Shylock Quotes

Thou calledst me a dog before thou hadst a cause, But since I am a dog, beware my fangs.

There were a lot of terms you had to learn, as opposed to the shylock business where all you had to know how to say was 'Give me the fuckin money.

Life repeats Shakespearian themes more often than we think. Did Lady Macbeth, Richard III, and King Claudius exist only in the Middle Ages? Shylock wanted to cut a pound of flesh from the body of the merchant of Venice. Is that a fairy tale?

Do all men kill all the things they do not love? Shylock: Hates any man the thing he would not kill? Bassanio: Every offence is not a hate at first.

There are moments when I feel that the Shylocks, the Judases, and even the Devil are broken spokes in the great wheel of good which shall in due time be mad whole.

Shylock repointed his twitching, accusatory digit at his daughter. “You do not say such things in my house. You—you—you—you—” “Run along, love, it appears that Papa’s been stricken with an apoplexy of the second person.

If it will feed nothing else, it will feed my revenge.

Everything dictated silence and self-control but I couldn't restrain myself and spoke my mind.

But what if you are a smart girl in love? All because I was a book nerd didn’t mean, I didn’t feel, I didn’t want. Shylock had cried out in excess of pain, “If you prick me do I not bleed!” But a book nerd is not allowed to be human, to say “you make me melt” and still have her mind want something else entirely?

I was forty-five years old and tired of being an artist. Besides, I owed $20,000 to relatives, finance companies, banks and assorted bookmakers and shylocks. It was really time to grow up and sell out as Lenny Bruce once advised. So I told my editors 'OK, I'll write a book about the mafia, just give me some money to get started'.

Signior Antonio, many a time and oft In the Rialto you have rated me About my moneys and my usances; Still have I borne it with a patient shrug, For suff’rance is the badge of all our tribe; You call me misbeliever, cut-throat dog, And spet upon my Jewish gaberdine, And all for use of that which is mine own. Well then, it now appears you need my help; Go to, then; you come to me, and you say ‘Shylock, we would have moneys.’ You say so: You that did void your rheum upon my beard, And foot me as you spurn a stranger cur Over your threshold; moneys is your suit. What should I say to you? Should I not say ‘Hath a dog money? Is it possible A cur can lend three thousand ducats?’ Or Shall I bend low and, in a bondman’s key, With bated breath and whisp’ring humbleness, Say this:— ‘Fair sir, you spit on me on Wednesday last; You spurn’d me such a day; another time You call’d me dog; and for these courtesies I’ll lend you thus much moneys?

If that made him heavy company sometimes, so be it. Who decreed that life was to be one long rowdy masquerade (punctuated with those little pets of melancholy indulged by a crowd who made a religion of their feelings)?

...they'll say, 'He never recovered from that breakdown and this was the result. It had to be the breakdown--not even he was that dreadful a novelist.

That's how vilification works. The victim ingests the views of his tormentor. If that's how I look, that's what I must be.

...Don't tell me he's bisexual! Don't tell me this is more of the guy in the hallway! Don't tell me he wants us to have it off together, Philip Roth fucking Philip Roth! That, I'm afraid, is a form of masturbation too fancy even for me.

Better for real things to be uncontrollable, better for one's life to be undecipherable and intellectually impenetrable than to attempt to make casual sense of what is unknown with a fantasy that is mad. Better, I thought, that the events of these past three days should remain incomprehensible to me forever than to posit, as I had just been doing, a conspiracy of foreign intelligence agents who are determined to control my mind. We've all heard that one before.

Look, I've got more personalities than I can use already. All you are is one too many.

Would that I were still a ludicrous character in his lousy book!

The pound of flesh which I demand of him Is dearly bought; 'tis mine, and I will have it.

I left the front stoop on Leslie Street, ate of the fruit of the tree of fiction, and nothing, neither reality nor myself, has been the same since.

Where everything is words, you'd think I'd have some mastery and know my way around, but all this churning hatred, each man a verbal firing squad, immeasurable suspicions, a flood of mocking, angry talk, all of life a vicious debate, conversations in which there is nothing that cannot be said...no, I'd be better off in the jungle, I thought, where a roar's a roar and no one is hard put to miss its meaning.

Nothing could appear to be more human than refusing to believe extinction possible so long as you were encircled by luscious eggplants and ripe tomatoes[..]

A man’s character isn’t his fate; a man’s fate is the joke that his life plays on his character.

it, making amends to father is hard work—all that hacking through the undergrowth of stale pathology with the machete of one’s guilt.

I’m looking at myself,” he said, ecstatically, “except it’s you.

Can no prayers pierce thee? SHYLOCK: No, none that thou hast wit enough to make.

Do you believe Shakespeare’s Shylock and Dickens’s Fagin have been of no use to anti-Semites?

Names have a way of stamping themselves on our consciousness. Peter Pan, Luke Skywalker, Jack Reacher, Fagin, Shylock, Moriarty. . . can we imagine them as anything else?

shylocking

I swear, Sixsmith, that old Shylock looks more repulsive every time I clap eyes on him. Has he got a magical portrait of himself stashed in his attic, getting more beautiful by the year?

Poems 1959-2009_ I turn into the man they photograph. I think I'll ask him for his autograph. He's older than I am and more distinguished. The beauty of the boy has been extinguished. He smiles a lot and then not. Hauteur is the new hot. He tilts his nose up and looks imperious. He wants to make sure he looks serious. He smiles at the photographer but not The camera. He thinks cold is the look that's hot. You know the poems. It's an experience. The way that Shylock is a Shakespearience. A Jew found frozen on the mountain at the howling summit, Immortally preserved singing to the dying planet from it.

People say one thing, adopt a public position, and are then quite different on the inside and privately act in a totally different way. They have an expression for this: ‘the shifting sands’—ramál mutaharrika

In addition, unlike Othello, whose profession of arms is socially honorable, Shylock is a professional usurer who, like a prostitute, has a social function but is an outcast from the community. But, in the play, he acts unprofessionally; he refuses to charge Antonio interest and insists upon making their legal relation that of debtor and creditor, a relation acknowledged as legal by all societies. Several critics have pointed to analogies between the trial scene and the medieval Processus Belial in which Our Lady defends man against the prosecuting Devil who claims the legal right to man’s soul. […] But the differences between Shylock and Belial are as important as their similarities. The comic Devil of the mystery play can appeal to logic, to the letter of the law, but he cannot appeal to the heart or to the imagination, and Shakespeare allows Shylock to do both. In his "Hath not a Jew eyes…" speech in Act III, Scene I, he is permitted to appeal to the sense of human brotherhood, and in the trial scene, he is allowed to argue, with a sly appeal to the fear a merchant class has of radical social evolution: You have among you many a purchased slave Which like your asses and your dogs and mules, You use in abject and in slavish parts, which points out that those who preach mercy and brotherhood as universal obligations limit them in practice and are prepared to treat certain classes of human beings as things.

Portia we can admire because, having seen her leave her Earthly Paradise to do a good deed in this world (one notices, incidentally, that in this world she appears in disguise), we know that she is aware of her wealth as a moral responsibility, but the other inhabitants of Belmont, Bassanio, Gratiano, Lorenzo and Jessica, for all their beauty and charm, appear as frivolous members of a leisure class, whose carefree life is parasitic upon the labors of others, including usurers. When we learn that Jessica has spent fourscore ducats of her father’s money in an evening and bought a monkey with her mother’s ring, we cannot take this as a comic punishment for Shylock’s sin of avarice; her behavior seems rather an example of the opposite sin of conspicuous waste. Then, with the example in our minds of self-sacrificing love as displayed by Antonio, while we can enjoy the verbal felicity of the love duet between Lorenzo and Jessica, we cannot help noticing that the pairs of lovers they recall, Troilus and Cressida, Aeneas and Dido, Jason and Medea, are none of them examples of self-sacrifice or fidelity. […] Belmont would like to believe that men and women are either good or bad by nature, but Antonio and Shylock remind us that this is an illusion; in the real world, no hatred is totally without justification, no love totally innocent.

...I finally went back to my seat in the second row and sat there doing what I've done throughout my professional life: I tried to think, first, how to make credible a somewhat extreme, if not outright ridiculous story, and, next, how, after telling it, to fortify and defend myself from the affronted who read into the story an intention having perhaps to do less with the author's perversity than with their own.

I understood that people are trying to transform themselves all the time: the universal urge to be otherwise. So as not to look as they look, sound as they sound, be treated as they are treated, suffer in the ways they suffer, etc., etc., they change hairdos, tailors, spouses, accents, friends, they change their addresses, their noses, their wallpaper, even their forms of government, all to be more like themselves or less like themselves, or more like or less like that exemplary prototype whose image is theirs to emulate or to repudiate obsessively for life.

My second Jewish courtroom in two days. Jewish judges. Jewish laws. Jewish flags. And non-Jewish defendants. Courtrooms such as Jews had envisioned in their fantasies for many hundreds of years, answering longings even more unimaginable than those for an army or a state. One day we will determine justice!

And all for use of that which is mine own.     Well then, it now appears you need my help.     Go to, then. You come to me, and you say     ‘Shylock, we would have moneys’—you say so,     You, that did void your rheum upon my beard,     And foot me as you spurn a stranger cur     Over your threshold. (1.3.107–15)

After Portia has trapped Shylock through his own insistence upon the letter of the law of Contract, she produces another law by which any alien who conspires against the life of a Venetian citizen forfeits his goods and places his life at the Doge’s mercy. […] Shakespeare, it seems to me, was willing to introduce what is an absurd implausibility for the sake of an effect which he could not secure without it: at the last moment when, through his conduct, Shylock has destroyed any sympathy we may have felt for him earlier, we are reminded that, irrespective of his personal character, his status is one of inferiority. A Jew is not regarded, even in law, as a brother.

I suppose I should have laughed even more uproariously at what happened next; as a newly anointed convert to the Old Comedy, I should have bounded to my feet, cried aloud, "Hallelujah!" and sung the praises of He Who Created Us, He Who Formed Us from the Mud, the One and Only Comic Almighty, OUR SOVEREIGN REDEEMER ARISTOPHANES, but for reasons all too profane (total mental paralysis) I could only gape at the sight of nothing less than the highly entertaining Aristophanic erection that Pipik had produced....

You know what’s at the heart of the misery of a breakdown? Me-itis. Microcosmosis. Drowning in the tiny tub of yourself

The Israelis will have saved their state by destroying their people.

Let your Jewish conscience be your guide.

To you things that aren’t thinkable in intellectual terms aren’t worth thinking about.

the me who’s not me encamped boldly in Jewish Jerusalem while I go underground with the Arabs.

Jews have a reputation for being intelligent, and they are intelligent. The only place I have ever been where all the Jews are stupid is Israel.

that the Jews were victims before they were conquerors and that they are conquerors only because they are victims.

the idealization of the mockery; and the mockery of the idealization;

Grandpa wasn’t a Jewish nationalist—he was a Jewish humanist, a spiritual, believing Jew, who complained not in an antique tongue called Hebrew but in colorful, rich, vernacular Yiddish.

It was not for me, after these last seventy-two hours, to reject as too outlandish the possibility that the situation for him here had driven George crazy. Yet I did reject it. It was just too insipid a conclusion. Not everybody was cray. Resolute is not crazy. Deluded is not crazy. To be thwarted, vengeful, terrified, treacherous--this is not to be crazy. Not even fanatically held illusions are crazy, and deceit certainly isn't crazy--deceit, deviousness, cunning, cynicism, all of that is far from crazy...and there, that, deceit, there was the key to my confusion. Of course!

Could he continue to maintain his sanity that long? He didn't know. That's why he was devouring two or three books a day - to remove himself every minute that he possibly could from the madness of this life.

Suffice it to say I was compelled to create this group in order to find everyone who is, let's say, borrowing liberally from my INESTIMABLE FOLIO OF CANONICAL MASTERPIECES (sorry, I just do that sometimes), and get you all together. It's the least I could do. I mean, seriously. Those soliloquies in Moby-Dick? Sooo Hamlet and/or Othello, with maybe a little Shylock thrown in. Everyone from Pip in Great Expectations to freakin' Mr. Rochester in Jane Eyre mentions my plays, sometimes completely mangling my words in nineteenth-century middle-American dialect for humorous effect (thank you, Sir Clemens). Many people (cough Virginia Woolf cough) just quote me over and over again without attribution. I hear James Joyce even devoted a chapter of his giant novel to something called the "Hamlet theory," though do you have some sort of newfangled English? It looks like gobbledygook to me. The only people who don't seek me out are like Chaucer and Dante and those ancient Greeks. For whatever reason. And then there are the titles. The Sound and the Fury? Mine. Infinite Jest? Mine. Proust, Nabokov, Steinbeck, and Agatha Christie all have titles that are me-inspired. Brave New World? Not just the title, but half the plot has to do with my work. Even Edgar Allan Poe named a character after my Tempest's Prospero (though, not surprisingly, things didn't turn out well for him!). I'm like the star to every wandering bark, the arrow of every compass, the buzzard to every hawk and gillyflower ... oh, I don't even know what I'm talking about half the time. I just run with it, creating some of the SEMINAL TOURS DE FORCE OF THE ENGLISH LANGUAGE. You're welcome.

They lived harmoniously with Arabs for a thousand years. But the white Israelis have taught them that, too—how to hate the Arabs and how to hate themselves. The white Israelis have turned them into their thugs.

I chose to sit as I have been sitting all my life, in a chair, at a desk, under a lamp, substantiating my peculiar existence in the most consolidating way I know, taming temporarily with a string of words the unruly tyranny of my incoherence.

Instead, employing the disguise of my own face and name, I listened intently to all the suppositions spawned by his unbearable grievance, to the suffering spilling out of him in every word; I studied him with the coldhearted fascination and intense excitement of a well-placed spy.

But I never did escape from this plot-driven world into a more congenial, subtly probable, innerly propelled narrative of my own devising--didn't make it to the airport,...--and that was because in the taxi I remembered a political cartoon I'd seen in the British papers when I was living in London during the Lebanon war, a detestable cartoon of a big-nosed Jew, his hands meekly opened out in front of him and his shoulders raised in a shrug as though to disavow responsibility, standing atop a pyramid of dead Arab bodies. Purportedly a caricature of Menachem Begin, then prime minister of Israel, the drawing was, in fact, a perfectly realistic, unequivocal depiction of a kike as classically represented in the Nazi press. The cartoon was what turned me around. Barely ten minutes out of Jerusalem, I told the driver to take me back to the King David Hotel.

As was the case in many left-wing Jewish homes, I learned a different version of “Never again”—that it was a directive, a sacred duty, to oppose hate and discrimination in all its forms, no matter who was the target. But, for the same reasons that she selected my biblical name, my mother insisted that I go to Hebrew day school to cement the bond to our tribe, to learn the songs, rituals, and languages (both Hebrew and Yiddish) that our adversaries had been trying to annihilate since before the Inquisition. And at that school, “Never again” did not mean “Never again to anyone,” as it did in our home—it meant “Never again to the Jews.” It meant “Never again because of Israel.” It meant “Never again because we who have been haunted by Shylock forever have our own double now—and he has a great many guns.

This is the plot up to the moment when the writer leaves the woman still dolefully enmeshed in it, and, suitcase in hand, tiptoeing so as not to disturb her postcoital rest, he himself slips silently out of the plot on the grounds of its general implausibility, a total lack of gravity, reliance at too many key points on unlikely coincidence, an absence of inner coherence, and not even the most tenuous evidence of anything resembling a serious meaning or purpose. The story so far is frivolously plotted, overplotted, for his taste altogether too freakishly plotted, with outlandish events so wildly careening around every corner that there is nowhere for intelligence to establish a foothold and develop a perspective. As if the look-alike at the story's storm center isn't farfetched enough, there is the capricious loss of the Smilesburger check (there is the fortuitous appearance of the Smilesburger check; there is Louis B. Smilesburger himself, Borscht Belt deus ex machina), which sets the action on its unconvincing course and serves to reinforce the writer's sense that the story has been intentionally conceived as a prank, and a nasty prank at that, considering the struggles of Jewish existence that are said to be at issue by his antagonist.

To make a Jewish state we have betrayed our history - we have done unto the Palestinians what the Christians have done unto us: systematically transformed them into the despised and subjugated Other, thereby depriving them of human status. Irrespective of terrorism or terrorists or the political stupidity of Yasir Arafat, the fact is this: as a people the Palestinians are totally innocent and as a people the Jews are totally guilty.

The radio was playing ‘Easter Parade’ and I thought, but this is Jewish genius on a par with the Ten Commandments. God gave Moses the Ten Commandments and then He gave to Irving Berlin ‘Easter Parade’ and ‘White Christmas.’ The two holidays that celebrate the divinity of Christ—the divinity that’s the very heart of the Jewish rejection of Christianity—and what does Irving Berlin brilliantly do? He de-Christs them both! Easter he turns into a fashion show and Christmas into a holiday about snow.

Maybe that’s why the children are in the first wave, why, instead of fighting against the enemy with grown men, they are dispatching children, armed only with stones, to provoke the firepower of the Israeli army. Yes, to make the networks forget their Holocaust we will stage our Holocaust. On the bodies of our children the Jews will perpetrate a Holocaust, and at last the TV audience will understand our plight. Send in the children and then summon the networks—we’ll beat the Holocaust-mongers at their own game!

Ink runs in their veins, immortal ink, the ink of song and story.” It was the voice of Andreus. “Ink can be destroyed,” cried Black, “and men who are made of ink. Name me their names!” They came so swiftly from the skies Andreus couldn’t name them all, streaming out of lore and legend, streaming out of song and story, each phantom flaunting like a flag his own especial glory: Lancelot and Ivanhoe, Athos, Porthos, Cyrano, Roland, Rob Roy, Romeo; Donalbane of Birnam Wood, Robinson Crusoe and Robin Hood; the moody Doones of Lorna Doone, Davy Crockett and Daniel Boone; out of near and ancient tomes, Banquo’s ghost and Sherlock Holmes; Lochinvar, Lothario, Horatius, and Horatio; and there were other figures, too, darker, coming from the blue, Shakespeare’s Shylock, Billy Bones, Quasimodo, Conrad’s Jones, Ichabod and Captain Hook—names enough to fill a book. “These wearers of the O, methinks, are indestructible,” wailed Littlejack. “Books can be burned,” croaked Black. “They have a way of rising out of ashes,” said Andreus.

This is why it would be nice to hear more about principles and less about ruffled feelings. What thoughtful person has not felt the hurt expressed by the Jews over some performances of The Merchant of Venice? A whole anthology of black writing exists in the United States, protesting with quite unfeigned horror about the teaching of Huckleberry Finn in the schools, for the good and sufficient reason that the book employs the word ‘nigger’ as natural. A mature and sensitive response to such tenderness of feeling and consciousness of historic wrong would run much like this, and could be uttered by a person of any race or religion ... We know why you feel as you do, but – too bad. Your thinness of skin, however intelligible, will not be healed by the amputation of the literary and theatrical and musical canon. You just have to live with Shakespeare and Dickens and Twain and Wagner, mainly because they are artistically integral but also, as it happens, because they represent certain truths about human nature. Think for a second. Would prejudice diminish with the banning of Shylock? Concern for the emotions of others cannot license a category mistake on this scale.

The stupendous quarrel, the perpetual emergency, the monumental unhappiness, the battered pride, the intoxication of resistance had rendered him incapable of even nibbling at the truth, however intelligent he still happened to be. By the time his ideas wormed their way through all that emotion, they had been so distorted and intensified as only barely to resemble human thought. Despite the unremitting determination to comprehend the enemy, as though in understanding them there was still, for him, some hope, despite the thin veneer of professorial brilliance, which gave even his most dubious and bungled ideas a certain intellectual gloss, now at the core of everything was hatred and the great disabling fantasy of revenge.

I heard myself next praising the greatest Diasporist of all, the father of the new Diasporist movement, Irving Berlin. “People ask where I got the idea. Well, I got it listening to the radio. The radio was playing ‘Easter Parade’ and I thought, But this is Jewish genius on a par with the Ten Commandments. God gave Moses the Ten Commandments and then He gave to Irving Berlin ‘Easter Parade’ and ‘White Christmas.’ The two holidays that celebrate the divinity of Christ—the divinity that’s the very heart of the Jewish rejection of Christianity—and what does Irving Berlin brilliantly do? He de-Christs them both! Easter he turns into a fashion show and Christmas into a holiday about snow. Gone is the gore and the murder of Christ—down with the crucifix and up with the bonnet! He turns their religion into schlock.

I told them that if the Israelis ever reached a point where they believed their survival depended not merely on breaking hands but on dropping a nuclear bomb, that would be the end of Judaism, even if the state of Israel should survive. “Jews as Jews will simply disappear. A generation after Jews use nuclear weapons to save themselves from their enemies, there will no longer be people to identify themselves as Jews. The Israelis will have saved their state by destroying their people. They will never survive morally after that; and if they don’t, why survive as Jews at all? They barely have the wherewithal to survive morally now. To put all these Jews in this tiny place, surrounded on all sides by tremendous hostility—how can you survive morally? Better to be marginal neurotics, anxious assimilationists, and everything else that the Zionists despise, better to lose the state than to lose your moral being by unleashing a nuclear war.

It is through the Holocaust that they sustain their connection to world Jewry, especially to privileged, secure American Jewry, with its exploitable guilt over being unimperiled and successful. Without the connection to world Jewry, where is their historical claim to the land? Nowhere! If they were to lose their custodianship of the Holocaust, if the mythology of the dispersion were to be exposed as a sham—what then? What happens when American Jews shed their guilt and come to their senses? What happens when American Jews realize that these people, with their incredible arrogance, have taken on a mission and a meaning that is utterly preposterous, that is pure mythology? What happens when they come to realize that they have been sold a bill of goods and that, far from being superior to Diaspora Jewry, these Zionists are inferior by every measure of civilization? What happens when American Jews discover that they have been duped, that they have constructed an allegiance to Israel on the basis of irrational guilt, of vengeful fantasies, above all, above all, based on the most naive delusions about the moral identity of this state? Because this state has no moral identity. It has forfeited its moral identity, if it ever had any to begin with. By relentlessly institutionalizing the Holocaust it has even forfeited its claim to the Holocaust! The state of Israel has drawn the last of its moral credit out of the bank of the dead six million—this is what they have done by breaking the hands of Arab children on the orders of their illustrious minister of defense. Even

Measure your progress by your experience of the love of God and its exercise before men... In contrast, servile, base, and mercenary is the notion of Christian practice among the bulk of nominal Christians. They give no more than they dare not withhold. They abstain from nothing but what they dare not practice. When you state to them the doubtful quality of any action, and the consequent obligation to refrain from it, they reply to you in the very spirit of Shylock, " they cannot find it in the bond." In short, they know Christianity only as a system of restraints. It is robbed of every liberal and generous principle. It is rendered almost unfit for the social relationships of life, and only suited to the gloomy walls of a cloister, in which they would confine it. But true Christians would consider themselves as not satisfying some rigorous creditor, but as discharging a debt of gratitude. Accordingly, theirs is not the stinted return of a constrained obedience, but the large and liberal measure of voluntary service."-William Wilberforce, Real Christianity

Stuyvesant High School. In an English class, his teacher had been discussing The Merchant of Venice, and had held up the character of Shylock as “typical” of Jewish cruelty and greed. David Sarnoff had protested this interpretation, and had been hauled into the principal’s office for disrupting the classroom. The

Shakespeare's Sonnet XVIII: This Thing of Ours Should I compare yous to a made man You gots more stugots and love to bust chops. Eh! You do whatcha gotta do, Jack a truck, buttleg or shoot some feds or cops. Nuthin gives you agita like a rat with a wire, You let the boss decide who lives and who gets whacked. You have sit-downs with the higher-ups with all your beefs, You've taken the vow of Omertá, silence and honor is your pact. You love your goomah and take care of your wife, You got your crew'sback, you're a stand-up guy. You got a vig on the Shylock biz and a taste from swag, When your Capo says 'burn that jamook,' never ask why. So long as you don't wanna be a guest of the state and eyes can see, Count on Tony to pop the witnesses, leave the gun and grab the cannoli.

SHYLOCK.- ¡Oh!, no, no, no, no. Mi intención al decir que es bueno es haceros comprender que lo tengo por solvente. Sin embargo, sus recursos son hipotéticos

tu humildad puede hacérnosla transformar en multa. PORCIA.- Sí, por lo que respecta al Estado, pero no por lo que concierne a Antonio. SHYLOCK.- No, tomad mi vida y todo. No excuséis eso más que lo restante. Os apoderáis de mi casa cuando me quitáis el apoyo que la sostiene; me quitáis mi vida cuando me priváis de los medios de vivir.

Shylocks Evolve with Changing Times "You can pays us the vig on the five large by paypal, moneybookers, bitcoin, bankwire or by escrow.com. If you don't pay us back we'll outsource someone to break your legs from either Craigslist, freelancers.com, ODesk, 99designs, Aquent, Elance, FlexJobs or Fiverr.

Shylock {Couplet} Walk with the knowledge that you never walk alone; Run from the Shylock who gave you a personal loan.

The leaders of Jamestown had borrowed directly from the Roman model of slavery: abandoned children and debtors were made slaves. When indentured adults sold their anticipated labor in return for passage to America, they instantly became debtors, which made their orphaned children a collateral asset. It was a world not unlike the one Shakespeare depicted in The Merchant of Venice, when Shylock demanded his pound of flesh. Virginia planters felt entitled to their flesh and blood in the forms of the innocent spouses and offspring of dead servants.36

In idealizing or romanticizing America, a Jewish songwriter would inevitably change it. Irving Berlin suppressed his own Jewish identity, but he also did something much more dramatic and extraordinary. In a memorable riff in Operation Shylock (1993), Philip Roth dubs Berlin “the greatest Diasporist of all” and writes, “The radio was playing ‘Easter Parade’ and I thought, but this is Jewish genius on a par with the Ten Commandments. God gave Moses the Ten Commandments and then He gave to Irving Berlin ‘Easter Parade’ and ‘White Christmas.’ The two holidays that celebrate the divinity of Christ—the divinity that’s the very heart of the Jewish rejection of Christianity—and what does Irving Berlin brilliantly do? He de-Christs them both! Easter he turns into a fashion show and Christmas into a holiday about snow.” The passage is hilarious, the tone that of a tummler, but the argument couldn’t be more serious. “Is that so disgraceful a means of defusing the enmity of centuries? Is anyone really dishonored by this? If schlockified Christianity is Christianity cleansed of Jew hatred, then three cheers for schlock. If supplanting Jesus Christ with snow can enable my people to cozy up to Christmas, then let it snow, let it snow, let it snow.”21 Though the passage is unequivocal in its endorsement of Berlin’s “means of defusing the enmity of centuries,” note that Roth himself, whom Jewish critics used to lecture for showing disrespect to the fathers and the faith, could not sound more Jewish in this passage and in Operation Shylock as a glorious whole. The

Philip Roth explored this push and pull in his doppelganger novel Operation Shylock: “It’s too ridiculous to take seriously and too serious to be ridiculous,

Another Byzantine miracle was an original version of Shylock. Shakespeare and his fellow dramatists plundered the Church legends as freely as their masters plundered the Church treasuries, yet left a mass of dramatic material untouched.

That summer, the Company became the focus for much scandalous gossip in London. There was already in print a brilliant satire attacking the directors of the EIC – Debates in the Asiatic Assembly. Among its characters were Sir Janus Blubber, Shylock Buffalo, Jaundice Braywell, Sir Judas Venom, Donald Machaggies, Caliban Clodpate, Skeleton Scarecrow and the villainous Lord Vulture, a character clearly modelled on Clive. As the parade of Company grotesques praise Lord Vulture, only one character – George Manly – dares denounce the others as ‘a troop of desperate banditti … a scandalous confederacy to plunder and strip’.

Ibhafidon had said he could not believe his own sister wanted to marry a shylock. This is the derogation Nigerians adopted for the Chinese in the late 2080s. Shylocks—because they had come to collect what they were owed. The country had been hundreds of billions of dollars in debt, and the Chinese had come to claim the collaterals against which those loans were taken. Oil wells and oil fields. Gold mines and steel

Thus in Twelfth Night the fact that Malvolio is called demon-possessed, and is associated with the devil over and over again, points to his thematic role in the play. Like Satan, he is sick with self-love, falling by the force of his own gravity, as Chesterton said. Of course, Malvolio is a comic devil, not nearly so threatening as Iago or Shylock, but he is a devil nonetheless. And his devilry is manifest particularly in his desire to end the gaiety of Olivia’s house. Here especially the title of the play comes into its own. Twelfth Night is named for the last night of the Christmas season, the final celebration of the Incarnation. It is a night for carnival, for suspension of the serious and structured. Malvolio wants to stop the merriment, and so it is fitting that he is ultimately excluded from it. But more: Malvolio is not only excluded from the comic climax of the play. He is excluded and overcome through trickery, practical joking, mirth. Satan digs a pit for the merry, but Satan falls into the very pit of merriment. And it tortures him forever. In the final analysis, that is the practical import of all that has been said in this little book: the joy of Easter, the joy of resurrection, the joy of trinitarian life does not simply offer an alternative “worldview” to the tragic self-inflation of the ancients. Worked out in the joyful life of the Christian church, deep comedy is the chief weapon of our warfare. For in the joy of the Lord is our strength, and Satan shall be felled with “cakes and ale” and midnight revels.