. Shakespeare on the stage. u c/3 <o THE MERCHANT OF VENICE 147 all to render the deeds of mercy, he made a movementof head and hand to signify his rejection of the senti-ment as something completely irrelevant to himselfand his race. Other performers of Shylock have usedthat business in later years. EDMUND KEAN. Edmund Kean, whose great triumph in the partof Shylock Yfas achieved at Drury Lane, on a drearywinter night, January 26, 1814!, presented the Jewas a creature of murderous malice, and yet of distinc-tively Hebraic majesty, and of what can perhapscorrectly be called Mosaic fanaticis
. Shakespeare on the stage. u c/3 <o THE MERCHANT OF VENICE 147 all to render the deeds of mercy, he made a movementof head and hand to signify his rejection of the senti-ment as something completely irrelevant to himselfand his race. Other performers of Shylock have usedthat business in later years. EDMUND KEAN. Edmund Kean, whose great triumph in the partof Shylock Yfas achieved at Drury Lane, on a drearywinter night, January 26, 1814!, presented the Jewas a creature of murderous malice, and yet of distinc-tively Hebraic majesty, and of what can perhapscorrectly be called Mosaic fanaticism, a relentlessadherence to the dogma an eye for an eye and a toothfor a tooth; captivating the public, however, more bythe spell of terror, exerted in a whirlwind of conflict-ing passions suddenly loosed out of cold, concentrated,iron composure, than by a definite, coherent, roundedimpersonation. One of his greatly effective pointswas a complete collapse at the climax of the TrialScene, when he spoke, in tones of overwhelm
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectshakespearewilliam15
