoughJessicaholdsthe
Seriousfear,Shylockdoesnotknowthat;it
SeemStOhimthatJessicahasconvertedto
Christianity.Lastly,Shylockcriedout,“my
daughterweredeadatmyfoot,andthejewels
inherear!”(Ⅲ.i.79r80).why“inherear”?
Johnsonwi11giveasignificantimplicationfor
thequestion.Iwi11quotehishistoricalexplana-
tionthoughlong:
17Andthoushaltsetinitsettingsof
StOneS,eVenfourrowsofstones:the
firstrows ofstones:thefirstrow shall
beasardius,atOpaZ,andacarbuncle:
this shallbe thefirstrow.
18And the second row shallbe an
emerald,aSapphire,andadiamond.
19And the third row aligure,an
agate,andanamethyst.
20Andthefourthrowaberyl,andan
OnyX,andajasper:theyshallbesetin
goldintheirinclosings.
21And the stones shallbe withthe
names,1iketheengravingsofaslgnet;
everyonewithhisnameshalltheybe
accordingtothetwelvetribes.
(Exodus,ⅩⅩviii:17r21.)
TheselinesshowthepriestAaron,thebrother
OfMoses,andhisbreast-plateinwhichtwelve
jewelsareembedded.Thesejewelsaresetin
goldrosettes.Itisremarkablethatjewelsare
Setintothegoldrosette;jewelsareunitedwith
99
SASAO Tomo and HIGASHIKAWA Yoichi
SuccessfulJewishmoneylendersoften
accumulatedquantitiesofunredeemed
pledges,eSpeCiallyjewels.Localsump-
tuarylawswereenactedtoprevent
themwearingsuchspoil;indeedthe
Jewsdrewuptheirownsumptuary
prohibitions,tOaVert’theenvyand
hatredofthegentiles,Whofixtheir
gazeuponus:(Johnson273)
ChristiansareJews;Jewsareneverdisting-
uishedfromtheirreligiousdisciplinesanddaily
CuStOmSeVenifJewsdistinguishChristiansby
themeansofreligiousthings.Thus,Jewswere
reinforcedinLondon,WhichinvoIved serious
COnfrontationbetweenthetworeligions.Shy-
lockhatesChristiansmorefiercelyafterJessica
ranawayfromhim.WhenShylocklostJessica
economicallyandreligiously,Shylockasher
fathervanishes;heexpressestheoutburstina
usurerandaJew.Aremarkablepointisrepe-
atedlyused“fair”whichfunctionsasthemark
Ofgentile.
Accordingtothelines,Jewswereprohibitedto
putonanyjewels.30shylock,scry“inherear
CanmeanhispartingfromherasaJew.Jessica
isnotsomuchareligiouskinsmanasasymbol
Ofmoney. Benominatedforanequalpound
Ofyourfairflesh,tObecutoffand
takell
Inwhatpartofyourbodypleasethme.
(I.iii.145r47.,italicsmine)
4.4ReligionandShylock
Religiousdistinctions,betweenChristians
andJews,SeemtObecapturedmostclearlyin
thesurfaceconfrontationintheplay.Although
Shylockisregardedasadevilatthebeginning
Oftheplay,aStheplaygoeson,hisdevilishim-
agedeclinesgradually.Inadditiontothelossof
hisdevilishimage,Shylockisnotnecessarilyde-
SCribedasaproperJew.Noghettoisdepicted
andlittleaboutthesynagogue;thelatterwas
mentionedonlyonce(Ⅲ.i.120).AlthoughShy-
lockdeclareshisreligiousdiscipline(I.iii
.29r33),hescarcelymentionstothereligious
matter.Rather,althoughShylocksometimes
Criesout“Christian,”hehardlycallshimself
“Jew.”Bradbrooksumsupthereligiousback-
groundintheElizabethanperiod.
ShylockdesiresAntonio’sfairflesh,andhis
WOrdmeansnotonlythatShylockwantsjusta
poundofflesh,butalsothatShylockwants
Christianflesh.Inotherwords,SinceShylock
losthis“fleshandblood”(Ⅲ.i.31)Jessica,he
wantsChristianfleshinstead.Antonio accor-
dinglyexpressesasaChristian:
SayhowIlov’dyou,Speakmejdirin
death:(Ⅳ.i.271.,italicsmine)
AntoniodeclareshisChristianityjustbeforethe
SentenCeisannouncedinthecourt.Though
AntoniobehavesasamerchantintheRialto,he
acts as aChristian.WhenLorenzotalks toPor-
tiawhowi11gotothecourtindisguise,anOther
Christianityappearsinthefollowingline:
FromtheGospelstheJewsweretre-
atedasexamplesofthosewhorejected
Offeredgrace;SOaChristiancouldhave
a’Jewishheart’ifherejectedChrist.
17birthoughtsandhappyhoursattend
onyou! (Ⅲ.iv.41.,italicmine) BradbrookclarifiesthefigureofJews;nOn
100
ShylockasaJew:TheElizabethanViewofJewsin TheA忽rchantqf.一々nice
The“fairthoughts”remindsusofthejudgment;
fairshowsaChristian,sattitudeforJews.31
ManydescriptionsclarifythealienShylock.
Thepungentletogentileisawellknowninst-
anceofthem.Tnthetrialscene,T)ukesaysto
Shylock,“WeallexpectagentleanswerJew!”
(Ⅳ.i.34);althoughDukerequeststheChristian
mercyofShylock,animaginable“gentile”im-
pliesthatShylockrejectsChristianmercy.
Fiedlerarguesthat“morearchaicsetof
associationswiththe bond,mOVed backtocir-
cumcisionandFatherAbraham”(Fiedler123).
Abrahamwasthefirstpersonwhocircumcised
hisson(Genesis,ⅩVii:9r14).Hisnameismen-
tionedafewtimesintheplay.Shylockcites
Jacob’scaseinGenesis,ⅩⅩⅩ:33r39.
SCene.Aboutthelaw,Shylocksaidinthefollow-
ingway:
Ihavepossess’dyourgraceofwhatI
purpOSe,
AndbyourholySabbathhaveIsworn
To have the due and forfeit of my
bond,
Ifyoudenyit,1etthedangerlight
Uponyourcharterandyourcity’sfree-
dom! (Ⅳ.i.35-39)
TheVenetianlawandthebondguaranteeonly
thefreedominVenice.ForShylock,thebond
COmeSfromtheJewishTorah,“theLawwhich
GodmadeforJews,WhichJewshaveabond
withGod”(Exodus,ⅩⅩⅩi:16r18).Inanother
SCene,Portiamentionsaboutthelaw. WhenJacobgrazedhisuncleLaban’s
Sheep,
ThisJacobfromourholyAbramwas
(Ashiswisemotherwroughtinhisbe-
half)
Thethirdpossessor:ay,hewasthe
third. (Ⅰ.iii.66-69)
Itmustnotbe,thereisnopowerinVenice
Can alter a decree established:
’Twi11berecordedforaprecedent,
Andmanyanerrorbythesameexample
Willrushintothestate,itcannotbe.(Ⅵ.i
.214-18)
Aftertheconnectionaboutinterest,Shylock
Speaks: Portiaclearlymentionsaboutinviolabilityofthe
lawandthatnopowerchangesthelaw.About
exactnessofthelaw,althoughBurckhardt
admitsthatthe riddle ofthe casketsmustbe
COrreCtlyinterpreted,hearguesthatPortia
winsShylockbecausesheusesthelawasthe
written bond(Burckhardt 206-36).His
argumentisdoubtful;althoughDuke’slaw,the
baseofthenation,insistsupontheprescription
Clearlylnitself,Portia’slawallowspeopleto
makesomeinterpretation.Portiainterpretsthe
lawinthesamewayasBassaniointerpretsthe
CaSkets.InBelmont,Jessicaanxiouslysaysas
follows:
OfatherAbram,WhattheseChristians
are,
Whose own hard dealings teaches
them suspect
Thethoughtsofothers!(I.iii.156r58)
AbrahamisthefatherofallJewsandShylock
useshisnameinarepresentationofaconscious
Jew,andhisquotationreinforcestheconflict
againstChristiansbydemandingAntonio’sfair
flesh.
Inthecourt,theVenetianlawcontroIsthe
101
SASAO Tomo and HIGASHIKAWA Yoichi
(Eagleton36).whatShylockexpectsforthe
lawisestablishedrigidly,nOteaSilyinterpreted
ortransformed.
Iflaw,authority,andpowerdenynot,
Itwi11gohardwithpoorAntonio.
(Ⅲ.ii.288-89)
Thisimpliesthechangeabilityoflaw.TnBel-
mont,thelawisneverconstantasifcasket
selection connoted the difference betweenwhat
ison the surface andwhatis hidden.Bassanio
mustchoosetherightcasketbecauseheinter-
pretshersong.
WhatjudgmentshallTdreaddoingno
WrOng?
Youhaveamongyoumanyapurch-
as’dslave,
Which(1ikeyourasses,andyourdogs
andmules)
Youuseinabjectandinslavishparts,
Becauseyouboughtthem,ShallIsay
toyou,
Letthembefree,marrythemtoyour
heirs?
Whysweattheyunderburthens?Let
their beds
Bemadeassoftasyoursandlettheir
palates
Be season’dwithsuchviands?Youwill
anSWer
“Theslavesareours,”SOdoIanswer
yOu:
ThepoundoffleshwhichIdemandof
llilll
Isdearlybought,’tismineandIwi11
haveit:
Ifyoudenyme,fieuponyourlaw!
There is no force in the decrees of
Venice:
Istandforjudgment,anSWer,ShallI
haveit? (Ⅳ.i.89rlO3.,italicsmine)
Inlaw,Whatpleasotaintedandcor-
rupt,
Butbeingseason’dwithagracious
VOICe,
Obscures the show ofevil?
(Ⅲ.ii.75-77)
Hissoliloquyhereatcasketselectionexpects
theconsequencebyakindofdramaticeffect.
Bassanioalsoclarifiestherelativityofthelaw.
Aboutthelaw,TerryEagletonsaysasfollows:
Forlawto belawits decreesmustbe
generalandimpartial,quiteindepen-
dentofandindifferenttoanyconcrete
Situation.Ifthiswerenotsowemight
endupwithasmanylawsasthereare
Situations,Whichwould defeatthe
Wholeideaoflawbyviolatingitscom-
parativenature,itsattempttoapply
thesamegeneralprinciplestowidely
differentconditions.(36)
ShylockrejectsDuke’ssuggestion;Shylock
boughtAntonio’sfleshataveryhighprice.
Simultaneously,ShylockcondemnsChristiansin
thelightofaslavemarketSlaveswerein
Londonbuttheywereregardedasaliens,Or
theywerethesameasShylock.Amongthem,
thephrase“season’d”islinkedtotheentrance
Thisshowsthenecessityofinterpretation,aS
longasthelawisappliedintheextentofits
Splrit.Ifweinterpretthelawcreatively,We
Shouldrespectthespirit.Thus,inThe腸rchant
qft句′lice,“itisShylockwhohasrespectforthe
Spiritofthelaw and Portiawho does not”
102
ShylockasaJew:TheElizabethanViewofJewsin TheA忽rchantqf.一々nice
OfPortia.ThisisPortia’sveryfamousspeech
aboutthemercy.
twoimages theeweandramrepresentedas
interestandducatwhichbreedbyitselfre-
SOnatewitheachother.UnexpectedlyShylock
negatesthepartingducat,Orinterest.There
SeemStObenoimplicationwithmoney;there-
foreheisnotausurer.Shylockhasonlyhisre-
1igiousJewishnessbasedonlawandbond.Im-
mediatelywhenShylocktriestocutAntonio’s
“fairflesh”withhisknife,Portiasays.
Andearthlypowerdoththenshow
likest God’s
WhenmercyseasonsJuStice:
(Ⅳ.i.192r93.,italicsmine)
PortiaspeaksinBelmontafterthejudgment:
Howmanythingsbyseason,SeaSOn’d
are
Totheirrightpraise,andtrueperfec-
tion! (Ⅴ.i.107rlO8.,italicsmine)
Take then thy bond,take thou thy
poundofflesh,
Butinthecuttingit,ifthoudostshed
OnedropofChristianblood,thylands
and goods
Are(bythelawsofVenice)confiscate
Unto the state ofVenice.
(Ⅳ.i.302-307)
Shylockcondemnstheslavemarketbecause
Christiansdonotgiveslavesmercy,bywhich
ShylockinsiststhattheVenetianlawisnever
transformedbymercyoranypower.Onthe
COntrary,Portiaarguesthat“mercyseasonsJuS-
tice”orlawcanbetransformedbymercy
therelativityoflawislikeGod,andsaidthat
manythingsbyseasonseason’d”1eadsto“right
praise and true perfection.”A series of
SeaSOnS”1eadtothelegitimacyoftheinter-
pretation;32theinterpretationispraisedright,
andtruly.Thustheinterpretationreinforcesthe
Christianssacredness,nOtthelegitimacyof
Venice.Shylockadherestothebondhislaw
andtheancestor’sbondandheexpresses
WhatheisnotsomuchausurerasaJew.
Shylock says as a response to Portia’s
judgement:
(Ⅳ.i.309) Is thatthelaw?
Antonio as amerchantvanished because hecal-
1edhimselfawether.Portiafoundhimonlya
Christian.ThereforePortiasentencesShylock,
“OnedropofChristianblood.Shylockbecomes
awarethatPortia’s sentenceisnotbased onthe
Venetianlaw;itistheChristianinterpretation.33
ThusShylockasks,“Isthatthelaw?”Shylockis
defeatednotonlybecausehebelievestherigid-
ityofthelaw,butalsobecauseherejectsthat
heisausurerandentersintothereligiouscon-
frontationunconsciously.
There remains another episode in the
COurt.PortiadenotesalawinVeniceinspiteof
thepresenceofherChristianity.
Ifeveryducatinsixthousandducats
Wereinsixparts,and everyparta
ducat,
Iwouldnotdrawthem,Iwouldhave
mybond! (Ⅳ.i.85r88)
This reminds us of the connection about an ewe
andaram.Moneydoesnotsplitbyitself.The Ifitbeprovedagainstanalien,
103
SASAO Tomo and HIGASHIKAWA Yoichi
Thatbydirect,Orindirectattempts
Heseekthelifeofanycitizen,
Theparty’gainstthewhichhedoth
COntrive,
Shallseizeonehalfhisgoods,theother
half
Comestotheprivycofferofthestate,
And the offender’slifeliesin the mer-
Cy
Ofthedukeonly,’gainstallothervoice.
(Ⅳ.i.345-52)
naturalforthemtoacceptthesentencethat
COmpelledShylocktoturnintoaChristian
(Lelyveld6).whichistrue?Onepersuasive
ClueisthatSt.ThomasAquinasaffirmedthat
truebeliefhastobevoluntary(Gross91.fJe
alsoexemplifiesanotherclueinthesamepage;
“AttheendofthesixthcenturyPopeGregory
theGreatestablishedtheprinciplethatJews
WerenOttObebaptizedbyforce.”Butitseems
tobesomeoldclueforviewingtheElizabethan
period.).Fromthepointofview,Elizabethan
audiencesmightfeelthatPortia’ssentenceis
Strange.IfTheMerchantofVenicewasakind
ofreligiousdrama(ofcoursetherearelittle
elementstoprobeitintheplay),Shylock’scon-
VerSioncouldbeacceptedasaharmoniousdra-
maturgy.Thecomedy,ifweaccepttheplayas
acomedy,thecompulsorilyconvertedShylock
diesinthelightofnotbeingaJew.Shylockis
ejectedoutoftheVenetiancommunity,withhis
hiddenJewishbeliefandheliveshislifeasan
ambiguous,divided,identity.Hadtheconver-
SionmadeitpossiblefortheElizabethanaudi-
encetoacceptasacruelsentence,Whywasthe
SentenCeputinthestructureoftheplay?This
COnVerSionfunctionsasatechniquetointensify
thelegitimacyoftheChristians;PortiaaChrist-
ian,insistsupontherightseasonedinterpreta-
tionintermsofGod’sgrace.
Theactuallaw34regardsShylockasothersof
Venice;thelawmarksShylockwithanalienre-
gardlessofthefactthatShylockisinVenice.
Thelawdenotessimultaneouslytoprotectthe
lifeofcitizensandtoejectothers.Whydoes
Portiapresentthelawatlast?Oneprobable
reasonisthere:ifShylockhadstillbeenidenti-
fiedwithAntonio,aChristianwithinanecono-
micalaspect,thelawwouldhavenoeffect;Shy-
lockisnotanalien.ItisjustafterShylocklost
hiseconomicalfigureandthewayheincon-
trasttoaChristianthatthelaw hasthe effect.
ShylockendswithexpressinghisJewish-
ness;ChristianscauseShylocktoconvertto
Christianitycompulsorily.Aboutthecompul-
SOryCOnVerSion,Grosssumsupasfollows:
OnereasonwhyShylock’senforced
baptismisdisconcertingisthatitis
COntrarytOpredominantChristian
tradition.[...]CountlessJewswere
COerCedintoChristianity;COuntless
Otherssufferedmartyrdomratherthan
Submit.Buthoweverfrequenttheex-
Ceptions,therulewasoneofreluctant
toleration.(91)
5.Conclusion
AtfirstShylockisportrayedasausurer,
aneconomicalfigureandhethrowsoffthefi-
guretocutofftheChristianAntonio’sfairflesh.
However,ShylockisdefeatedbyPortiaandhe
isdeprivedofallhisfortune;forShylockdis-
Cardstheeconomiccharacteristicwhichisonly
commonwithAntonio,Christians.Thisdrama-
ticconsequenceimpliestheChristiandomi- Onthecontrary,Lelyveldarguesthat“Itwas
104
ShylockasaJew:TheElizabethanViewofJewsin TheA忽rchantqf.一々nice
nancebothineconomyandinreligion.Finally
Shylockisdejectedandejectedasanalien.In
thesixteenthcentury,merCantiletradearose
alsoinLondon,inwhichmerchantadventuring
WaSCIoselyconnectedwithvoyageofexplora-
tion,plunder,COlonization,andimperialcon-
quest;theauraofheroism,greatadventure,and
patriotismwastransferabletothemorestrictly
COmmerCialaspect.Ontheotherhand,there
alsoroseanambiguousdistinctionbetween
Christiansandothersinthelightoftheecono-
micalsociety.Shylock needed to be re-
CryStallizedasanalien,theenemyofChristians.
Strangelyenough,LauncelotGobbothefooIcon-
notesthetruth“ifanymaninItalyhavea
fairertablewhichdothoffertoswearupona
book”(Ⅲ.ii.150-51).
Jewishnessisundeniablyintertwinedwith
//ご-ノー〃・・イlんイ/′.・川Itl//ご-1い・■小′.リJ/・イl-〃J・-.
BarabasclearlycontrastswithChristianonthe
Surface,andheexpressesthedesireformoney
asifhisdesirewaswhatallJewsdesire.The
desire,however,appearSinbothreligions,
ChristianandJew.In The腸rchantqftjbnice,
inadditiontothefactthatShylockalsohasa
desireformoney,heisconfrontedwithChrist-
ianitytoo.Asimi1aritybetweenthetwoplaysis
thattheirdaughtersarepresentedintheplays,
AbigailandJessica.Thetwodaughters,Who
WishtoconverttoChristianity,bothhave
Christianlovers and seem tobe aChristian.
Jewelrepresentationsofdaughters,however,
disturbthemtoturnintoChristian.Theyare
notabletobeChristian.Inthisview,theycom-
monlyplayaroleinthetwoplays.Therepre-
Sentationfunctionsmore;theeconomicalaspect
Ofjewelsreinforcestheunityoftworelig10uS
COnflictsamongthetwoplays.
Barabasclearlyhasastrongdesirefor
money;heregardsmoneyasaesthetic.Heiden-
tifieshisdaughterwithmoney,Whichissuc-
CeededtoShylock.Itisnoteworthytoviewthe
twoplaysinthehistoricalcontinuance;Shylock
expresseshisJewishnessinadifferentway
fromBarabas,aSnOtOnlyreligious,butalsoas
economical,father’saspects.Shylockdoesnot
SeeAntonioonlyasamerchant;Shylockwants
Antonio’sfairfleshascompensationforhislost
daughter,andasacircumcision.
TheMerchantqftjbniceclarifiestheway
thatJewsareunitedwithChristiansintheeco-
nomicsituation;Ontheotherhand,theplayde-
Clarestheabsolutereligiousdistinctionbetween
ChristiansandJewsrigidly.Thereforethough
ShylockisdescribedtobeunitedwithChrist-
ianseconomically,heisfinallydefeatedbythe
rightjudgmentofPortia.Thecruelsentence
Shylock’sconversionWaSthereflectionof
thecontemporaryLondonsocietyratherthan
dramaticeffect,Whichfunctionsastherecovery
OfChristianityofwhichMarlowe’s The
腸ItadeprivesChristiansintheconnectionof
moneyanddesire.JewsandChristianswereso
Closelyinterdependentwitheachotherthat
LondonneededtoejectJewsasaliensothers.In
law,Whichisthebasetoestablishamodern
SOCiety,itisnecessaryforLondonerstoestab-
1ishthesacrednessorlegitimacyofacorrect
rightChristianinterpretation.
Inthelightofsucceedingevents,The脇rr
Chantqftjbniceisasocialdrama:Shakespeare
usedtheimageofBarabaswhoisportrayedas
religiousandeconomic,althoughBarabasis
SeenaSanOld,traditionalorasademonicJew.
ShylockisregardedasademonicJew,butonly
partially.Therefore The脇rchantqftjbnicere-
CryStallizesShylockinatokenofothersinthe
newlyupcomingeconomical,andsocialcontext.
ElizabethanLondonwasexposedtovarious
SOCialincidentssuchastheinternationaltrade,
105
SASAO Tomo and HIGASHIKAWA Yoichi
kindofjestorhumorforestablishedChristian,it
SOundsstrangeinthescene.
5 InShakespeareandrama,“Whatcheer”isusually
usedwhentheonefeelssad.Cf The Tempest,I.i.
2.,and7「g椚0プ7q/』抜βプ7∫,Ⅲ.Ⅴ.39.
6 G.WilsonKnightpointsoutthetragicelementsin
theimages of“sea”and“music.”See Knight,
しヾ/J‘止‘、∫♪‘、‘両‘川 ハ〃小、∫/.-11J〟J‘/しソJ‘/ノ■/-t/しヾ/J‘止‘、∫♪‘、‘/ハ、\
βプⅥ椚〟J才cこ万7才㍗β得β,pp.127-38.
7 EdgarRosenberg,nOtmentioningjewel,SuggeStS
that“inbothplaystheco-eXistenceofdaughtersand
ducats,girlsandgoldgeneratesacertainconfusionor
perversioninvalues.”SeeRosenberg,“TheJewin
WesternDrama.,”p.457.
8 WilburSanders,“DramatistasRealist:’Theノβu)d
A4alta,”p.60.Rather,heregardshisattitudeasatech-
niqueofironicinversion.
9 IthamoresaysafterhehearsBarabas’sspeechof
hatingChristian:“Ohbrave,maSter,Iworshipyour
noseforthis”(Ⅱ.iii.173).TheJewish“bottlenose
could be the conventionin the Elizabethan drama.
PerhapsIthamorewouldbowtoBarabaswithan
artificialbottle nose.
10JamesYoungsuggeststhataJewhasmeasured
andunderstoodtheirsufferingwithpasteventssuch
astheravagedfigureofJerusaleminLamentations,
i:12,tOWhichthescribe’sanswerinLamentations,
iv:6.Hesuggeststhat“eventhescribesofLamenta-
tionsfoundthemselvessimultaneouslydependenton
pastdestructionfortheirfiguresandresistantto
them.”Inthepointofview,Barabas,perhapsuncon
SCiously,issimultaneouslydependentonpastlossof
Jobandresistanttoitinthefollowingseenes.See
\-い=‖ゞ.什ノイ//JJg‘川(/〃i〃リイ//JJ∫川‘・/Jり/りl・‘/J/∫/∴\1/川ト
//J・=川(/川‘・し’りJJ∫=/肌〃l・‘・∫り′/JJ/け♪ハ・ん/〟りJJ.P.一再.
11Thisquotationistakenfrom:JacobR.Marcus,The
ノi〃・/JJ仙・.1ム・(//‘J〟/什りノ・ん/∴lしヾりJ/ノ・l・‘・J?りり万∴J/.;/1り.
p.168.
12 ThesearequotedfromSanders,OP.cit.,p.57.
13 AnotherBarabas’speechalsocanremindofthe
COntrarinessabouttheinterest:‘“Tislikelytheyin
timemayreapesomefruit,”(Ⅱ.iii.87)
14 TheseplaysareexemplifiedfromJohnGross’Shy-
lock:ALegendandItsLegtlCy.NewYork:Simon&
Schuster,p.18.
15In detail,hewasarrestedon12January,CaSedup
irltOLorldorltOWerOr13February,arldjudgedor123
February,andexecutedon7Junein1594.
16 八sforthe discordbetweenLopezandEssex,See
thediscoveryofanewcontinent,andtheRe-
formation.Onlyhistoricaleventsdestabilized
London,England.TheLopezcasewasthesame.
Lopez’sattempttopoisontheQueenwaslikea
destructionofthenationalsymbol.Sorrowfully
Lopez’sfigurelappedthetraditionalviewof
JewlikeBarabas,Whichenablespeopletomake
useoftheimageofJewseasilytoejectthemfor
theprotectionofnationalidentity.Haditnot
beenfortheLopezcase,Orhadtheturnofthe
playsbeenplayedviceversa,theviewofJews
would not have beenformed.
Englandwasonthevergeofcollapsesimul-
taneouslyfromouterdangerssuchashistorical
eventsandfrominnerdangerssuchasanim-
mersiontoothersin an economicalsituation,in
WhichShylockrepresentsasothersandisre-
CryStallizedasothers;ShylocktheJewwasa
SCapegOat,areflectionofEngland’sanxiety.
Notes
Thisisarevisedversionofthe Master’sthesispre-
Sentedtothe Graduate SchoolofEducation,Hokkaido
UniversityofEducation,byTomoSasao,underthesu-
pervisionofProfessorYoichiHigashikawa.
1 MichaelJ.C.Echeruoarguesthefigurefromthe
ViewoftraditionalJew.SeeEeheruo,“Shyloekand
the‘ConditionedImagination’:AReinterpretation.,
pp.79.
2 JohnRusselBrown,ed.,TheMerchantq[t句nice
(TheArdenShakespeare).Allthequotationsofthe
playaretakenfromthiseditionifnototherwise
Stated.InthequotationsofChapterI,Iabbreviate
TheMerchantq[t句プIicetoMVtodistinguishfrom
7’/J‘・ノi〃・-イ1ん/ん/.
3 Fredson Bowers,ed.,The Complete Worksof
ChristopherA4arlou,e,I.ii.22427.Allthequotations
Oftheplayaretakenfromthiseditionifnotother-
Wisestated.InthequotationsofChapterI,Iabbrevi-
ate TheJeu,qFル勉ItatoJMtodistinguishfrom The
.1んノ■lイ/‘川/-t/1’l〃ノ、l・‘.
4 KitagawaTeiji,AStu4)′qFル勉rlowe,p.101.Healso
SuggeStSthat“AlthoughMarloweusesthewordasa
106
ShylockasaJew:TheElizabethanViewofJewsin TheA忽rchantqf.一々nice
KogishiAkira’sA Genealo幻′q/ル勉77u10,pp.6472.
17 E.g.,KingLear,Ⅲ.iv.91:“hogln Sloth,foxin
Stealth,WOlfingreediness.
18 Bradbrookalsoarguesthat“Ithasbeensuggested
thatwhatisbehindShylockisthefigureofthePuri-
tanusurer,Whowasveryreadytobackhispractice
WithscripturalquotationasShylockdoes,andwho
maintainedmanyOldTestamentpractices”(106).
19 Amongmanyresearches,thefollowingexamples
areusefultoviewthevariousfiguresofShylock:
ElmerEdgarSto11’scomicfigureandDerekCohell’s
“theJewishvictim.
20 GrossclarifiestheShylockperformersineighteen
Century.See:Gross,PP.cit.,pp.10564.
21Lelyveld,ShyloekontheStage,p.7.Butheargues
thatthecomicalshylockwasperformedintheEli-
zabethan era.
22 Cf The Tempest,Ⅱ.ii.40:“Mybestwayistocreep
underhisgabardine.”Ofthisgabardine,CecilRoth
argues that“their clothingwas notoutlandish,
however,nOrdidtheywearanyspecialgarments.”
SeeRoth,“TheBackgroundofShylock,”p.154.
23JamesShapiro,ShakespeareandtheJeu,,p.98.In
additiontohisargument,Rosenbergsumsupthe
Closerelationshipasfollows:“Usuryhadbeenpre-
SCribedasbotheconomicallyunsoundandreligiously
damnable byonepatristicwriterafteranother.”See
Rosenberg,Op.Cit.,p.471.
24 Deu/eronomy,ⅩⅩiii:21.Inthis,PaulJohnsonex-
plainsaboutthepassageinthefollowingway:“Lend-
ingthereforecameunderphilanthropybutyou
WerenOtObligedtobecharitabletowardsthoseyou
didnotknoworearefor.Interestwasthussynony-
mouswithhostility.”SeeJohnson,AHisto7TqFthe
Jeu)S,p.173.SeealsoBernardGrebanier,The Truth
〟み0〝′5妙わc点,p.77.
25MotohashiTetsuyaarguesthatthedramais“the
allegoryofconflictbetweengenderprocreativeness
andcapitalmonetaryincreasability”(mytranslation).
SeeMotohashi,Realb,釣′igh的JShake車ea柁,p.75.
26SomespeechesexemplifyAntonioasahomosexual:
Suchas“Iowethemostinmoneyandinlove”(I.iii.
131).
27 Aninterpretationforhisspeechchangesatheme
Oftheplay:Ontheonehand,ifthePortiaisregarded,
asBrownandMotohashihavepointedout,aSthe
rrletaphorofrrlOrley,thepurposeofBassarlioisfor
money.On theotherhand,aSGrosssuggests,if
“Wealthwouldn’thave beenenoughinitselftomake
Portiawhatsheis,”hispurposeisthemarrlagetOfair
Portia.
28TsurutaManabuproposestoidentifyaChristian
WithaJewintheeconomicalnetwork.Heexemplifies
thefollowingline:“TheHebrewwillturntoChristian:
hegrowskind”(I.iii.175).“Kind”means“kinship”
(OED,kind,3.d.).Surely“Hebrew”doesnotimplythe
hatred]ew,SOShouldberesttoviewtheplayfrom
the economicalnetwork.See Tsuruta,“Theル飽rchant
qFT句nice:theEconomyinEarlyModernEngland
andthe AllegoryofNation,”pp.13042.
29Inthefieldofjewelstudies,however,majorcon-
temporaryinterpretationsdisagreetoadiamondasa
holystone.See:Haruyama,Jewels-Har
㍑点~βゝ几b′〝用/ガ由ねり′,p.6.
30 Sumptuarylawaboutclothesandjewelswassetin
mostEarly Modern Europe.SeeJacob,Ob.cit.,
pp.19397.
31Thewordjおirisnotfixedonlyinreligiousattitude
butalsointheconnectionofmoney.Aftertheexitof
ShylockinSceneIActⅢ,Bassaniosays“Ilikenot
fairtermsandavillain’smind.”(I.iii.176),Which
SuggeStSthatnointerestistheconceptofChristians.
AndjustbeforeBassanio’sspeech,Antoniosaid“Hie
thee,gentleJew.”(I.iii.174).Considering“gentle”as
punningupongentile,theselinesimplytheintegra-
tionofthetworeligionsintheeconomicalandre-
1iglOuSCOnfrontation.
32 AlexanderSchmidtclassifieseachmeaningofsea-
so71;“tOrendermoreagreeable”inⅢ.ii.76.and V
.i.107;“tOqualify,tOtemper”inⅣ.i.197.;“tOgratify
thetasteof”inⅥ.i.97.SeeShakespeare-Lexicon,
seaso)1,2),3)and5).Butthesemeaningsof“season
Canbetoodeeplyinterrelatedwitheachothertobe
ignored.
33 The name“Portia”can comefrom Roman tribes
Poricus.Thenameofthetribederivedfromporcusin
Latin,“pig”inEnglish.Ifhernameisderivedfrom
thetribe,Portiais,aSthenameconnotes,eXpeCtedto
COnfrontwithShylock;pigisafilthyanimalinJuda-
ism.SeeOzawa,“MarkingtoStranger:ViewofShy-
lock,”p.121.
34 SeeJohnson,PP.cit.,p.237
Works Cited
Bevington,David.“TheJewofA4alta.”Reprintedin
HaroldBloom,ed.,ChristopherA4arlowe.ModernCri-
ticalViews.New York:ChelseaHouse Publishers,
107
SASAO Tomo and HIGASHIKAWA Yoichi
JohnW.MahonandEllenMacLeod Mahon,eds.The
Merchantq/tセノIice:A屯u,CriticalEssLVJS.NewYork:
Routledge,2002.
7’/J‘・/Jり/.l・J?/砧・.し’りJJ/‘//JJ/JJ∫川=り(/‘川(/.\’i〃・7’‘・∫l
ん川けノ山.・7’ハ/JJ∫ん//‘・(/りJ//り./-川‘・りノセ/JJ‘//7’りJJ∫J/‘・∫‘川(/
/‘車/J仙イ1け川け7’川JJ∫ん山りJJ∫(///b・JJ/小・し’り川♪〟ハ・(/‘仙/
〃‘・J心‘・‘/恒/J/∫.1/〟け再.l・-∫ しヾ♪‘・l・/‘//し’り川川‘川‘/.・
∴l/-♪りJ〃/‘、(//りわ‘、人l=/(/JJJしソ川ノ■lリJ‘、∫∴lJ///ハり■J二‘、(/人JJJg
jamesl句77min.NewYork:0ⅩfordUniversityPress,
19一?
Hunter,G.K.“Elizabethans and Foreigners.
Sゐα点βゆβα′■βS〝′■㍗り′17:3752,1964.
Johnson,Paul.A助to7γdthehws.NewYork:Harper
&Row,1987.
JointCommitteeontheNewTranslationoftheBible,
7’/J‘・.\’i〃イ「J吋晶/JⅢ砧・.・川‘・川(/7’‘・∫ん川Ji〃/.l.い‖(lい‖:
0ⅩfordUniversityPressandCambridgeUniversity
Press,1970.
Kermode,Frank,ed.The Tempest.The Arden
Shakespeare.London:Routledge,1989,firstreprinted
in1954.
Kitagawa,Teiji.AStuめ′q[A4arlou,e(“MarloweKenk-
yu”).Tokyo:Kenkyusha,1964.
Knight,G.Wilson.Shake車earian Tempest:I/mthaChart
O′5ゐα点β∫♪β〟γβ’∫βγ〟椚〟′gc Uプ7g㍗βγ∫β.London:
Methuen,1953.
KogishiAkira.AGenealo幻′qFル勉rano(“Maranono
Keifu”).Tokyo:Misuzu,1998.
Lelyveld,Toby.Shylockon/heS/age.Cleveland,Ohio:
ThePressofWesternReserveUniversity,1960.
Levin,Harry.The OL,erreaCher:AStu4)′〆Chrわtopher
A4arlowe.Gloucester,Mass:P.Smith,1974,firstre-
printedin1953.
Lothian,].M.andT.W.Graik,eds.,Tu)eLfih几勧t.The
ArdenShakespeare.London:Routledge,1988,firstre-
printedin1975.
Marcus,JacobR.TheJeu,intheMedieLJalWorld:
SourceBook:3151791.NewYork:Atheneum,1972.
Motohashi,Tetsuya.RealbJFrigh娩IShakespeare
(“HontohaKowaiShakespeare”).Tokyo:Kodansha,
2004.
Muir,Kenneth,ed.KingLear.TheArdenShakespeare.
London:Routledge,1989,firstreprintedin1972.
Oliver,H.].,ed.Timon ofAthens.The Arden
Shakespeare.London:Routledge,1986,firstreprinted
in1959.
Ozawa,Hiroshi.“MarkingtoStrarlger:ViewofShylock”
(“IjinwoShirusu:ShylockKo”),inImanishiMasaaki
et al.eds.For the Learners of Shakespeare
1986.
Bloom,Harold,ed.I/mlliamShake坤eareb Theル飽rchant
q/tセノIice.ModernCriticalInterpretations.NewYork:
ChelseaHousePublishers,1986.
Bowers,Fredson,ed.TheJeu,q[A4blta.in TheCom-
Plete f侮rksq/Christopherル勉rlou,e.NewYork:Cam-
bridgeattheUniversityPress,1973.
Bradbrook,M.C.,Shake車eare:thePoetinHis World.
NewYork:ColumbiaUniversityPress,1978.
Brown,JohnRussel,ed.TheMerchantqFTセノIice.The
ArdenShakespeare.London:ThomasNelson&Sons
Ltd,2003,firstpublishedin1955.
Burckhardt,Sigurd.Shake車earean爪先anings.Princeton,
N.].:PrincetonUniversityPress,1968.
Cohen,Derek.“ShyloekandtheIdeaoftheJew.”Re-
printedinHaroldBloom,ed.,Shylock.MajorLiterary
Character.NewYork:ChelseaHouse,1991.
Eagleton,Terry.WilliamShakespeare.NewYork:B.
Blackwell,1986.
Echeruo,MichaelJ.C.“Shylockandthe‘Conditioned
Imagination’:A Reinterpretation.”Shakespeare
¢〝αγ′βγ抄,22(1):315,1971.
Eliot,T.S.TheSbcredI侮od:EssLVJSOnPoetり′andCri-
ticism.London:Methuen,1950.
Ferber,Michael.“TheIdeologyofTheMerchantof
l句プ7gCβ.”且プ7gJg∫ゐ⊥g′βγ〟り′月βプ7αg∫∫αプ7Cβ20:431464,
1990.
Fiedler,LeslieA.TheSt77ulgerinShake坤eare.London:
C.Hellll,1973.
Fisch,Harold.TheDua11mage:theFigureq′theJewi71
EnglishandAmericanLiterature.NewYork:Ktav
Pub.House,1971.
Granville-Barker.Harley,“The几免rcha)1tdtセノ1ice.”Re-
printedinSylvanBarnet,ed.,Tu,entiethCentu7TIn-
/‘ノ♪ハ・ん/〟りJJ∫り′川‘・.1ム・ノ・lリJ…J/り′l’i〃/l・‘・.・‘/し’り//‘・l・/川JJ
q/CriticalEssLVJS.EnglewoodCliffs,N.].:Prentice-Hall,
1970.
Grebanier,Bernard.The TruthaboutShylock.New
York:RandomHouse,1962.
Greenblatt,Stephen.RenaissanceSeLfFbshioning:カ■Om
MoretoShake車eare.Chicago:UniversityofChicago
Press,1980.
Gross,John.Shylock:ALegendand)tsLegacy.New
York:Simon&Schuster,1992.
Haruyama,Yukio.Jeu,els-1hruyama‡旬kio’s几加ural
Histoり′(“Hoseki-HaruyamaYukionoHakubut-
sushi”),VOl.1.Tokyo:HeiborlSha,1989.
Holmer,JoanOzark.“JewishDaughters:TheQuestion
OfPhilo-SemitisminElizabethanDrama.”Reprintedin
108
ShylockasaJew:TheElizabethanViewofJewsin TheA忽rchantqf.一々nice
(“ShakespearewoManabuHitonoTameni”).Kyoto:
SekaiShisosha,2000.
Plowman,Max.“Moneyand’Theル飽rchant’.”Reprinted
inJohnWilders,ed.,Shakespeare:TheMerchantq[
tセノIice:aCasebook.London:Macmillan,6threprint,
1986.
Rosenberg,Edgar.“TheJewinWesternDrama.”Bulle-
′わ7q′几七紺yβγ点P〝摘c上g如Ⅵり′72:44291,1968.
Roth,Cecil.“TheBackgroundofShylock.”ReLJieu,qF
且プ7gJねゐ5J〝dgβ∫ⅠⅩ:14856,1933.
Saito,Mamoru.ShakespeareandHob7Dimension:/he
Approachj)・OmtheSource(“shakespearetoSeinaru
Jigen:ZaigenkaranoApproach”).Tokyo:Hokuseido,
1999.
Sanders,Wilbur.“DramatistasRealist:’Theノβu)d几勉l-
ta’.”ReprintedinHaroldBloom,ed.,ChristopherA4ar-
lou)e.ModernCriticalInterpretations.NewYork:
ChelseaHousePublishers,1986.
Shapiro,James.ShakespeareandtheJeu,.NewYork:
ColumbiaUniversityPress,1996.
Shell,Marc.Art&A40ney.Chicago:UniversityofChica-
goPress,1995.
Stoll,ElmerEdgar.Shake車eareStudies:Historicaland
Compa771tiLJeinA4uhod.NewYork:FrederickUngar,
SeCOndedition,1960.
Tsuruta,Manabu.“TheMerchantq[t句プIice:theEco-
nomyinEarlyModernEnglandandtheAllegoryof
Nation”(”TheMerchantqFTセノIice:KindaiShokino
KeizaitoKokkanoGuwa”)inShibataToshihikoed.,
Rereadi71gShakespeare(“shakespearewoYomi-
naosu”).Tokyo:Kenl{yuSha,2001.
Wistrich,RobertS.Antisemitism:theLongestHatred.
NewYork:PantheonBooks,1991.
Young,James.I析′itingandReu)ritingtheHolocaust:
.\’‘/ノ・ハ///J・=川(/川‘・し’りJJ∫=〃‖〃l・‘・∫り′/JJ/‘ノ♪ハ・ん/〟りJJ.
Bloomington:IndianaUniversityPress,1988.
(佐々尾 知 札幌・岩見沢校大学院生)
(東川 洋一 札幌校教授)
109