西南大学硕士学位论文硬币的两面——莎士比亚戏剧人物研究姓名：陈墨女申请学位级别：硕士专业：英语语言文学指导教师：罗益民20100401
硬币的两面——莎士比亚戏剧人物研究摘要：莎士比距的戏剧人物米自酱罗大众，他们之中有贵族血脉，也有平民白．姓，但基本上都如同那硬币的两面，有正有反，有得有火，亦正亦邪。在他们身上善恶美n都是流动的，相对的。其他作家笔下的人物一般是单独的个体，莎士比哑笔-卜．的则是全人类。首先，如果白身的内部矛盾得不到解决就会像马克·安东尼一样，不断困惑于荣誉与耻辱，责任与享乐之中。对自己的祖国罗马，他有着无限崇高的理想；对自己的情人克里奥派特拉，他亦有无法控制的爱。因为荣誉的问题是一个自我矛盾的问题，所以对荣誉强烈的执着影响了他的性格。!J1根结底，安东尼陷丁自我困境之中。他在《安尔尼与克里奥派特拉》中情绪波动很大，当他被罗马和那些七兵召唤时，他会热血沸腾地想剑他的国家，想到他作为一个军人的义务与责任；当他与克里奥派特拉一起时，他义沉溺于埃及这个温柔乡中。曾经的理智被情感慢慢吞噬，曾经的荣誉羁绊于爱情。似乎安东尼只能够保持短暂的清醒，冈为很快，他义会拜倒在这个女人的石榴裙下。感情理智难两全，爱情荣誉难两全，安东尼已无法控制自己的内心世界，所以在这种的情况下，他以死来解决自我心理矛盾，以死米结合那硬币的阴阿I两面。其次，如果一个人无法解决自己与他人之间的矛盾就可能像复洛克一样被人家误解，甚至被白己最亲的女儿误解。f：慈的问题就是自身与他人之间关系的问题。放高利贷者众多，夏洛克却成了众欠之的。杰．西卡透露出的事让外人觉得他与女儿都很难相处，所以人家认为他自私自利，毫无怜悯之心也就不足为奇。与他人之间K时间的冷漠关系使别人没办法了解他其实是个很爱自己妻女的人，冈此矛盾也就一再升级。夏洛克并不是个杀人不眨眼的恶魔，而是不懂得如何对他人展现t：慈，如何维护人与人之间这种微妙的关系。报复成了夏洛克的
沟通方式，对安东尼奥的恨恰巧显露出了对女儿与妻子隐藏已久的爱，夏洛克性格上的两面也通过这种复仇心理结合。最后，如果一个人不能处理好自己与社会的关系，特别是，一个统治者如果总想着社会廊服务于自己却忘记自己也该遵循社会准则，那么就会同李尔王一样卉得自己国家生灵涂炭，被社会所抛弃。对个体与社会之间关系的无知，也就是对公正的无知。每个人都在与社会发生关系，而李尔王在这种关系中的角色至关重要。任何人都不能凌驾丁公正之上，哪怕是君土。当这个曾经绝对权力在手的君土努力的寻找可以解决自己权力已火的方法时，他发现自己的所作所为才是问题之本，所受的惩罚也是自己最初的行为导致的。经历的磨难使他悔恨当初，内疚自责，也使李尔．千明白了自己作为社会的一份子所应有的责任以及作为统治者对整个社会所应尽的义务，硬币的两面也通过这种得与火结合。光荣与否，慈悲与否，公止与否；安东尼，夏洛克，李尔王之所以能够成为莎十比Ⅱ笔下的人物是冈为他们就像人家生活中会遇剑的人一样，都如同那硬币的两面，莎十比砸则巧夺天：1：的在他的戏剧中把他们的两面性结合，使他们都．≯现出了那最真实的自己。关键词：戏剧人物：荣誉；f．：慈：公正；结合
AbstractShakespeare’Sdramaticcharactersarepeopleofallkinds．Theycouldbefoundamongthenobilityandtheordinary．Theyarelikethecoin’Stwosides．Theysometimesshowtheirgoodsideandsometimesbadside．Theyhavetheirattractivepersonalitiesandfataldeficiencies．Adramaticcharacterofotherplaywrightsisusuallyanindividual．butadramaticcharacterofShakespeareiscommonlythehumanspecies．Ifoneisconfusedbyone’Sinnerself,onecouldbestrugglinglikeMarcAntony,constantlytroubledbyhishonouranddishonour,dutyandpleasure，hishighlyresponsibilitytohiscountryandhisuncontrollableloveforCleopatra．Hischaracterisstronglyaffectedbyhisobsessionwithhonourwhichisaselfproblem．InAntonyandCleopatra，histemperoftenchanges．WhenRomesummonshim，hewillthinkabouthismilitaryoperationsandpublicdutiesasaRomanwarrior；whenCleopatracallshim，hecannothelpbeingdrawnbacktoherbythepowerofpassion．ItseemsthatAntonycanonlytemporarilyactwithwisdom，becausehewillsoonbelieveineverywordshesays．Theformerreasonhasbeenreplacedbyemotionandtheformerhonourhasbeencaughtbylove．Sincehonouranddishonour,reasonandpassioncometoconflictnowandtheninhiscase，hecannotcontrolhimselfanymore．Therefore，hekillshimselftosolvethisconfusionandtocombinehistwosides．Ifonecannotdealwiththerelationshipbetweenoneselfandothers，onecouldbemisunderstoodlikeShylockwhocannotevengethisowndaughter’Sunderstanding．Therearelotsofmoneylenders，butShylockishatedthemost．Thepointhereisthateveryonefeelshimtobecoldandmercilesswithnolovebutonlyself-interestforeveryoneknowsthatevenhisdaughtercannotstayinpeacewithhim．Thislong-timehostilerelationshipwithothersmakesimpossibleforotherstoknowthefactthatheloveshiswifeanddaughterdeeply．Shylockisnotamercilesskiller．Hejustdoesnotknowhowtoexpressloveandmercy；hedoesnotknowmercyisabouthisrelationshipwithothers．Revengebecomeshiscommunication．Thehatredhehas
showedtoAntoniorevealshisconcealedloveforhiswifeanddaughter．ThetwosidesofShylock’Scharacterhavebeencombinedthroughthevengeance．Ifonecannotmanagetherelationshipbetweenoneselfandthesociety；particularly,ifaruleralwaysthinksthesocietyshouldservehimbutforgetsheshouldaswellobeythesocialdisciplines，onecouldbeasLearleadingtothedeathsofmanypeople．Everyoneisrelatedtothesocietyinonewayoranother,andasaking，Learisresponsiblefordispensingjusticeonearth．Withnoknowledgeofjusticewhichistherelationshipoftheindividualandthesociety,hemakesaseriousmistakeinjudgment．Theonce-omnipotentkingtrieshardtofindaneffectivemeansofdealingwithhislossofpower．Afteraviolentjourney,herecognizesthathehasmisusedjusticeandhebearsresponsibilityforbothhisownproblemsandforthoseofotherswhosuffersequally．Hehasleamedthatnooneisabovejustice．Thesufferingmakeshimregretandremorse，whichatthesametimelethimgethiscombination．Honourornot，mercyornot，justiceornot，thatAntony,ShylockandLearCanbeShakespeare’Sdramaticcharactersisbecausetheyarelikerealpeopleinlife．Theyarelikethecoinpossessingtwosides．Shakespeareapplieshistalentincombiningtheirtwosides，SOtheyCanallshowtheaudiencetheirmostgenuineself．KeyWords：Dramaticcharacters；Honour；Mercy；Justice；CombinationVll
独创性声明学位论文题目：堡至鲍亟亟二二蒸±出垩毯型厶堑塑塞本人提交的学位论文是在导师指导下进行的研究工作及取得的研究成果。论文中引用他人已经发表或出版过的研究成果，文中已加了特别标注。对本研究及学位论文撰写曾做出贡献的老师、朋友、同仁在文中作了明确说明并表示衷心感谢。学位论文作者：P尔露≤矿签字日期：2010年4月15日学位论文版权使用授权书本学位论文作者完全了解西南大学有关保留、使用学位论文的规定，有权保留并向国家有关部门或机构送交论文的复印件和磁盘，允许论文被查阅和借阅。本人授权西南大学研究生院可以将学位论文的全部或部分内容编入有关数据库进行检索，可以采用影印、缩印或扫描等复制手段保存、汇编学位论文。(保密的学位论文在解密后适用本授权书，本论文：~／不保密，口保密期限至年月止)。学位论文作者签名：P尔霉桫导师签名：沪蔓Q签字日期：2010年4月15日签字日期：2010年4月15
AcknowledgementsIamgreatlyindebtedtomysupervisorProfessorLuoYimin(罗益氏教授)forwhoseinvaluableguidehelpsmenotonlyinstudybutalsoinlife．Hehassincerelyplayedtheroleofaresponsibleandconscientiousadvisor．Wehavehadourcome--and--goroundsofdiscussionseveryotherweekforthesethreeyearsonmattersofhowtoread，howtowrite，howtothinkandhowtostartaresearchworkandSOon．GraduallyIhavehadsomesenseoftheSO-calledresearchthatistosettlethoughtsandsourcesdowntoahomelyoutline，whichshapestheearlystageofanacademicthesis．HegivesUSmanyunavailablematerialsandevensendshisownpreciousbookstoUSasgiftstoopenourmindandinspireUS．Heisalsoaverynicefriend．Everytimewehavehadanydifficulties，hehaslentagreatlyhelpfulhandnomatterhowbusyandtiredheis．Ihavelearnedfromhimalotonhowtobeamanofintegrity,amanofhonestyandamanofgenerosity．Aboutmythesis，hissparklingwitonShakespearemakesmystudypossibleandhisreadingandproof-readingofmyseveraldraftsmakethispresentthesispossible．Inall，Ithankhimwithallmyheart．MyprofoundthanksshouldgotootherprofessorsandteachersaswellduringmysevenyearsinSchoolofForeignLanguages．ProfessorLiLi(李力教授)hastaughtmeagreatdealinacademicwriting；professorYanKui(晏垒教授)hastaughtmealotinEnglishliterature．IamalsohonouredenoughtoexpressmygratitudetoProfessorLiuLihui(刘立辉教授)whoseclassesaboutBibleisSOprofoundandDr．LiuYu(刘玉副教授)andDr．LuoLang(罗朗副教授)whohaveallhelpedmewidenmyscopeofknowledgeandlaidasolidfoundationformyfuturescholarship．Thanksgotomyclassmatesandroommatestoo．Theirfriendshipmakesmyunforgettablecollegeyearsfullofmeaning，colourandheartylaughter．Finally,1wishtothankmyparentsfortheirconsistentencouragementandwarmsupportineverything．
IntroductionInTheMirrorandtheLamp，M．H．AbramstalksabouttheArtist，theWork，theAudienceandtheUniverseandpointsoutthattheRomanticswritetheirworktolighttheworld，whichismuchlikethelamp，usingitsinnersoulastheillumination，however,beforetheRomanticism，literatureisunderstoodusuallyasthemirror,tocopyandreflecttherealworld．AristotlesaysthatimitationisnaturaltothehumanbeingsandPopesaystocopynatureistocopytheancientmasterssuchasHomerorVirgil．PopealsoexpresseshisviewsonShakespeare’Sdramaticcharacters．InEighteenthCenturyEssaysonShakespeare，hesaysthatShakespeare，thoughsociallyinferior,hasdealttactfullyinpicturingthemostpowerfulpeople，suchasMarkAntonyandKingLearWhileotherplaywrightsshapetheircharactersbycopyingfromeachother,Shakespearedoesnotevencopyfromnature；heproducesnewindividualswhoareSOdistinctiveandvividthatevenrealoneswillbeastonished．IAnotherliteraturereviewerCatherineGraceCaninoconcludesinherShakespeareandtheNobilitythatShakespearecreativelyportrayshisdramaticcharacterswiththeiruniversalityinmind．SheinvestigateslivesofsomehistoricalfiguresthathasinfluencedShakespeareandarguesthathischaractersarereallylifelike．Thus，Shakespeare’Sdramaticcharacterisroundcharacter,atermintroducedbyE．M．ForsterinAspectsofthenovel2．Therearetwotypesofcharacters：flatandround．AflatcharacterisnotcomplicatedandCanbedescribedinfewwords；onthecontrary,aroundcharacterismuchmorecomplexandhastheabilitytosurprisethereader．Roundcharactersarenotstableandmaygothrougharadicalchange．Theyarehardtopresentwithadequacyfortheyarelikerealpersonsinlife．Nevertheless，WilliamShakespeare，thesupremecreatorofcharacter,hasgiventheaudiencethatroundness．Tohim，thosewhoonlypossessthegoodortheevilpersonalityarenotenough，becausehisdramaticcharactersarethecoinoftwosides．Insteadoffreezingtheplayinordertodemonstrateoneparticularinstance，thisthesiswilltrytoseethreetypesofShakespeare’SdramaticcharactersashonourVS．
dishonour,mercyVS．mercilessnessandjusticeVS．injusticeandeachtypewithonespecificcharacteranalyzed．Honourcomesfirstforitistheselfproblem．Theconceptofhonourhasbeenclearlylinkedtothatofinner-selfinJohnBayley’SShakespeareandTragedy．AndMarkAntonyistheperfectspecimenofthishonourcomplex．HeisfoundbyBruceR．Smithafighterofgreatreputationfallingintoatrap．3ShakespeareshowsthesequenceofeventsleadingtoAntony’Sself-strugglebetweenhonouranddishonour,reasonandpassion．Guiltyofthedeparturefromthehighestmasculineideal—_thehonourofhissociety,Antonyimaginesthatonlycansuicideinvesthimwithhonour．Hecombineshonouranddishonourthroughthatact．Second，therelationshipbetweenselfandothersisthematterofmercy．JanetAdelmanexplainsthemercyconflictbetweenShylockandothersinBloodRelations：ChristianandJewintheMerchantofVenicethatShylockisafailedexampleindealingwiththisrelationship．OthersthinkShylockismercilessbecausehealwaysshowshisself-interestandhideshislove．Love，thoughexperiencedasuniqueandpersonal，isshownbyShakespeareatthesametimeamatterofparadox，offerstheaudiencethedoublepleasureofrecognitionanddistance．4SoShakespearedoesnotsentimentalizeaboutmercy,butmakesShylockfacethismercyproblemastherelationshipissue．AndShylock’Scombinationofmercyandmercilessnessthroughhisrelationshipswithhisdaughterandwife，withhisenemiesareverysuccessful．Lastbutnottheleast，thereisjustice．ItisonlywhentheselfandthesocialareseenasenteringintoafirmandintimatekindofrelationshipthatthejusticeCanbefullydisplayed．Lear,amanwhodisobeystheruleofjusticecausescontroversybetweenhimselfandthesociety．Onlyafterallhehasbeenthrough，heisobsessedwiththeideaofjustice，butwhatdoneisdone．ThedeathofhisinnocentJessicapresentstheaudiencelikeanexposedandfreshwoundwheretheireveryinstinctcallsforhealingandreconciliation．InAllardyceNicoll’Swords，manisneverviewedinisolation．5TheconflictingqualityoftherelatednessbetweenprivateactionsandpublicresultsemergesinShakespeare’Sdramaticcircumstancesasevidentlyasinreality．Lear’Sstupidityinhandlingthematterofjusticedestroysbothhimselfandhissocietyandhecombinesjusticeandinjusticethroughhisownsuffering．2
Shakespeare’Sunlimitedintellectofconceivingandexpressinghumanexperienceofallkindsiseasilyseenandhistwo-foldcharacterisathisverygreatest．Reason，thenobleandthesovereignareoftenseenasoneness，butShakespeareshareswithhisaudiencemorethanthisoneness．Hisdramaticcharactersarenotonlythesovereignandthenobilitybutalsouniversalhumanbeingsandheoftendramatizesthemfrompsychologicalandspiritualside，notjustfromthesocialstatusside．Ontheonehand，Antonyisshameless；ShylockismercilessandLearisunreasonable．Ontheotherhand，Antonyachievesanunprecedentedstatureasasoldier；ShylockidentifieshimselfasalovingfatherandhusbandandLeardiscoverswhohereallyis．Theyalldividesthemselvesintopartsandbyseekingtodivestthemselves，inauguratestheunity．Thus，theycombinetheirtwo—sidecoin．Nospecificworkhaspointedoutthesecombinationsyet，SOthisstudyisnecessary．Shakespeare，bycomparingandcontrastingcharacters，displaystheattitudethathisdramaticcharactersiSthecoinoftwosidescombinedvirtuewithvice，meritwithmistakeandfullnesswithflaw．Heuseshisaudiencepositivelyaswellasnegativelyinregardingandevaluatinghisdramaticcharacters．Heisthemostpopularworlddramatistbecauseofhisunrivalledpowerofcharacterization．AlexanderPopeoncesaid，“EverysinglecharacterinShakespeareisasmuchanindividualasthoseinlifeitself”．Therefore，toreturntruenaturetohisdramaticcharacters，Shakespearemakesagreatstepandthisthesisisgoingtomakethisstepforward．
1．Antony--HonourVS．DishonourA．InterpretationsofHonourDrSamuelJohnson，inhisADictionaryoftheEnglishLanguage(1755)，defineshonourashavingseveralfaculties，thefirstofwhichderivesfromtheperceivedvirtuousconductisthenoblesoulendowedwithgenerosityandintegrity．Furthermore，healsodefineshonourrelatingtofameandrespectability,tofinebirthorrank．InmodemOxfordEnglishDictionary(2002)，honourismoreorlessthesameasJohnson’S，adherencetowhatisdueorcorrectaccordingtotheconventionalandacceptedstandardormanner，credit，esteem，glory,goodorigin，magnanimity,noblenessofspiritormind，reputationanduprightness．Allinall，honouractisworthyofpraise．InFaerieQueene，RedcrosseKnightgetsthehighestapprovalwhenhetriestoovercomeeverydifficultytobehonorable．InAntonyandCleopatra，MarkAntonyinquireshishonourthatiscertainlyesteem，gloryandreputationandSOon，butmostimportantly,honourisachoicebetweenreasonandpassion，betweenlifeanddeath．Itisaselfproblem．Thepublicpeaceisnowandthendisturbedbytheinterpretationsofhonour．Charactersdescribehonourdiversely,buttheyarestillintherangeofnobleconduct，fameormorepreciselytheinnerworldofone’Sownspiritualrealm．AsAntonypreparestomeetCaesarinbattle，hedeterminesthathe“willlive／Orbathe(his)dyinghonourintheblood／Shallmakeitliveagain’，，．Here，heconnectsthenotionofhonourtothatofdeathwithnothinghidden，suggestingthelatterasacertaintohappenmeansofachievingtheformer．Withthisassertion，Antonykillshimselfbelievingthatthedeedwillprovidehimwithhonour．Inhislastwords，hebegsCleopatratoseekofCaesarherhonourandhersafety．“Theydonotgotogether'’，shereplieswithasoundfinality．Cleopatradoesthesameactionsecuringhonorabledeathbyrefusingtocompromiseheridentity．Althoughtheycommitsuicideindifferentways，theybothbelievethatdeathisjustashortsleepandtheywillwakeupeternally．4
Keatsexpressesthisintuitionofdeath÷SconsummationinhissonnetWhydidIlaughtonight?endingwith，“WhydidIlaugh?IknowthisBeing’Slease，Myfancytoutmostblissesspreads；YetwouldIonthisverymidnightcease，Andtheworld’Sgaudyensignsseeinshreds；Verse，Fame，andBeautyareintenseindeed，Butdeathintenser--DeathisLife’Shighmeed”．8Death’Spotentialsweetnessisthat0necouldgetbothhonourandlove．HereKeats’S“Fame’’correspondstoAntony’S“honour’’whichseemstobetheobstacleofreachinghislove．Indeath，Antonyconfrontshimselfasatrue，nobleRoman，becoming“aRomanbyaRoman／Valiantlyvanquished’’7，whereasCleopatraresolvesto“buryhim，andthenwhat，sbrave，what，snoble，／Let’SdoitafterthehighRomanfashion’，10．Inthebeginningoftheplay,thequeen’SwordsseemtosuggestthathonourisdistinctlyaRomanattribute，butCleopatra’Sdeath，whichishermeansofensuringthatsheremainshermostgenuine，mostuncompromisedself,isthesamewithAntony．Tothiscouple，honourseemsmoreafunctionoftheirdeterminationtodefinethemselvesontheirowntermsthanofeasternorwestemculture．CleopatrafirstconfusedbyherlovetowardAntonygivessarcasticcontemptforRomanmilitaryhonour，“SoFulviatoldme．Iprithee，rumasideandweepforher,／Thenbidadieutome，andsaythetears／BelongtoEgypt．Goodnow,playonescene／Ofexcellentdissembling，andletitlook／Likeperfecthonour'’¨．Here，sheassertsthatthehonourismerely“excellentdissembling”．Soon．sheprogressesfromarticulatefurytoaffectionatespeechlessness．Accordingly,shedoesnotconcludeherfarewellwiththethreatthatshewillhauntherlovereternallyorwiththepainfulcrytogodsforrevenge；instead，sheasksAntonyforforgiveness，urginggodsforhisprotectionandwisheshimallhonourandSUCCESS．BesidesAntonyandCleopatra，othercharactersinthisplayhavetheirunderstandingofhonounLikeCleopatra’SearliercondemnationofAntony’S“excellentdissembling”，Enobarbus’ScausticasidessuggestthatAntony’Shonourcouldsimplybeapretence，apublicspectacleconceivedbyadiminishedbrain．12AndPhilo’Sinhisopeningspeech，describesAntony’ShonourisnowfastenedupontheloveofCleopatrawiththepassionnolessthanwithwhichheusedtopursueinthebattle．WhileCaesarthinkstheRomantraditionofmilitaryhonouristhehighestformS
ofhonour．HeadmiresAntony’SdaysgloryasaRomanwarrior,‘‘Thoudidstdrink／Thestalehorsesandthegildedpuddle／Whichbeastswouldcoughat⋯Yea，likethestag，whensnowthepasturesheets，／Thebarkstreesthoubrowsed．OntheAlps，Itisreportedthoudidsteatstrangeflesh，／Whichsomediddietolookon’，13．Besides，honourhasbeentalkedmuchbyCaesarintheformconceit，selfishnessandvanity,SOitisperplexingtodistinguishtheoperationthatvirtuefromtheactivityprofit．Caesar’ShungerforpowerclearlyequatesAntony’Shungerforhonour．Thereforedifferentcharactershavedifferentinterpretationshonour，yetAntony’Sisobviouslythemostconfusedone．Hedoesnotknowhowtodealwiththeinnerself,howtodealwithinFreud’Stermtherelationshipidtoego，therelationshipbetweenhonouranddishonour,dutyanddesireandreasonandpassion．Heistrappedbyhimself,bybothhisheartandhismind．B．ReasonorPassionInpsychologicalaspect，reasonistheformallogicorknowledgethatisgainedthroughrationalism．14Inliterature，reasonisoftenmixedwiththenoble，thesovereignandthegodlike．ThenobleandgodlikeAntonyWasoncethepillartheRomanvirtuewithoutcharade．Reasonforceshimtotelldifrerencebetweenhonouranddishonour．Caesar,PompeyandPhiloallrememberhisgreatcaptaincy．Caesarrecollectshisheroicexploits；PompeyfearshimforhissoldiershipistwicetheothersandPhilorespectshisshiningdays．YetPhilocomplainstoDemetriusthatAntonyhasabandonedthemilitaryattemptonwhichhishonourisbasedforCleopatra’Ssake．HiscriticismAntony’Sfoolishnessintroducesatensionbetweenreasonandpassionthatrunsthroughouttheplay．ThistensenessisheightenedinAntonyandCleopatra’Sfirstexchange，astheyarguewhethertheirloveCanbevaluedandunderstoodorwhetheritexceedstheboundaryandpowerreason．AntonyworkshardtoovercometheconflictbetweenhisdutiestotheRomanEmpireandhisloveforCleopatra．TheaudienceisthinkinghowmuchAntony’SloveforCleopatracontributestohis6
downfall．Theymaythinkthatpassionhastouchedreason；spirithasfailedtofleshanddutyhasyieldedtoleisure，butShakespeareinterestedlyconcentratesonthecontestbetweenreasonandpassionratherthanthetriumphofoneovertheothermainly．Ontheonehand，Antony’Sdesireforpassionandpleasureispulledbyawomanthatnomancouldpossiblyrefuse．Cleopatra,thisbeautifulserpentofNilecouldeasilybringoutman’struecoloursandsheiscunningpastman’sthoughtandneithercustomsnorageCanstealherinfinitevariety．ThenatureofCleopatra’SlovestandsincontrasttotheRomanviewofhumanrelationshipwithwhichAntonyaccords．ForAntony,heimposeshimselfachoicebetweenbusinessandpleasure．ForCleopatra，shedoesnothavetochoose．Antony’SretumtoEgyptissometimesseenascomingintobeinginthecontrolofadominatingpassion．Someobserveaswell，however,thatPhilo’SdescriptionofAntony’SburstingheartandhisexaggeratingcomparisonofAntonyto‘‘platedMars’’areweirdlyEgyptiantermsinwhichtosayonemaybeexcessivelygodlikewhenservinghonour,butnotwhenservinglove．Antony’SdeclineexplicitlydemonstrateshowfarheisremovedfromPhilo’Sideal．Theindomitablesoldierhasbecometheemotionallover,whoseaffections．reachbeyondthelimitsofheavenandearth．AngryMarsisnowtheservantoflaughingVenus．15Hisheartburstsnotinmilitaryuproarbutinlovingdisturbance，inservicenotofRomebutofCleopatra．TheparalleldepictionsofAntonyasMarsandCleopatraasVenussuggesttheircompatibility：nowomanofearthlybeauty,temperamentandwisdomCanhopetobeSOfittingaspouseforAntonyasCleopatra．WhenonelooksbackonEnobarbus’Sstatement，oneseeshowCleopatradeservestobecalledthesecondVenus，agoddessoflovewithstrengthtoseductivelyinspirethevesselanditssetting．NotonlydoesCleopatrabumwiththemadnessofsexualdesire，butalsosheiscapableofcausingAntonytobumwithit．Shemakeshimtobelievethattheflameoflustandpassionisabsoluteandtimeless，whichwillstillbehotafterdeath．16Ordinarymancannotrealizethiskindofpassionanddonotknowhowinparticularitexists，whichdoesnotmakeitimpossible．AntonyandCleopatraanimateseachotherwithamasteringspiritoffascinationandtheyarewillingtodevotetheirlivestothe7
passion．AsFreudpointsoutthatreasonisthedelegateoftheegowhiletheuntamedpassionistheid．I7TheopeningdialogueofAntonyandCleopatrasuggeststhattheirlovemayhavealreadybrokentheegoboundaryandwhathasremainedispurepassion．Andmaninthegraspofpassioninventshisownreason．If,accordingtotheRomanconsensus，AntonyisthemilitaryheroanddisciplinedstatesmanthatCaesarandothersbelievehimtobe，thenheseemstohavegraduallylosthisjudgementbyhappilydesertinghisreasoninordertochasehispassion．Ontheotherhand，Antonyisalsopulledbyhisdutytotheempireandhiswantformilitaryaccomplishment．InJuliusCaesar，hisentrancepointedlysendsamessagethathisathleticnaturesaSwellasothervirtuesareevennotedbythoseconspirators．InBrutusandCassius’Sconversation，Brutusfirstsays，‘‘AndforMarkAntony,thinknotofhim；／ForheCandonomorethanCaesar’Sarm’，18．butCassiusreplies，“YetIfearhim’，19．SoBrutusanswers，“forheisgiven／Tospots，towildness，andmuchcompany’，20．CaesaralsopointsoutthatAntonyCan“revellongo'nights’'21．WithCaesar,theyhaveconqueredeverythingandbuilttheirambitiousRome．Thus，backthen，heisamanofgratitudeandreason，fearedandrespectedbymanypeople．Heloveshismotherlandandisalwaysreadytodieforit．InAntonyandCleopatra，herebukeshimselfforhisneglectandcommitstOretumtoRome，theempireandhisdutytoitsoonafterhisnonchalantlydismissesCaesar’Smessenger．Inhismind，heisfirstandforemostaRomanwarriorofthefirstcalibre．HeoftensummonsthosegoldendaysofhisownheroismandhowhehaSwonhispositionasoneofthethreeleadersoftheworldbyvanquishingthetreacherousBrutusandCassius．ButhismemoriesdolittlemorethanexhibithowstrikinglyhehasstrayedfromhisidealselfwhenheistangledinanaffairwiththeEgyptianqueen．Astheplayprogresses，Antonycontinuestodwellinclashingidentitiesbetweenreasonandpassion．Atonemoment，heisthevengefulwarherowhomCaesarpraisesandworriesabout．Inasecond，hesacrificeshismilitarypositionbyunwiselyallowingCleopatratodecidehisfeat．AshisRomanallies，eventheever-faithfulEnobarbus，giveuphim，Antonyfeelsthathehas，indeed，losthimselfindotage，andhedeterminestorescuehishonourableidentitybytakinghisownlife．Atfirst，thiscourseofactionmayappeartoR
beatriumphofreasonoverpassion，butAntony’Scharacterisnotthatsimple．Althoughhediesbelievinghimselfamanofhonour,disciplineandreason，Shakespearedoesnotlettheaudienceunderstandhimthisstraightforward．Inthescopeoftheplay，Antonyvacillatesbetweenreasonandpassion，honouranddishonour，betweenhisloveforCleopatraandhisdutiestotheRomanEmpire．Hismindisgoingonanintricatetrip．AtActium，CleopatradestroystheRomanAntonywhosebusinessandpleasurestandincontrastandremakeshimafterherownkind．WhennextAntonygoestoWarthesoldierandthelovernolongerseparate．CleopatraisthearlTlOUrofhisheart．HisfallingmatcheshisincreasinglydebasedpictureintheeyesoftheRomanpeople．Hehaslostthesupportofthehomelandbyfailingtosustaintheothercitizenmodel，thatofthesoldier．HerunsafterCleopatra，violatinghonourandmanhood．Itseemsthatheisunreasonableanddishonorableatthattime，completelyoutofhissenses．Passionheretotallyoutdoesthereason．TheoldsoldierhasleftAntonyfortheoncemilitaryheroismostclearlyloweredbyrepeatedlyabandoninghissoldiership．Heisliketheoff-stageRomancitizenwaitingforCaesar’Striumphasamerespectator．22InActI，scenei，ignoringtheduties，heengagesCleopatrainaconversationaboutthenatureanddepthoftheirlove，‘‘LetRomeinTibermelt，andthewidearch／Oftherangedempirefall’，23．However，heneverstopchanging，intheverynextscene，heisanxiousfor“losinghimselfindotage’，24andisafraidthathiswife’Sdeathisonlyoneoftheillshis“idlenessdothhatch’，25．Thus，AntonyfindshimselftombetweentheRomeofhisobligationandtheAlexandriaofhisenjoyment．Thegeographicalpolesdrawinghiminoppositedirectionsaresignsofdeep—rootedconflictsbetweenhisreasonandpassionandhisdutytothestateandhisprivateneed．Antony’Sunderstandingofhimselfcannotbearthestressofsuchtensions．AshepointsouttoOctaviainActIII，sceneiv，hiscurrentactionsimperilhishonour，andwithouthishonour--thedefiningcharacteristicoftheRomanhero_-hecannolongerAntony，“IfIloseminehonour，Ilosemyself．"better1werenotyours．／ThanyoursSObranchless’，26．Whatdonecannotundoneandhecannotletthebygonesbygones，becausebeneaththemasculineveneer，thereisthefragileego．Ratherthanamendhisbehaviourtodefeatthesepressures，he9
choosestotakehisownlife，anact，inhisopinionthatcouldrestorehimtohisfearlessandunyieldingformerself．Afairdeathhonoursthewholelife．Insuicide，Antonymanagestoconvincehimselfandtheworldthatheis‘‘aRomanbyaRoman／Valiantlyvanquished’'”．Antonywhosehonourisatstakestrugglingtomaintainanobleconceptionofhimself---completelyadmirableandcompletelyridiculousappearingbyturnsisShakespeare’Sgreatskillincombininghistwo-sidecoin．ThoughAntonytrieshardtostriketherequiredposethroughmanythings，hefindsthathecannotkeepthebalanceofreasonandpassionforverylong．Reasondemandsexpressionandpassionseeksexit．Heis，intheend，amanwhocannotattendgracefullytotheinnerself,ruledbypassionasmuchasbyreason．ShakespeareusesAntonytooffertheaudiencealivelyworldviewinwhichonesensibilitycannoteasilydominateanother．Likewise，reasoncannoteverfullyconquerthepassion，norCanpassionwhollyundothereason．Theyaretwosidescombinedtogetherintothecoin．C．CombinationHistorically,MarkAntonylivedfrom82—30B．C．Heisageneralandapolitician．AftertheassassinationofJuliusCaesar,hekilledhundredsofpossibleopponentsandbecameoneofthetriumvirates，alongwithOctaviusCaesarandAemiliusLepidusthatgovernedRomeformorethantwelveyears．HemetCleopatraoneyearafterCaesar’Sdeathandtheywereloversuntiltheirdeaths．HeisoftenportrayedasHerculesintalesproducedinancientGreeceandRome．Herculesisademi-god，partmortal，partimmortal．Whathistoryleftisjustthewrittenworld．VergilislefttobeanimportantsourceofAntony’Sstory,butonefromwhichShakespearedeclaresindependenceinavoiceboldandloud．ThesimilaritiesofVergil’SbaffledbulltoShakespeare’SentangledAntonyareappealing：bothexperienceuneasyfeelingatthelossofhonourandbothlosetoahaughtyconqueror．However,ShakespeareexaminesprimarilyfromthepsychologicalsideofAntonyand
exploreshismentalprocessbyfocusingontheRomancodeofhonour．HeiscombininghiscoinAntonystepbystepandintheendtheintegrityofthisdramaticcharacterhasbeenrealized：aparadoxicalmixtureofhonouranddishonour,ofhumanweaknessandheroicconduct．InJuliusCaesar，Antonyisadeceivingmanandanindomitablemilitaryman．HeisextremelyloyaltoCaesarwhomheconsidersatruefriend．HeisdedicatedandpreferredtobedependentonCaesar．Hetreatslifeasabattlefieldinwhichhehasasignificantroleandplayshisrolewiththemarvellousrefinementandskill．InhisfamousspeechtothecrowdinCaesar’Sfuneral，hefirstagreeswithBrutussmartlynottoputblameonconspirators．Inspiteofthis，hemanagestoturnthemobagainstconspirators．HeusesmanyrhetoricaltrickstopersuadepeopletodragconspiratorsdownandsupportCaesarandhistarget．First，bysaying“Ithricepresentedhim(Caesar)akinglycrown，／Whichhedidthricerefuse’，28，hecarefullyrefutesBrutus’SstatementthatCaesarisambitious．Hethensays，“You(thecrowd)alldidlovehimonce，—notwithoutcause．Whatcausewithholdsyou，then，tomoumforhim’，29．ThisrhetoricallyquestionsBrutus’SspeechinwhichhelargelycriticizesanddemolishesCaesar．TorebutBrutus’SclaimthatCaesarisacold-bloodeddespot，Antonyretorts，“ForBrutus，asyouknow,wasCaesar’Sangel：Judge，0yougods，howdearlyCaesarlovedhim’，30．NowthecrowdisstartingtohateconspiratorsandfollowAntony．HethenteasesthecrowdwithCaesar’Swill，whichtheybeghimtoread，butherefuses．Hetellsthemtohavepatienceandexpresseshisfeelingthatifheisgoingtoreadthewill．“Thehonorablemen／Whosedaggershavestabb’dCaesar’，3lcouldbewronged．Peopleyellout，“Theywerevillains，murderers’，32andareatthistimewhollyinflamedaboutCaesar’Sdeath．Takingadvantageofthisopportunity,AntonygiveshisfinalblowbyrevealingtothecrowdCaesar’Swill．Hethenproudlyannounces，“HerewasaCaesar!whencomessuchanother’，33，whichdoubtsconspirators’abilitytolead．TheplebeiansarereleasedbyAntonywhoutters，‘'Nowletitwork：--mischief,thouartafoot，／Takethouwhatcoursethouwilt’，34．Naturally,thecrowdriotsandsearchesouttraitorsinanattempttokillthem．Antonygetstheeffecthewants．Intheabovespeech，Antonyneverdemeanshimselfordirectlycallsconspirators
traitors，butheisabletoeloquentlymanipulatetheoverallsituationthroughfantasticrhetoricexpertise．Hisspeechissurelyoneofthemostrenownedandpremiumexampleofarticulationanddelivery．Heshowshowcleverandingenioushecouldbewhenheconvincespeopletosidewithhimandnotwithconspirators．Peoplebecomedisorderlyandexcitedwhenheteasesthemwiththewill，wavingitintheairandpretendingasifheisnotgoingtoreadit．Heisnotapsychologist，butheusesreversepsychologySOwellthatthecrowdneverfindshisknack．Hespeaksoutagainstconspiratorsbecausehewantspowerforhimself,andunlikeBrutus，hedoesnotshowhispoliticalambitionthatobvious，whichprovestobemoresuccessful．AnditisuniversallyacknowledgedthatifoneCarltakecontrolwhilethestateisinturmoil，onewillgainone’Slaurels．Heisaloneinmakingthatoration，facingSOmanyrowdypeople，yetheisconfidentinhimselfandisreallycourageous．Therefore，MarcAntonywasonceamanoffameandintelligence．Life’Scharmisthatonecanonlyguesswhatwillhappentooneselfnext，becauselifeistheneverendingdrama．WhenAntonyfallsinlovewithCleopatra，followingtheprescribedpatternofRomanhonourisallvisionary．Heislikeawildhorsethatsimplyfollowsitscapricerunsintheopenair．UponheatingthereportofCleopatra’Sdeath，hisimmediatelyforgetshishonour，rageturningtogrl‘ef．Infact，Antonyispatheticforhehavemetawomannoonewillthinkpossibleforthesamemantohavedrawnboth．Outside，sheisvoluptuous；inside，sheissensitive．Sheisaluxuriousdessertallmenlongfor．SoitiseasyfortheEgyptianqueentotakeawayMarkAntony’Ssoul．AmanrefusingtosacrificetotheRomanEmpirehisheritageasamanshowsthatitisgreatertobeanemperorinhisowntermthantobetheemperoroftheearth．Amanneedsbutsixfeetofground，anoldproverbhasit，SOtoownthatsixfeetisenoughforhimwhenhebecomesacorpse．Thoreautoo，expressesthattheearthwithoutenthusiasmisnothingmorethandust．TheconclusionofAntonymakesclearwhatThoreaumeant．35TheearthhestandsonismeaninglesswithoutCleopatra，SObeforehediesevenheisauniversallandlordcannothelphim．Butwhattheplaywrightwishesistheaudiencetofocussympatheticattentiononhim．TheprolongedsunsetgloryofAntonyheraldstheaudiencetotheheaven’Sverythreshold，12
asifShakespearehadchosenthedyingAntonytomakehisultimatecommentonthededicationtoallfrivolousofhumanpassions．Love，asallemotionuniquelyvariableinthejudgementitevokes，seemsparticularlyappropriatetotheartofvariationthatShakespearepractises．ShakespearedoesnotsaythatloveamonggreatpersonsisnecessarilygreatloveandhedoesnotallowtheaudiencetoseparatethedesireforpassionfromthedesireforhonourbutshowsthatitiSthematurelovethatthesetwodesireshavetosacrificetotheother．36Beginningwithgettingupfromthegroundandendingwithdescendingtothetomb，Antony’Srisefromthenadirofdishonourandmisfortuneisalongspiritualprocess．AlthoughnostageinstructionpreciselyindicateswhenAntonystands，heprobablydoesSObeforeorduringhisfinalspeechinthescene，theonethattheworldisrainingwithCleopatra’Stears．Fromthistimeon，Antonystrugglestoregainlosthonour．Thekeywordhereisguilt，anemotionwhichisstrongerthananyother,worksuponpeoplebyevocation．Itscauseandeffectcannotbestatedinrationalsensesfortheyareimbalanced．Guiltwillonlyhaveindirectreferencebutnotformalproclamation．Antony’SguiltsecretlyemergeswhenheChallengesCaesartopersonalcombat，actingonthebeliefthatheroicdeedsCancorrectpastmistakesandwinfutureglory,“IffromthefieldIshallreturnoncemore／Tokisstheselips，1willappearinblood；／Iandmyswordwillcamourchronicle’，37．Sospeaking，AntonyresemblesShakespeare’SanotherRoman--JuliusCaesarwhoearnsthesamechroniclewithstatesmanlikearmandsharpswordandsignshisnametothesan'ledocumentfilledwithethicalcodeofhonour．Thelastsurvivorofanerathatreservesitshighesthonourforbraveryandheroismonthebattlefield，AntonyisportrayedsometimesMars，theRomangodofwar．InActIV，sceneiv，herecountshimselfHectorstohiscomradesanddeclaresthathedeservesanarmourofgold．Despitetheironyimpliedinsuchexaggeration，particularlythatreferringtoHector,Antony’SallusivelanguagecreatesanassociatedcontextforarchetypalheroesinActIV,sceneiv,asceneinwhichtheghostlyAchillestakesuparmour,AeneasreceiveshisshieldandHectorputsonhishelmet．Thishyperboleanyhowincreaseshisexploitsandhisstature．Likethesewarriors，Antonyhereacceptshisresponsibilityandpreparesto13
subscribehisworth．Hisarmingtakesontheimplicitechofromtheplay’Sunderlyingmyth．Heplanstohaveabloodritualdesignedtorestorehispassinghonourtonewlifeandtocompensatehiseffeminacyandindolence．TheswordMarsputsdownforidleflirtationwithVenusisassertivelyandceremoniouslyrecovered．Butwhetherachievementinbattleandslaughterofenemycanreclaimdyinghonourandwinfuturefameismoreorlessaquestion．Theaudiencedisbelievesashemovesbackwardsandforwardsbetweenself-congratulatorymirthandself-opinionatedremorse．PeoplewonderifAntonyisstrikinganhonourableposeinsteadofchoosinghonourableactions，playingaheroicshowinsteadofactuallybecomingahero．Hisimageisnotreallyamanofintegrity．WhenonelooksbackonAntony’Smentalstruggle，oneseesShakespeare，asadramatist，issettinghimselfapeculiarlydifficulttask：topresentacharacterproclaimedimmenselyacomplex，thereforehecarefullydevelopstheambivalenceofAntony’Srejuvenationbyincludingvariousperspectivesonit．CleopatracelebratesthereformofAntony’Sheroiczeal；CaesarscornsAntony’Schallengeandpitiestheagedfool；commonsoldiersbelievethattheyhearthegodHerculesleavehimandEnobarbusdeflatesAntony’Shigh-mindedrhetoricwithsharpcommentarysayingthatAntony’SjudgmenthasdeterioratedwithhisfortunesdemonstratedbythechallengetoCaesar．Despiteallthepreviousdisagreements，ShakespearepresentsAntony’Sdecisiontocommitsuicidesympathetically．ThemaintenanceofmasculinehonourandthesocialemphasisplacedonmasculinehonouraresoprofoundthatAntonycannotsimplyignorethem．Thechoiceofself-destructionisanactofresolution，transformationandself-assertion--thelasthonorableoptionforaRomansoldierinthebaseworld．EventsprecedingandfollowingAntony’Ssuicidearrangetheaudiencetoconsenttohisdecisionandpityhim．ThelaterbetrayalofDecretaswhotakesAntony’SfallenswordasatokenforCaesarconfirmsAntony’Sviewthattheworldisaninconstantanddishonourableplacefilledwithflatterersandtimeservers．RatherthandiminishesAntony’Sstatus,Decretas’SdisloyaltyenhancesAntony’Simage．Uponreceivingthedeathofhisallyandfoe，AugustusCaesartalksAntony’Sdemiseinthesesentences“ThebreakingofSOgreatathingshouldmake／Agreatercrack．
Theroundworld／Shouldhaveshooklionsintocivilstreets，／Andcitizenstotheirdens．ThedeathofAntony／Isnotasingledoom；inthenamelay／Amoietyoftheworld’，38．ThesewordsareresonantwithMarkAntony’SownorationsinthefuneralofJuliusCaesar．Apoliticianbyheartandtrade，Antonygetshiscombinationintheend．LookingonthedyingAntony,Cleopatrasays，“Soitshouldbe，thatnonebutAntony／ShouldconquerAntony’，39．SOAntony’Ssuicideisuniqueandhisonlywayouttohistrueself．Bydoingthis，hewantstoavoidshameandtowinreputationinaforeverpeacefulsleep．WhiletestingtheRomancodeofhonour，deathexpressesAntony’SrejectionofRomanvalues，ofwhatothershopehimtobe．Undertakenpartiallytoregainthelosthonour,thedeath，atleastinhismind，willbnnghimtoCleopatra．ThoughthedeathseparateshimfromthevisualworldandendshisRomanlife，ituniteshimwithhisloversexuallyandspirituallyandmarksanewbeginning．Defeatedintherealmofpoliticalbattles，hetriumphsintherealmofself-effacinghonour．ShakespearehasstereotypedhimasapracticalsoldierasearlyasinJuliusCaesar．Atthattime，thegreatnameheboreasasoldierwasbutaname．InthesynthesisofloverandsoldiertowhichCleopatraforceshim，thereisastrangeempathybetweenhimandtheaudiencewhoseeshimforthefirsttimeinadvancementworthyofhisreputation．Unlikehisfamousancestors，herefusestoliveasfatedemandsandRomerequires，putanotherway,thearchetypalRomannobility．Therehestandsuppeerlessasaman，asthegenuineprogenyofcommonhumanity；40thereheisShakespeare’Scoin．Shakespearedoesnotpresenttheaudiencewithgroupsofstage-puppetswhoarepoeticalmachinesactfromtheaccuratecalculationofproblematicmotivesormakeclich6speechesonhumanlife，whereashebringslivingmenandwomenonthescene，actingandspeakingfromrealfeelingswithactualardouraccordingtotheebbsandflowsofpassions，withouttheleasttinctureofpedanticinsistenceorstubbomness．Hisdramaticcharactersbreathe，liveandmoveaccordingtotheirneed．Everythingtakesplacejustasitwouldhavehappenedinrealitywithoutmadefromanalogyandinference，fromantithesisandclimax．Hisgeniusisinamatchforhistoryaswellasnatureandcouldgrapplewithbothatwill．Hedoesnotstandreasoningonwhat15
Antonyshoulddoorsay，oronwhatcoulddobetterinhandlingthishonourproblembybeingmoresoberofself,butatoncebecomeshim，andactsandspeaksforhim．AntonyaSonethoughgiventopassionultimatelyredeemshimself．41HeachievesimmortalityhepromiseshimselfandCleopatrabysuicide．Giventheworldhefindshimselfin，hisinvolvementwithCleopatraisperhapsemotionallyaswellaslogicallyjustified．Honourordishonour,whatisdonecannotbeundone．Antonyisforeveradmiredbyhismaleaudienceandlustedafterbyhisfemaleonesinequalmeasure．Bothaman’smanandaladies’msdl，provesintenselythatheisessentiallyhisownman．16
A．QualitiesofMercyAccordingtoOxfordEnglishDictionary(2002)，mercyisthemostcompassionatetreatmentinacasewhereseverityisdeservedorexpectedanditisusedtodescribeforbearanceandpityshownbyonepersontoanotherpowerlessperson．Throughcenturies，mercyisunderstoodasanoblevirtue，oneofthebasicvirtuesofchivalryandafreegirlthatcanqualifyjusticeandrewardwherethereisnomeritofdesert．42ItisalsoaChristianvalueassociatedwiththeNewTestament．HumanbeingsshouldbemercifulbecauseGodismerciful．MercyisanattributeofGodhimselfandthereforegreaterthanlawormajesty．St．PaulintheNewTestamentportraystheGodwhoforgivesratherthanpunishesthosewhomakemistakesandofferssalvationtothosefollowerswhoforgiveothers．HeremercyismadeintoadivinespherebyChristians．MercyoccupiesacentralpositioninTheMerchantofVenicewherethedramaticcharacterShylockdoesnotbelieveinmercy．HeasksPortiawhyhehastoshowmercy，sheresponds：“Thequalityofmercyisnotstrain’d，／Itdroppethasthegentlerainfromheaven／Upontheplacebeneath：Itistwiceblest，／Itblessethhimthatgives，andhimthattakes：’Tismightiestinthemightiest：itbecomes／Thethronedmonarchbetterthanhiscrown；Hissceptershowstheforceoftemporalpower，／Theattributetoaweandmajesty，／Whereindothsitthedreadandfearofkings；／Butmercyisabovethisscepteredsway，／Itisenthronedintheheartsofkings，／ItisanattributeofGodhimself；／AndearthlypowerdoththenshowlikeestGod’S／Whenmercyseasonsjustice’，43．Lentfromabove．mercyisaroyalquality．“BecauseoftheChristianteachinganditsevidentadvantageoflargeamountofbelieversatthattime，asixteenth—centuryaudiencewouldnotexpectShy7locktoexercisemere—herefore，itisuptotheChristianstodoSO．ThusitisPortiawhohastherighttogivetheproudspeechonmercy．ButPortiadoesthisonlytryingtoawakenShylock’Sstubbornnessonstickingtohisbond．Theaudienceafterwatchingtheplaymaythinkexcept
Shylock，everycharacterismerciful．AtleastPortiahasalreadyshowedmercyandanothermaincharacterAntoniodecidesnottoseizeShylock’Sgoodsaspunishmentforconspiringagainsthim．Buttheymaynotbeaskindasitseemstobe．Theaudiencelikesthemonlybecausetheycouldbemoretactfulindealingwithothers．ByforcingShylocktoconvert，Antoniodisableshimfrompractisingusury，which，accordingtoShylock’Sreports，isAntonio’Sprimaryreasonforberatingandspittingonhiminpublic．Antonio’Scompassion，then，seemstostemasmuchfromself-interestasfromconcemforhisfellowman．AndnoonewillforgetthatPortia’Schiefpurposeistosaveherhusband’SfriendnotShylock．Therefore，mercycanbedefinedinthisplayasarelationshipmatter．AccordingtoShylockmercyisnotSOgenerous，SOsweetandfulloflove，becausepeoplesurroundhimdoesnotshowmercytohim．Antoniotreatshim，asShylockproclaims，theusureraslessthanaslave，indeed，aslessthanhuman—．adog．Hisdaughterstealshisjewelsandelopes．Fromthesepictures，itseemsthatheisreallypathetic；nevertheless，hisuseofstrangelanguageandimagesmakeshimappearuncivilized．Heislabeledasamercilessman，butthisisthesuperficialfact．Whatisrealisthathecouldnothandlewelltherelationshipbetweenselfandothers；becausehedoesnotknowmercyistheindispensablelinkinthisrelationshipandbecausehehasnoideawhatsituationheisin。Hehasneverbeenthesociabletype．Ontheotherhand，AntonioandPortiaareverysocialpersons．AntoniodoesforgiveShylockforattemptingtomurderhimforheknowsheisfacingamanwithnothingtoloseandhasseenduringthetrial，theDukehasmentionedmercythreetimesandhassparedShylock’Slifeandsomeofhiswealth．SoAntoniodecidestonurturethemoralgrowthwhenthegroundisstillfertileformercy．Portia，nottotalkabouthergreatinter-personalskills，willbeShylock’Slearningexampleifthereisthecontinuation．Therefore，theobstinateShylockisdefeatedbyhimseleSOheisexpectedtofindmercyinsomeothersenses．Hehassignificantlynevermentionedmercydoesnotmeanthathedoesnotbelieveinit．Bothrevengeandusuryinterrelatethroughtheiroppositiontomercywhichshinesbrighterintheissueofchoice．Manseeksrevenge，butgivenhumanfrailty，mercyandthelawoflovearebetter．Thehumanneedfor
mercyinthefaceofvainhardheartedrevenge，selfishliteralismandself-righteousnessisalwaysurgent．Whileothercharactersoftenattendtheclassofmercy，itisShylockwholearnsthemostfromthelesson．Shakespeare，byborrowingShylocktellstheaudiencethatthequalityofhasmanydifferentmeaningsanduses．Itcouldmeanthateverybodydeservesasecondchance；itcouldbeusedtotrytotemptsomeonetorecognizethegrandiosevalueassuperiortoothers；itcouldmeanthatbybeingmerciful，onemaylosepowerbutgainnewrelationships；itcouldbeusedtoasapresentifonewantstobeinasociablemoodanditleadspeopletothinkaboutloveandself-interest．Inaword，mercyisrevealedashavingastrengthfargreaterthanitisatfirstapparent．B．LoveorSelf-interestItishardtodistinguishwhichoneismoreimportanttoShylock：hisdaughterorhismoneyfromthescenehecriesout“0，myducats10，mydaughter'，45．However，whenhetellsSolanioandSalerio，“Mydaughterismyfleshandmyblood’舶，heearnssomepityfromtheaudience．PortiahassomesympathywithShylocktoo．ToughshehaslatelymadehisundutifuldaughterJessicawelcome，shecannotapproveofJessica’Suncalled．foraccusationofherfather．47ThestealingofjewelsreducesJessicatothelevelofathief,SOshemustbecriticized．Uponcloserinspection，somehumanrelationshipsdoindeedmattertohimmorethanmoney．ThelossofadaughterisacauseforSOrrOWandwithintheJewishculture，hisangerisappropriate．WhenoneseesShylockinActIII，scenei，heseemsmorehurtbythefactthathisdaughtersellsaringthatwasgiventohimbyhisdeadwifebeforetheyweremarriedthanheisbythelossofthering’Smonetaryvalue．TheringgiventoShylockinhisbachelordaysbyawomannamedLeah，whoismostlikelyShylock’SwifeandJessica’Smother,getsonlyabriefmentionintheplay,butisstillallobjectofgreatconcern．WhentoldthatJessicahasstolenitandtradeditforamonkey,Shylockverypoignantlylamentsitsloss：“1wouldnothavegivenitforawildernessofmonkeys’则．ThelostringallowstheaudiencetoseeShylockinanuncharacteristicallyvulnerable
positionandtoviewhimasahumanbeingcapableoffeelingsomethingmorethananger．Heistalkedfromgenerationtogenerationasabecauseofhisself-interest．Manypeoplebehavevillainouslyinsomeway；however，therootcauseoftheirvillainymaybearesponsetothelovetheyhavenotexperiencedforalongtime．Inshort，Shylockisnotabornvillain．Wickednessisjustapartofhispersonality．AlthoughTubalandhediscusstheringfornomorethanfivelines，itstandsasanimportantsymbolofShylock’Shumanity,hisabilitytogrieveandhisabilitytolove．Butloveunlikehate，isthekindofemotionhedoesnotknowhowtoexpress．Hateistheemotionheisverygoodatandknowshowtoshowitoutwhenheinsistsinhavingapoundoffleshratherthananyamountofmoney．Hisresentmentismuchstrongerthanhisgreedformoney．ThefleshbondinVenice，likethecaskettestinBelmont，isbothliterallyandsymbolicallymeaningful．AsthecaskettestistheliteralmeansbywhichPortiagainsatruehusband，thefleshbondistheliteralmeansbywhichShylockCanrevengehimselfonAntonioandbywhichAntoniocalldemonstratehisloveforBassanio．49Asthecaskettestsymbolicallyseparatesgold．andsilver-choosers，asfoolishlovers，fromthelead-chooser，aswiselover，thetakingofthefleshbondseparatesthosewhohazardandlosethroughhatefromthosewhogainandgetthroughlove．Thechoiceoftheleadencasketrepresentswiselovejustasthechoicetotakethebondrepresentsfoolishhate．Andbychoosingthefoolishhate，Shylockchoosesthewaytobeisolated．Soformaybetwo-thirdsoftheplay，ShylockisthecaricaturestageJew，describedasmonstrouslyasafire-breathingdragonwithathirstforAntonio’Slife．HishungerinmakingthebondwithAntonio，hishorrifyingenthusiasmandhisostentatiouspraiseofBalthazarandhispreparationswithscaleandknifeallpresenthimasthecenteroftheaudience’Sdisgust．HeisinsulatedfromotherVenetiansthroughdifferentstylesofspeaking，dressingandlivingandhischaracterisshowntobeanoutsiderasearlyasinActI，Scene111whenBassanioasksShylocktodinewithAntonioandhimself．Shylockanswers，“1willbuywithyou，sellwithyou，talkwithyou，walkwithyou，andSOfollowing；but1willnoteatwithyou，drinkwithyou，norpraywithyou’，50．ThesewordsimplythatShylockwilldobusinesswithothersin2n
Venicebutavoidsanyfriendships．Aleopardcannotchangeitsspots，SOdoesamoney-lender．ItseemsthatShylockisreallyaselfishman．Inhischaracteristicmodeofself-interest，hecravesthecivillawaslongasitisonhisside．HemyopicallyneverseesthelawfromAntonio’Sside，justashehasnotbeenaccustomedtoseeinganythingfromothers’perspectives，neitherLancelot’ShungernorJessica’Smisery．Jessicasaysthattheirhouseisthehellfullofdistrustandmeanness，theatmosphereoftensioncreatedbyShylock．Inotherwords，Jessicamusthavehad，nodoubt，asadenoughlifeafterhermother’Sdeath．51Inthisaspect，herelopementCanbeunderstood．SheisalwayslockedupinthehousewhileherfatherisawayandsheisevenforbiddentolookoutofthewindowtoseethemasquersgoingtoBassanio’Sfeast．ThereasonherfatherdoesthisiSbecausehemustbankonano．10sesituationwiththeusurer’Smentalcalculationofnorisktohimself．MerchantslikeAntoniolendmoneyfreeofinterestandputthemselvesatriskforthosetheylovewhereasShylockisreportedtorunthroughstreetsagonizingoverthelossofhismoney．Incontrast，AntonioislikearoyalandnoblemerchantwhohasupheldtheeconomicobligationbetweenelitesandsubaltemsandthemercifulexchangeofsocialcourtesyinhiscommunitywhileShylockistheplay’santagonist，menacingenoughtoseriouslyimperilthehappinessofVenice’Sbusinessmenandyoungloversalike．Heisverymuchasingle—mindedcharacterwhoconstantlycallshisquestforvengeanceandhisbondofapoundofflesh．Hiscoldlycalculatedattempttorevengethewrongsdonetohimbymurderinghispersecutor，Antonio，preventstheaudiencefromviewinghiminaprimarilypositivelight．Heisaselfishmancapableoflovebutdoesnotknowhowtoshowloveevenfacinghisdaughter．Heisafailedexampleinkeepingthebalancebetweenself-interestandlove，betweenmercyandmercilessness，betweenselfandothers．IfShylockisnotofafeaturetowinloveorrespectfromthoseimmediatelyaroundhim，Portiadefinitelyistheone．Shebelievesandpractisesloveandmercy，orshewouldnotbehelpingAntonioassheis，norwouldshekeynotethecallformercywhenshepresentsShylocktoAntonioandtheDukeforjudgement．Althoughtheplay’StitlereferstoAntonio，itisPortiawhoistheshiningpieceofnature’S2l
handiwork．Beautiful，quick—wittedandwealthy，PortiaembodiesthevirtuesthataretypicalofShakespeare’Sheroines---itisnosurprisethatsheemergesastheantibiotictoShylock’Smalice．Hercharactercombinesallthegracesoftherichestwomanhoodwiththestrengthofpurpose，thesustainedpowerofthenoblestmanhoodandthewisehelpfulness．For，withoutadoubt，itistoherbrightandcultivatedintelligencethatBassanioisindebtedforthereleaseofhisfriendAntonio．Evenshehasjustgotmarriedandevensheisawareofthefactthatherhusband’Sfriendgoesbankrupt；shestillgivesallherself,herhouseandherservantstoherhusband．Tofriends，herwhole—heartedsupportisanerrandofmercy；toenemy，hermercyisthekeypointinwinningthetrial．TheaudiencemusthavebeentouchedbyherpleaformercywhensheconstantlyurgesShylocktoshowmercytowardhisdebtorratherthaninsistsontheletteroftheequallawthatmightalsocondemnhim．HerbehaviourhaswontheheartsofeveryoneincludingtherigidShylockHowever，Shylockisnottheall-carefulPortiawhocouldsuperblycontrolthemostdelicateinter-personalrelationships，heisShakespeare’SShylock．Heiscertainlyconcemedwithhisself-interest：hisrevenge．Duringthetrial，thoughheiswarnedagainandagainthequalityofmercy，hestillactsthemercilessness．PortiaevidentlydoesnotrealizetheextentoftheShylock’Smalignityatfirst，wantingtobringthisstiff-neckedmanbacktosense．Shefeelsthat，atanysacrifice，hemustbeboughtovertocancelhisbond，andshebelievesthatthisispossible．ToShylock，togiveuphateisimpossible．Hehasalreadylosthiswifeandhisdaughter，SOhecouldnotaffordtolosetherevenge．Themoralpointbeingmadehereisasimplisticone，butbehindthatsimplicitywhatisactuallybeingsaidaboutmoralityismoreambiguous．Itseemsthatifonewantstotakelove，onehastosacrificetheself-interestandviceversa．ButPortiagetsbothloveandself-interest．IfShakespearewerestillalive，hewouldhavescoredShylockthelowestscoreintheEQtestandPortiaastraight—A．Heendsupalosernotbecausehedoesnothavetheabilitytolove，butbecausehehasstoredtoomuchlovedeepinhisheart．MaybewhenhefallsinlovewithLeah，heisaromanticloverlikeAntony，becausethroughsomecloseexaminationitisfoundthatShylockisallupstandingmemberofhiscommunity，who
enduresyearsofabuse，hasupheldthecustomsandlaws．LeahhasbeenawayforSOlongthatthereisnoonetoteachhimhowtomanifestlovetohisdearestdaughterortoanybodyelse．Obviouslythisloveorself-interestcharacterofShylockismuchmorechallengingforanactorthanthatofthemerchanthimself,Antonio．ShakespeareontheonehandsteerstheaudienceagainstShylockpaintinghimasacruel，miserlyandprosaicfigure；ontheotherhand，ShakespearealsogivestheaudienceunmistakablyhumanmomentswhenShylockreminiscesabouthiswifewhomheisSOfondofandloyalto．So，loveandself-interest，asthetwosidesofthecoiniscombinedbyShakespeare．C．CombinationIntheend，ofcourse，thereCanbenoreactionfromtheaudienceotherthantoapplauseforShakespearewhoensuresthatallcharacters--withoneexception--livehappilyeverafter,justascomedycharactersoughttodo，butShakespeare’Scharactersarenotfairy—talecharacters．PortiaisShakespeare’SfancydiamondandShylockishistwo—sidecoin．Itisthiscointhatdeliverstheveryeloquentspeechforhumanunderstanding，“IfyouprickUS，dowenotbleed?ifyoutickleUS，dowenotlaugh?ifyoupoisonUS，dowenotdie?andifyouwrongUS，shallwenotrevenge?ifwearelikeyouintherest．wewillresembleyouinthat’，52．HislanguageisasconcreteasthescrapingsoundoftheknifeOnhisshoewhereasPortia’Sisliketheeasyflow．InPortia，theaudienceseesembodiedthespiritofgood，whichitisherfirst，herparamountdesire，shouldprevailoverthespiritofevil．SheseemsgladlytogiveplentyofherfoaunetotumShylockfromhiscruelpurpose--togivehimaninsightintotheblessedness，thehappiness，ofshowingforgivenessandmercy．Shylock，onthecontrary,embodiedthespiritofbothgoodandevil．Asthesayinggoes，aneyeforaneyeandatoothforatooth．Soheisstraightforwardlyaskingforhis“eyeandtooth”throughthatfleshbond．Becauseofthefleshbond，ShylockisfirstintroducedasavillaininActI，SceneiiiwhereBassanioseekshimoutinordertoborrowmoneyfromhiminAntonio’Sname．Hereisacatch：ifthedebtisnotrepaid，Antonioassecuritywillforfeitonepoundofhisflesh．ShylockdoesnotlikeAntoniobecauseofpastexperienceswhen
Antoniomadefunofhimpublically．AntoniohasclearlygoneoutofhiswaytocauseShylocktrouble，thereforehasprovidedShylockwithmanyreasonstodespisehimandseekrevenge．HisvengefulnessisshownmainlyinActIV,thetrialscenewhereheattemptedtokilleventhoughhecouldhavegottenhismoneytwotimestheamount．BassaniooffershimsixthousandducatsinsteadofthethreethousandducatsspokenofinthebondandBassaniosayshewouldpaytentimesthesumofthebond，butShylockwantsdeadnomatterwhatheisoffered．Shakespeareintelligentlyjoinstheideaofliterallycuttingoffthesamefleshandlife，duetosharp—edgedrevenge，withtheideaoftheinnerconsumptionofAntonio’Sfleshandlife，duetobitingusury．ItcanbearguedthatShylock’ScharacterundergoesametamorphosisfromafatherandahusbandtoavillainthenightwhenJessicaandLorenzoelopeandstealsomeofhismoneyandmostvitallyhisdeadwife’Sring．HedoeslikemoneywhichistheveryessenceoftheVenetians’materiallives53andamediumofexchangerepresentsthegoodsandservicesofacademiceconomists，butthegreatestlosscomeswiththeexclusionofJessicaandthatring．ThismakesShylockfurious．Beforetheelopement，heisonlyapersonwhodoesnotwantanyrelationshipswithothers．Nowhebecomestogoafteranyonethatcrosseshispath，becauseinhisworld，thismisfortuneseemstobeahorribleandridiculouspricetopay．Thus，hishatredforhasbeendoubled．Andhismercilessnessandmercyemergethroughtheambiguousfather-daughterrelationship．Heisapersonwithvillainousintentions，yetheisnotamanbomwithdevilishpersonality．Heisresolutelyacreatureoftheearth．FromthefactthathealwaysvaluesLeah’Sturquoiseringforitsmeaningandnotitsprice，SOhecouldnothavebeenbomS0weird．Ithasneverbeenlikethissincehisearlydays．Perhapsinhisearlymanhood，thegriefatthelossofthebelovedLeahhashardenedhisheart．Hisbadtemperisaggravatedbytheblowsustainedinherloss，whichmighthavebeensofteneddownbyhergentlepresencethroughlife．Hisyoungdaughtermayresemblehermotherinfeature，butnotincharacter．Slowly,Shylockhasthereforeknownlittleofshowingloveandmercy,whichdoesnotmeanhecareslittleofloveandmercy．Neartheendofthetrail，henolongerwishesJessicawere24
deadlikehesaidbefore“1wouldmydaughterwereatmyfoot，andthejewelsinherear’，54；henowcontemplatesheraliveandmarriageable，thoughhisfavouritechoiceofahusbandforherisstillharsh．Buthisangeragainstherisbeginningtoabate．Atlast，JessicashouldbeashamedofrobbingShylockandleavingherlonely,agedfathernomatterwhathisfaultmighthavebeen．Shelooksforhappinessinherweddedlife，butatthesametimeforgetsaboutherfather’Shappiness．IftherewerenoincidentofJessica’Srunningandlosingofthering．thatfleshbondwouldmerelybeabond．SinceShylockdoesnotknowthatAntonio’Sshipswillbewrecked，itcanbeassumedthathedoesnotintendtousethebondasat001．TheparadoxofShylock’Ssituationisclassic．Histwosidesarecombinedmostlythroughthefleshbondwhichhasmultipleinterpretations．Problemsofappearanceandreality,enemyandfriend，follyandwisdom，freelendingandusury,hateandlove，forgivingandgiving，justiceandmercy,keepingthelawandviolatingthelaw,riskandsafetyareallboundupinthefleshbond’Sresolutioninthetrial．Shylock’Sinflexibleadherencetothelawhasbeennoticedandheclaimsthatheissimplyapplyingthelessontaughttohimbyhisneighbours；thisclaimbecomesanintegralpartofbothhischaracterandhisargumentincourt．InShylock’Sveryfirstappearance，asheconspirestoharmAntonio，hisentireplanseemstobebornoftheinsultsandinjuriesAntoniohasinflicteduponhiminthepast．RespondingtoSalerio’Squeryofwhatgoodthepoundoffleshwilldohim，hesays，“Thevillainyyouteachme1willexecute．anditshallgohardbut1willbettertheinstruction’，55．Withthedisappearanceofhisdaughterandthering，heunveilsmoreofhisreasoningandhehastheidearearedhisheadoverandoVer．一heisgoingtopunishAntoniofortheabusehehasgot．HeisacknowledgedthatJessicahasbeeninducedbyherhusband，Bassanio’Sservanttoleavehome，takepreciousjewelsandtransferittoothers．SoShylockstickstothebondasifhewereseekingrecompenseforthelossofhisownfleshandbloodbycollectingitfromAntonio．Lastly,thebondisaconstantreminderoftherigidityofShylock’Sworldwhereexactcalculationsareusedtoevaluateeventhemostserioussituation．HeneverexplicitlydemandsAntoniotodie，butasksinstead，inhisnumericalmind，forapoundoffleshinexchangeforhisthreethousandducats．He25
measureseverythinginfarmoredullanduninspiredquantitiesthananyotherdramaticcharacterwhotheemotionwithlongmetaphors．Shylockhasnoideaaboutthetruththatpatienceisthebestremedyandmercythemediumofsocialrelationsandthushecouldonlybepennywiseandpoundfoolish．IfShylockhadacceptedPortia’Skindadvicenottofulfillthebondofflesh，hewouldhavereunitedwithhisbeloveddaughter．IfShylockweretaughtbysophisticatedPortiawhosejoyouslifesurroundedwithflowersandfountainsandmarblestatuesandmusic，hewouldbehisowneloquentattorney．IfShylockhadlearnedfromPortiaintacklingthisself-interestandloveproblem．hewouldatleasthaveagoodrelationshipwithhisdaughterandmaybe，haveanotSObadrelationshipwithothers．Buttheseareonlyhypothesis．PortiaisShakespeare’Sfirstwomanlawyerwhocombinesbeautifulproportionandintellectualpower，highandrefined，withunrestrainedardouroftheheart．Sheislikeperfectineveryaspect．ManythinkthatsheiscunninginprovidingShylockwithopportunityonlywantingtorescueAntonio，butstillshegivesShylockchances，tosavehimself．Nevertheless，nopersondepictedinanyprecedingcomediescancompareinvitalityofdrawinganddepthofcolourwithShylock．Evenfacesdeath，hedoesnotchangehismind．Heistheonewhosebitternessandhatredwillhearofnobargaining；whowillforeverbestrugglingbetweenmercyandmercilessness，loveandself-interest；whowillneverlearntodeceivehimselforcoverhisfeelingsandwhoisforeverShakespeare’SShylock．Shakespeare，intheself-defencewhichheputsintoShylock’Smouth，saysallhecanforhim．Inhisday,withthestrongantagonismfelttowardJewsbythesociety,hedaresnot，whateverhefeels，tosaymoreintheirfavour,becauseShakespearewriteshisplaysmostovertlyfortheaudienceandnotbarelyforclosetreaders，thoughheshowsthemarvelofhisgeniusinbeingSOfittedforboththateachclaimshimastheirown．56HemakesShylocktoappearuntilthethirdsceneofActIandleavethestagerealizingthedefeatinthefirstsceneofActIV，SOinfacttherearenottoomanyscenesforShylock．WhenthefatehasdealtShylockalifeofgriefandloneliness，hebegs，“Iprayyou，givemeleavetogofromhence；I锄notwell：sendthedeedafterme，／And1willsignit’’57．Thesearehisfinallinesintheplayandtheaudiencehasto26
guesstherestofhislife．Theplaywrightlethimstandalooffromthecrowdontheperfecttiming．Thecycleofmercilessnesssetintomotionwillnotendinthedisguiseofjustice．Nowtheaudiencemayfeelacuriouscompassionforthischaracter．Themercymattercomplicatestheirrelationshipwithhim．Andthesubsequentpunishmenthereceivesbecauseofthemercymakingthemsympathizewithhisplightasanoutcastandadmireothers’happinesslikePortiaasacontrast．TheyfindthatitisShylockhimselfwhoteacheshisownpeersthemostaboutloveandmercy，becauseheisaJew，occupyingthestereotypicalprofessionofthemoney-grubbingguarantorwhohasalreadybeenamarginalizedmemberofVenetiansociety．Wolf-likeashisvengeanceshowshim，theybegintopityhisjoylessandsolitarylife．Theyseesomethingsublimeinhistenacityofpassionandresolvewhenhestandsfirmuponhisfootholdoflawringedroundinthetrialscenewiththehostileforce．58ModemaudienceknowsitisneedfulthatShylockleavesthecourtasabrokenman．Everyoneshouldberesponsibleforone’SOWndeeds，SOtheyfeelitisrightthathisevilintensityshouldbeutterlycrushedandquelled．TheyappreciateShylockasamanwithgenuinegrievances，butnonetheless，acquirethepointthathismercilessnaturewhenoutragedcouldonlybeappeasedby,asitwere，dippinghisrevenge，whenopportunitycame，intheblood，andwatchingtheslow,torturingdeath-warrantofhisfoeAntonio．However,Antoniodoesnot，ashedidinthepast，kickorspitonShylockanymore．He，aswellastheduke，effectivelyendstheconflictbystarvingitbecausetheynowknowShylockisamancapableofshowingloveandtakingrevenge，amanoftwosides．Shylockisaroundcharacterpresentedwithmuchindividualizingdetail，thereforecannotbedescribedadequatelyinasinglephraseorsentence．59ExcellentliteraryheroessuchasLongJohnSilverandSherlockHolmesdonotrequiretheroundnessofShylockfortheyhavealreadybeenrighteousandtoughmen．Theyareflatcharacterswhocanbeeasilyinterpretedbytheaudienceorthereaderaspossessingwhatkindofemotional，intellectualandmoralqualitiesbydirectlyinferringfromwhattheydoandwhattheysay．Contrarily，Shylockisadouble-edgedsword，atwo—sidecoin．ShakespeareprobablyhasinmindMarlowe’STheTragedy矿27
thedewofMalta，buthisscenediffersdistinctly．Marlowe’SJewBarabasisavariciousandselfishaswell，yetaudiencehasnotdetectedanyvillainousbehaviourtomerithypocriticalandunjusttreatmenthereceivesfromChristians．Shylock，neverthelessidentifieshimselfwithasociallyweakerpartyavengedandvindicatedbylaw．Heisdepictedsolelyasamoneylenderseparatedfromothers．Heisapersonofcertaintypewhodoesnotknowhowtohititoffwithothersnottospeakofgettingonwellwiththem．Themercyhasbeenchilledandatsametimemercilessnesshasbeensoftened．Withdarknessofhisdesiresandvanityofhisdesertsunveiled，hewillbegintofeelanewappreciationforgivingandforgenerosityofspiritandwealth．Nowhehasdiscoveredsuchneedsforhimself-AsChaucerhasclearlyremindedpeopletoknowwhatonelacksisbeginningofhumilitythatisrootofself-knowledge．ShylockparallelsArragonandMoroccowhoalsolosetheirsuitsbychoosingwrong，butwhoalsolearnthroughlosswhattheylackedthatiswiselove．Theplay’SlastscenebeginswithLorenzo’SandJessica’Sspeechofpraisingbeautifulnight，“Themoonshinesbri曲t：一insuchanightasthis，／Whensweetwinddidgentlykisstrees，／Andtheydidmakenonoise，一insuchanight／TroilusmethinksmountedTroyanwalls，／Andsigh’dhissoultowardGreciantents，／WhereCressidlaythatnight’’60．Whataterrificsceneisbeforethem!Nature，SOcongenialtotheirownthoughtsandweariedsenses，welcomesthemintranquilmoonlight．Shylock，onotherhand，fadesquietlyfromstage，withnofurtherspeechforlosersarealwaysinwrong．Hiseyeforaneyeandtoothforatoothphilosophyisdoomedtofail．Mancannotbesaidtocooperateinhisowndestructionwhereheisdoomedfromstartandhasnochancetosavehimself．Shylock’Scontemptformercy,hisfoolishreverenceforliterallegalism，hisrefractoryspiritandhisself-righteousarrogancearejustShakespeare’ScharacterizationofShylock．HeispresentedbyShakespeareasdistinctlyill-intentioned，yetstillamancapableofforgivingandlove．HiscomplexmotivesincludenotonlyrevengeagainstpowerfulAntonio，butalsoadesireforsocialrecognition．Shylockisnotamonster,butheisamanwhomaybedoingmonstrousdeeds，likeallmen，butwhodifferentiateshimself28
byactualizinghispotentialthroughhisattempts，byexpressinghistruefeelingsthroughhisringandavenginghimselfthroughhisfleshbond．Whatpuzzleshimthemercytopicortheinter-personalrelationshiptopicshallpuzzleallbasichumanbeings．Hisexperiencesareuniversalexperiences．Therefore，whatShakespearehasdoneiStorestorethetruenaturetohisdramaticcharacters，tohavenobiastowardanycharactersandtogivetheaudiencethemostenergeticlivingmenandwomen．Inhisvigorouslanguagepresentstheaudienceatwo-sidecoinandshowsthemShylockisjustlikethem，acommonlyspecies．6129
3．Lear--JusticeVS．InjusticeA．DefinitionsofJusticeAccordingtoOxfordEnglishDictionary(2002)，justiceisthedoctrineofjustconductordealing，fairness，impartialityandintegrity．Asaconcept，ithasbeensubjecttolegal，philosophicalandtheologicalreflectionanddebatedthroughoutthecentury．Anumberofimportantquestionssurroundingjusticehavebeenfiercelydiscussedoverthecourseofwesternhistory：Whatisjustice?Whatdoesitdemandofindividualsandsocieties?Howtobeajustman?Thereareuncountablypossibleanswerstothesequestionsfromdivergentperspectivesonthephilosophicalorpoliticalspectrum，yetthecritiqueofjusticeishardtodefine．Itisthefirstprincipleofthesocietyandthesocialcontractanditcouldsimplybeexplainedasjusticeistopunishtheevilandrewardthegood．Arulermustactlikearulerandacitizenmustactlikeacitizen．Therefore，justiceisnotmerelygivinggoodtofriends，badtoenemiesorwhatisgoodforthestronger．ToDante，inhisDivineComedy，hebelievesjusticeistheloveofGod．62AndtheRussiannovelistAlexanderSolzhenitsynsaysthatjusticeistheconscience，notthepersonalconsciencebuttheconscienceofthewholehumanity．IntheRepublic，PlatousesSocratestoarguethatthejusticecoversboththejustCityStateandthejustperson．Socrates’Sconcisesummaryis“Justiceisknowingone’Splaceandperformingitsduties’舶．HenceSocrates’Sdefinitionofjusticeisdoingandhavingofwhatisone’Sown，soajustmanisamaninjusttherightplace，doinghisbestandgivingthepreciseequivalentofwhathehasreceived．Thisappliesbothattheindividualandtheuniversallevel．Socratesusesthesimileoftheshiptoillustratehispoint：aship(thestate)crewedbyanauthoritativebutdrunkencaptain(theruler)andagroupofinsincereadvisors(thepoliticians)tryingtomanipulatethecaptainintogivingthempowerovertheship’Scoursewillunmistakablylostinopenoceanandanavigator(thephilosopher)whoistheonlyoneknowshowtogettheshiptotheport．Sojusticeistheharmoniousandproper30
relationshipbetweentherulerandhiscitizen，orinalargersense，betweentheindividualandthesociety．IfKingLearisthatdrunkencaptain，thenGonerilandEdmund，ReganandCornwallshallbeuntrustworthyadvisors．Lear’Scityisthatshipinwhichthereisnopossibilityofreachingtheshoreforitisfundamentallyhostileandindifferenttohumankind．TheninKingLear，thethemeofjusticeiscrucialtothecharacters．TheyoffertheirvariousopinionsOiljustice．Gloucester,realizingitisfoolishformankindtoassumethatthenaturalworldworksinparallelwithmorallyorsociallyaccessibleideasofjustice，muses，“Asfliestowantonboysarewetothegods；／TheykillUSfortheirsport’一．Edgar,ontheotherhand．believesthatindividualsgetwhattheydeserveinsistingthat“thegodsarejust’，65．Nevertheless，intheend，whatisleftisahorribleuncertainty—heevildie，butthegooddiealongwiththem，resultingintheawfulimageofCordelia!SbodybeingcradledinLear!SalTnS．JusticeinKingLearthushasableakoutcomethatitcanneitherembodytheconceptofExistentialistmannorCanitupholdtheChristianbeliefofdivinejustice．Shakespearehasshowedtheaudiencethatamancouldbringdecentjusticeintochaos．ThechaosbroughtonbyLearenrageshim．Heisincapableofallconsiderations，opposingaboundlessmUtothefirstchastisementhehasmetformanyyears．Hefoamsandraveslikesomewildtorrentaroundtherockrollingdownintoitswaters．HethinksheisalmightyasaBritishKing，SOheretumsnoanswertotheinquiriesofthewell—meaningAlbany．Heonlyremembershisroleasdistributorofjusticeinthekingdom，“WhenIdostare，seehowthesubjectquakes’一．Hehasforgottentheruleof‘‘ChainofBeing’’inwhicheverythinghasitsrelativepositionandthatnatureisviewedasorder．Heignoresthefactthatheisanindividualaswellandhastokeepabalancebetweentheindividualandthesociety．SohehasviolatedSocrates’Sprincipleofjusticeanddoesnotfullyacknowledgehisduty．HedelivershimselftomadnessanddeathandBritishsocietytochaosandcruelty．TheaudiencediscoversthatthewholestatedescendsintocivilstrifewhenLearhasdestroyednotonlyhisownfreedombutallinBritain．Thehierarchicalandstableorderthatheinitiallyrepresentsfallsapartanddisorderenvelopestherealm．Hispoor=；l
judgementleadstohisdestructionandhisinjusticeoverridesthejustice．Thefailureofjusticeinthefaceofinjusticerecursinhiswanderingsontheheathduringthestorm．Havingwitnessedpowerfulforcesofthenaturalworldandenduredmultiplebetrayalsandhumiliations，Learhascometounderstandthathe，liketherestmen，istinyintheuniverseandhisinjusticethathedoesnotwellmanagehisrelationshipwiththesocietyhascausedtoomuchwretchedness．Thisrealizationismuchmoreimportantthantherealizationofthelossofhispoliticalcontr01．Throughthesuffering，hehasbeencompelledtorevaluehimselfandseemstohavefoundthefightposition．HispreoccupationwithexaggerateddisplaysofpublicworshipisreplacedinhisreconciliationwithCordeliabyhumilityandlove．Withthisnewfoundcomprehensionofhimself,Learhopestobeabletoconfrontjustice，torediscovertherelationshipbetweentheindividualandthesociety．B．SocietyorIndividualThetyrant’Sdictatorialhumoureducatesitsfavourites．Astheplayopens，Learhasalreadydemonstratedhispeculiarnature．Althoughhehasdeterminedpreviouslythatthecountrywillbedividedequally,heurgesthateachofhisthreedaughterstrytowintheothersinherannouncementofloveforhim．Heexpectshisfavouritedaughtertobethemostworthyofhislove．SOhethinksthatherspeechwillundoubtedlybetheonefilledwiththemostlove．UnfortunatelyforLear,Cordeliarepliestohisinterrogationsaying，“Iloveyourmajesty／Accordingtomybond；normorenorless’’67．ShefailstosatisfyhisdesireforpraiseandneedforlovemakingLearimmediatelyrespondinapurelyemotionalway,disinheritingherandrefusingtolistentoanyreasonablearguments．Hemisjudgesallthosearoundhiminthefirstscene，banishingthosewhocareforhimthemostwhilerewardingthosewhosesweetwordswillprovefalse．Hedoesnotaskthatwhichofyoudolovememost，butrather,“whichofyoushallwesaydothloveUSmost’，68．Theequalityorjusticehereissarcastic．TheaudienceshallthinkthatLearistooblindtothetruththatCordelia's‘32
loveforhimisbeyondanyexpressionsorwords．Presumablyheshouldhaveknownthatsheloveshimthemostandherpersonalityisdifferentfromhersisters’．Theymustbebadanddreadfulinthefamilysense，likethesortofchildrenwhopullthelegsofftoysandtormentanimalstodeath．Tosuchallextent，thequestionthatheasksisfacetiousandimponderable，becausenoonewouldhaveequatedmuchtomuchland．Heisaccustomedtoexercisinghiswilltoofreely,believingthatthroughhispostasamonarchhecanevencommandhumanemotionslikelove．Lear’Sbasicflawatthebeginningoftheplayisthathedoesnotclearlyawarehisrole．Hewantstobetreatedasakingandtoenjoythetitle，buthedoesnotwanttofulfillaking’Sobligationofgovemingforthegoodofhissubjects．Hewantstobeafreeindividualenjoyinglife’Scomfort，butforgetswherethiskindofwell-beingcomesfrom．Thecompetitionheinsistsonhisdaughtersisplainlytheself-indulgentegotismofanoldmansousedtoflatterythathecannotdiscemitfromtruefriendshipandtruelove．Hisjudgementisfullofinjustice，whichhevaluesGonerilandRegan’SfawningoverCordelia’Ssincerelyfilialduty．Theyplaythegameaccordingtohisrules，butintheeyesoftheaudience，forevenastheyspeak，theirannouncementsareimmediatelyqualified．Cordelia，however，theaudienceknowsherwordsaremeantfortheearsofthepeoplenotonstagetooandgraspsherinabilitytomatchLear’Sflattery．Whathehasdone，baseduponastrangemisunderstanding，istooharsh．Lear,withoutquestioninghisownrightness，inflictshiswillonothers．HisinabilitytoapprehendCordelialeadshimtotakethefirststepinhisjourney．Herejectsthevalueshehasofferedhimandreplacesheranswerswithfalsepride．InsidingwithGonerilandRegan，heattacheshimselfmorefirmlytotheindividualandnottohisresponsibilityinthesociety．Hehashadtheopportunitytochoose，tobelieveinsomethingofadifferentrelation，yethehastakenthewrongpath．Hebelievesonlywhatappealstohimandnothingmore．Thecountryisblamelessforheisguilty．Hiscarelessnessinmakingdecisionswillofferhimthefollowingmisery；hisdeedswillbejustifiedbythesocietyandhewillfindhimselfcaughtinatrapofhisowndesign．Fromthestart，Learembodiesallthatamanhopestopossess．Hehasfamily,33
followers，longexperience，vocationandwealth．Sinceheisrepeatingobsessivelywordssuchas‘‘father'’and‘‘king’’toshowhowstronglytheseself-imagesareestablishedinhim，heknowsthereisabondexistingtiedtheindividualtothesociety．However,hisapprehensionoftheindividualfallsshortinitsperformanceinthesociety．Inanycase，Hehasneverintendedtoentirelydivorcehimselffromthethrone．HehasunwiRinglyspokensomeabsurdcontradictionofhispositionintheabdicationspeechtoAlbanyandComwall，“Idoinvestyoujointlyinmypower,／Pre-eminence，andallthelargeeffects／Thattroopwithmajesty．--Ourself,bymonthlycourse，／Withreservationofanhundredknights，／Byyoutobesustain’d，shallourabode／Makewithyoubydueturns．Onlywestillretain／Thename，andalltheadditionstoaking’，69．Fromabove．itcanbeinferredthatLearonlywantstotakewithhimthoseelementsofkingship：thetitleandtheaddition，plusthefighttomaintainasmallprivatearmypaidbyAlbanyandComwall，thethronewithoutresponsibility．WhathehasyettoexposeisthattheroleisnotSOeasilydivisibleandthatitisnotuptohimtodecidewhichpartsofitarehisbyright．TheworstthinghewillfindoutistheextenttowhichhisownidentityisdispensedinhisofficeasifhisnameisKing-Lear．Onceheiscutofffromdutiesandfightswhichculminateinhimastheking，heislostandoncehisroleinsocietyislost，he，aSanindividual，willturnouttobeterriblyfragileandterriblyshort-lived．Shakespeare’Scuriosityhereistherelationshipbetweenamaninhisprivateidentityandthefunctionheshouldfulfillinasociety,orinsimplewords，betweentheindividualandthesociety．Learthinksthathecouldrenouncehispublicidentity,retreatintohisprivateoneandthenrelax．Whatheisgoingtodiscover,however,isthattherealitywillnotinanywaymatchthefuturepicturehehashadofhimself．Inasense，hisprivatecapacitywillquicklybeinvaded．AfterLearlosesthebalancebetweentheindividualandthesociety,heisunabletocalldowntheuniversalchaos，appearingthatitisgreatertobeamanthantobeaking，greatertobeakingintheimaginativethanintheworldlysense．70Beforehewassenttoprison，hehaspaideverypriceandhasbeenstrippedofeverythingamancanhave，evenhissanity,inpaymentforfollyandinjustice．Ontheheath，heshouts，“Blow,winds，andcrackyourcheeks!Rage!Blow!Youcataractsandhurricanoes，34
spout／Tillyouhavedrenchtoursteeples，drown’dthecocks’，71．Buthisauthorityisnotatworkanymore．Hehasnodignityornobilitytoinvesttohim，nopowertogivecommandandbeobeyedasthekingandhisunjustactionhascausedfearfulandpitiableincidents．Heiscomingtofacethenear-beggaryhimselfandheacknowledgestheinjusticetowhichthishasled．Thedenialofhisrightsasfatherandkingbringshimtoquestionhisownaction．ThespeechshowsthatLear,suddenly,fullofcompassionandsense，isamoreimpressiveandsympatheticfigurethanatanypreviouspointintheplay．Henowknowsthatnomanwouldeverthinkofdividingthekingdomamonghisdaughtersinproportiontothestrengthoftheirseveralprotestationsoflove；henowknowstheinjusticeismotivatedbyhimself,becausehehasnotshownjusticetohisdaughtersinthefirstplaceandhenowknowsthatasanindividual，oneisresponsibleforhisdeedsinthesociety,becauseitisimpossibleforamanasanindividualtogrowordecayandbehimselfunlessherelateshimselftothelawsofthesociety,SOheisawarenowwhattoldhimthattheindividuallifehasvalueonlyinrelationshipsisabsolutelyright．Lear’Sjourney,fromtherejectionofGonerilandRegan’SviewoflifetotheacceptanceofCordeliaandtheFool’S‘‘foolish’’wayCanthusbesaidtoinvolveanapprovalofthevalueofjustice，followingarefusaloftheshowyadoration，apreferenceofreallovetotheflatteringpublicdisplayoflove．Hisstorytellsofaconflictbetweentwoopposedwaysoflookingattheworld．AnimportantquestiontoaskiswhetherLeardevelopsasacharacter；inotherwords，whetherhelearnsfromhismistakesandbecomesabetterandmoreinsightfulhumanbeing．Insomewaystheanswerisyes．Althoughhedoesnotcompletelyrecoverhishealthofmindandemergeasabetterking，hisvaluesdochangeoverthecourseoftheplay．Asherealizeshisinsignificanceandweaknesscomparedtoawesomeforcesofthenaturalworld，hebecomesacaringandhumbleindividual．InsteadofformerlydisowningCordeliaashisdaughterwithoutanyrationalthoughts，hecomestoplacehisownloveforheraboveeveryotherconsiderationandtocherishheraboveeverythingelse，tothepointthathewouldratherliveinprisonwithherthanruleasakingagain．Inspiteofthis，Learcannotcomplywiththeemphasisandthelawdemandedbysocial35
conductanymore．Thesocietyistheplacefullofcruelreality,whichwillcomeintoconflictwiththeunjustindividualatanyminute．Whenhehasnoticedthathecouldnotbalancetherelationshipbetweenresponsibilitiesrequiredbythesocialinstitutionsandpersonalinterestsdesiredbytheindividualanymore，hewishestoescapethepublicworld，buthecannotceasebeingakingsolelybecausehewantsto；therestoftheworldwillnotlethim．Evenifheisnotakingheistheindividualinthesociety．Sincenomanisanisland，wholenessofhisown，itiSthecommonsensethatthelifecutsitselfofffromitsnaturalbondsandsocialrelationshipswilldiesoonbothphysicallyandspiritually．Asthetwosidesofthecoin，theindividualandthesocietymustbecombined．C．CombinationAristotlesaysthatthemeorthoughtinatragedyiswhatdramaticcharacterssay,notwhattheplaywrightortheworkasawholesays．Throughcharacters’wordsanddeeds，theartisticrepresentationofdeepandgreatsufferingarousestheaudience’Sgenuinepityandterror,therebypurgingandinasensepufffyingtheaudience’Sspirit．72Theaudiencethusisgivenanoccasiontoexpresstheirdeepestfeelingsincharacters’positions．DramaticCharactersmayremainessentiallystableorunchangedindispositionandoutlookfrombeginningtoendofaplayormayendurearadicalchange，eitherthroughagradualprocessofdevelopmentorasaresultofacrisis．Learisthecharacterthatundergoesabigalteration．Heisdriventosearchforthetruthasurgentlyastheaudienceoutsidetheworkseeksthewisdom．AndthetruthjourneyforLearisreallydifficultandlong．Atfirst，hedefineshimselfintheselfishindividualisticway．Heholdsacompetitionthatservesmerelytofeedhisegotodecidethedaughtertowhomheshouldgivethelargestportionofthekingdom．Hisirrationalbasisfordistributingthecountrybetweenhisdaughtersrevealsthatheisimpatientandquicktempered，unawareofhisroleinthesociety．A．C．Bradleyhasstatedonhistragicflawbycommentingthat‘‘Alonglifeofabsolutepower,inwhich
heasbeenflatteredtothetopofhisbenthasproducedinhimthatblindnesstohumanlimitationandthatpresumptuousselfwill’，73．ByconnectingSidney’SstoryofthePaphlagonianKingwiththatofLeir,Shakespeareisverygoodatduplicatinghismaintheme．74LikeLear-withblindnessevenmoreinexcusablethanOthello’S，banishesthefavouritedaughterwholoveshimgenuinelyandbelievesthehypocriticalspeechesofhistwowickeddaughters，SOdoesthecredulousGloucestertrickedbyhisbastardsonEdmundbelievesthathisbiologicalsonEdgarisplottinghisdeath．Theparallelbetweenthesetwoplotsisoperatingtotheend．Learisdesertedbythechildrenhasfavouredandrescuedbythechildhaswronged；Gloucesteriscastoutbythesonhasmadehisheirandsuccouredbytheonehasmisunderstood．Lear,afterhasbeenforcedcrazyacquiresfact；Gloucester,afterhasbeenblindedseesbrightness．LearandGloucesterbothdieofjoy,theformerinthedelusionthatCordeliaisstillalive，thelaterwithreconciliationtoEdgar．Asthesayinggoes，whatgoesaroundcomesaround．Theyhavebothpractisedinjusticeandpunishedbytheirownactions．Eventheirevilchildrenknowthisbetterthantheythemselves．InGonefilandRegan’Sconversation，GonefiltellsRegan，“Youseehowfullofchangeshisageis；theobservationwehavemadeofithathnotbeenlittle：healwayslovedoursistermost；andwithwhatpoorjudgementhathnOWcastheroffappearstoogrossly’，75andReganreplies，“’Tistheinfirmityofhisage：yethatheverbutslenderlyknownhimself'’76．Amanscantilyknowshimselfwillundoubtedlytorturedbythenature’Spowers．Thesufferingofthebodyisapartof,butstillsignificantofLear’Scombination．InAlbany’SwordstoGoneril，itissaidthatmanissometimesapoornakedanimalthatmustbehurtbythechangingnature，asakite，awolforanamelessmonster．77AndinActIll，sceneiv,EdgarsaysofLear,“ChildRowlandtothedarktowercame；／Hiswordwasstill，--Fie，foh，andfum，／IsmellthebloodofaBritishman’，78．LearthusformerlyaBritishKingnOWisonlyfillordinaryBritishman．Man，nobiggerthantheanimal，coveringthesamethinveneerandredinclawandtoothhastostruggleagainsttheruthlesscivilization．Lear’SgrapplingwiththeterriblenaturegetstheclimaxinActIII，ontheheath，37
underthestorm．Everywordexpendeduponthisscenesoundsimpertinentanditsfearfulmagnificencerequiresnowordofpraisefromthecommentator．Learisoutragedbyhistwodaughters；hefeelsthestormbreakingbothonhisheadandwithinhismindandhismomentaryinsightcollapsesintochaosashestrugglestotearoffhisownclothes，toreducehisstatethathewasonceeveryinchakingtonowaprimitiveman．Theseactsmustbethehighlightofthecombination，ashehascometorecognizethathisformerpowerandthetrappingsofprivilegethatwentwithithadpreventedhimfromseeingallbutanarrowbandofwhatisgoingoninthekingdom．Hisresponseistoridhimselfofeverything．Tearingoffclothesisonewayofannihilatealllinkstothecivilizedworld．Itisbothaconsequenceandasymbolofhisgrowingmadness，whichhenowembraceshissearchtofindsomekindofmeaninginlife．Inotherplays，thismaybeaturningpointthatcharactersstartontheroadtowardshappiness，towardssplendor．InShakespeare’Splay,howeveLthemomentofrecognitionisburiedbeneathLear’Sincreasingagony．Neitherhisconventionallyacceptablelessonsofhumilityandjusticenorhismomentsofcynicalandmisanthropicdespairdohimanygood．ThelearningoflessonswillleadtohappinessistheidealendingoftheearlierLeirstory．NolessonseverlearntfinallyandknowledgeofferinglittleprotectionfrommiseryareenactedbyShakespeare’SLear．79Lear’SsufferingreachesitsterminationinthedevastatingActVrepresentingoneofthemosttragicendingsinallliterature．Itishisfinalcombination．Heisnottotallyinsane，buthismindisgreatlyenfeebled．InhisreunionwithCordelia，heenjoysatthecloseofhisfortuneatranscendentandvisionarymomentoflife．Theimpossibilitydoesnotalterthehappinessandtruthofthisvisioninhiseyes：‘‘Wetwoalonewillsinglikebirdsi’thecage：／Whenthoudostaskmeblessing，I’11kneeldown，／Andaskoftheeforgiveness：SOwe’11live，／Andpray,andsing，andtelloldtales，andlaugh／Atgildedbutterflies，andhearpoorrogues／Talkofcourtnews；andwe’11talkwiththemtoo,--Wholosesandwhowins；who’Sin，who’Sout；一Andtakeupon’Sthemysteryofthings．／AsifwewereGod’Sspies’’80．Thesewordscanneitherbespokenbyalunaticnorbyaverymentallyhealthyperson．ItisLear’Ssoliloquy．Heleamsatremendouslycruellessonofjusticeandreachesthepointwherehecanreunite38
joyfullywithCordeliaandexperiencethebalmofherforgivinglove，evenifonlyfleetingly．Hisrecognitionoftheerrorofhisdeedsisavitalingredientinreconciliationwithher．Hehasrecognizedhisinjusticetowardsherandhasbeensecretlyblaminghimself．Hehasrecognizedherasanembodimentofsincereandself-sacrificingloveremainingdevoted，ratherthandespisinghimforbanishingher,eventuallybringsanarmyfromaforeigncountrytorescuehimfromtormentors．ThecharacterofCordeliaisnotamasterpieceofinventionorsubtletylikethatofCleopatraorPortia．Sheisjustalovingdaughter．Lear’SmaturationthoughagedenableshimtobringCordeliabackintohisgoodgraces；atestamenttolove’Sabilitytoflourishamidthechaosandtheinjustice．ItisbelievedbyA．C．BradleythatheroesofShakespeareantragedieshaveafatalflaw,whichcausestheirowndownfall．Tragicheroesmusthavethreequalities．Thefirstisthattheymustpossesspower；thesecondisthattheymusthaveatragicflawandthethirdisthattheymustexperienceadownfall．Lear,certainly,astheformerBritishKingisapowerfulmanandhisfatalflawisthathedoesnotknowhisrealpositioninthesociety．Hisdefectliesintheresolutionofthedichotomy,settingupfalsedichotomybetweentheindividualandthesocietyanddoesnotdistinguishthejusticefromtheinjustice．Itisthedutiesoftheempirethathewishestorunawayfrom．Heimaginesbeingwhollyindependentofwhatheshoulddo．Hewantsnootherrelationstothesocietyexceptclaim，mercyandrightonhissideanddevotion，gratitudeandprayerfromallothers．Naturally,whenwhatheneedsgoesoppositedirection，hecanonlybemad．Heundergoesthefallingfromprosperitywantingatakingbackofwhatheoriginallyowns；revengeandviolencearehisfirstthoughts．Heisdefinitelyverypainfulgraspingthatthosehehasheapedwithfavourandfortunearebasicallyrascalsofingratitude．Hisownunquestionablefollypassesintothefatalunsteadinesswiththehotbreathofwhichthespringsofhisspirituallifearedriedup，untilthephantomofmadnesssettlesdownweirdlyupontheburnt—outwaste．Hisconsciousnessisengulfedinthepresentimentofmadnessandhisconsciencecollideswiththeblindandragingthirstforvengeance．TragedyforLearisasmuchwhatwouldhavehappenedaswhatactuallydoes．Theplaybeginswithadeclaration39
oflove，whichmeansnomatterwhatthestorytellspeople，nothingwouldsatisfyLear．Hewantstheimpossible，whichCordeliaknowsandaccepts．ButshealsorealizeswhatLearwantsisnotherstogive．81Aftergettingtocomprehendhisowndeficiencyandafterbeingstrippeddignity,health，powerandwealth，allhehasleftistheconfidencethatthingswillgetbetterandatlastmakesense．Learendureshisdownfallthroughwhichhehasdiscoveredthevaluelife．Itbeginswhenhediscoversthattheworldcannolongerprovidehimwiththekindnourishmenthedemands．Hiscombinationfromthetainttheworldhehascreatedbyhisownactionistheanguishedandthegradualone．Ononelevel，thephysicaldenialcomfort，protectionandsheltermanifestsitselfasacombination；onanotherlevel，itindicateseventhewholenatureisunabletoprovideforthetotalneedsamanlikeLear．Hisveryfirsterroristypicallyinjustice：theintroductionthemeasurementstandardwhereitisnotapplicable．Hestickstotheunwarrantablepropositionthatlovecanbegauged，asifitwereamaterialquantumacertainshapeorsize．Heforgetsthatdeedsratherthanwordsaresymbolslove．Heseemstohavefailedindailyobservationswhichareavailablerichlytohin】——notinverbalformulaeandshortcuts，butinthelivesdaughtershehasbroughtupfrominfancy．82Thejusticeandtherelationshipconcealedinitheignoresmakehiminaugurateaseriestragicconsequences．Hedoesnothavetheprideinreasonof,likeFaustusorOedipus，buthedoesundertaketoreasonaboutsomephenomenon．Helearn．stheimprudencedividingandgivingawayhiskingdomandexpectsneverthelesstoretainpoliticalpower．Healsolearnsitisfoolishtobelieveinflatterers．Herecognizesagroupliarssurroundhim．Sincehehassharedthingswiththoseonthewrongsidethelaw,heseesnowthehypocrisyandincompetencethejusticesystemthatasakingheisresponsiblefor．Caughtinparticularcircumstances，Shakespeare’Sdramaticcharactersarepeoplevitality,notpuppetsmanifestingpredeterminedprinciples．Personalityisalwaysbreakingin，theanarchismaFalstaffthathasdestroyedthesocialorganizationortheinjusticeakingthathasthreatenedsovereignstability．Althoughthehistoryandtheworld—picturearealwayspartshismentalclimate，ShakespeareusesthemwidergO
thanproclaimsmerelytothedutyofobedienceandputsthemwhenandwheretheyaresuitable．Hisalternatingconceptionofmansometimesgood，sometimesevilisimportanttotheinterpretationofreallife．Lifeis，feltbyShakespeare，tobetherealityofchaosnowandthencontrastedwiththeidealofstability．Sincerulersarepublicfigures，theirtragediesarerepresentative．Whenthereareunjustfathersagainsttheirownchildren；whentheyisolatesthemselvesfromthesocietyandwhentheysetthemselvesabovethedivineorthemorallaw,thereisnoescapingfromthesequenteffects．Theirdisadvantageswillstripthemoftheirlendingandrumthemlooseinaworldemptyofhuman-kindnessorsacredpity．ToShakespeare，ennoblementthroughsufferingisageneralexperiencefromwhichmanysufferedbutfewareennobled．Whatmayhappenafterthesufferingistherecognition，alsoreferredtodiscoverysuggestedbyetymology,isthesubjectivecorrelativeofreversalintheaction．Itisthesignofthedramaticcharacter’Sshiftofattitude，perceptionandperspective．Itimpliesthatthecharacterdiscoversadeepertruththatsomehowhasalreadyknownbutignored．83InKingLear．thiskindofdiscoveryisLear’Scombination．HisultimaterealizationthattheinjusticecanbeavoidedbythemeansoftheresolutefaithonthepartofthechooserprovidesananswerShakespeareatleastseemstobesatisfiedwith．84TheShakespeareantragediesseemtolieinthefactthatachoicedoesexistforhisdramaticcharacters．AchoiceiSlikeonesideofacoin．Ifthecharacterchoosestolookatthisside，theothersidewillalwaysinshadow．Lear’Sinitialchoiceandtheexperienceconsequentuponitbringaboutcrisesonalllevels，familialaswellasmoralandsocial．However,ShakespeareborrowsLearnottowarntheaudienceofthedangerofwrongchoicebuttoshoweveryonecouldchoosewrong，becauseeveryoneisthecoinoftwosides，theKingortheF001．AlthoughLeariskilledbyanagony,heactuallydiesnotinpainbutinecstasy．Intheend，heissurethatthedearestCordeliaisstillalive，ashortbutecstaticjoy．Andhehasachievedhiscombinationalready．Hehasfoundthatinsteadofbeingamasteratwhosenodallthingsmustbow,heisonlyanordinaryindividual，deficient，notalmightyata11．HeandGloucesterattemptboth，intheirdifferentways，butsucceedinneither．Thepointhereisnottheresult，butthe41
courseortheprocess．Atanyrate，theyhavetried．Henowhavelearntthatwordsheformerlyassessedlovetobeasanappearancebehindwhichvicehidesitself,aveilwhichjusticeultimatelypierce．Heknowsheisnotaboveeverything；heknowsallpowerisrelativeandthatitssourceliesinjusticeandsocialconventionandheknowsthathemustbalancehisrelationshipbetweentheindividualandthesociety．Glanceatthemirror,everybodywillfindthemselvesaLear．ToquotePope’Swords，toerrishuman．Lear,acombinationofjusticeandinjusticeisShakespeare’Sanothercoinoftwosides：auniversalhumanbeing．42
ConclusionDrawnupbyAristotleandHorace，thelistsoffourcriteriaforcharactersare：first，theymustbeapparent；second，themannersmustbeagreeingtopersonsorsuitable；third，themanners’propertyisresemblance；fourth，themanners’propertyisthattheybeconstantandequal，whichmeanstheymustmaintainthesamethroughthewholedesign．However,ifShakespearehadfollowedthesefourcriteriaexactly,therewouldnothavehadhislivelydramaticcharacters．Edgar,ashisspokesmansaysthat“speakwhatwefeelnotwhatweoughttosay’，85．SOitisbelievedthatunlikehisancestors，hehastouchedtheaudiencewithhissuperiorityinconcreteness，sensitivenessandvarietyofcharacters．Theaudienceseesthemostofthegame．Inthisgame，Antony,whoissupposedtowintheworld，fallsdesperatelyinlovewithanEgyptianwoman；Shylock，whoisrichenoughtobuyships，attachesrigidlytoabond；Lear，whopossessesathrone，splitsthekingdomstupidlytohisdaughters．Inagame，oneoftheplayersisdestinedtolose，SOAntonyandLearlosetheirliveswhileShylockalmostloseshislifebylosingeverything．Thisistherealityoflife，alwaysapricetopay．WhatcostAntony,LearandShylockisjustmoreexpensivethantheaudiencehasimagined．Inthesenseoftheplayandwithintheformofart，deathisSOcommonandSOproperthatitbecomesverymuchapartoflife，anexperience，tobeenduredandlivedthroughaslifeitselfis．86ToShakespeare．deathisonlyabeginning．Antonybehavesaccordingtoacodeofethicsthatisallhisown，hisownhonour；Shylockactsbyhisruleofconduct，hismercy，andLearbelievesnothingrightbuthisjustice．Thedishonour，themercilessnessandtheinjusticeareliketheirnicknames．Nevertheless，thesenamesmayevokecomplexfeelingsamongtheaudience．Antonyhasgainedhonourinhisgloriousdays．Backthen，heissimplyaRomansoldier；withCleopatraashisheart’Sweapon，heisalsoapassionatelover．Shylock’Smercilessnessisrealenough，thoughthemannerinwhichhehastriedtosatisfyitisalittleeccentric．87Yethismercifulmemoryofhiswifeanddaughterhasnotbeendissipated．43
HebecomesfullyhumanunderShakespeare’Sart．Hepersuadestheaudiencethathissentimentsarealiveandtrue，howevermerelyhumanhisawarenessandconsciousnessmaybe．Lear’Sunjustdeedsarequiteinexcusable，butafterbeingcastedoffallhecouldhave，hesearchesforasenseofidentityandfindsessentialjusticethroughthemediumofdiscovery．WhileAntonyandLeararedeadonthestageandShylockisorderedoffthestage，theyremainimmovablepartsoftheaudience’Svision，becausetheaudienceseestwosidesofthecoin．Shakespearedoesnotprovidepeoplewithamapofanethicalsystem，SOobviouslyheisnotamoralphilosopher．Theconquestthathehasimaginedisnottheconquestofthegoodovertheevil．Theplaywright’Staskistoconveyanintenseandunforgettableimpressionofitsreality,nottoexpoundit．IsShakespeareananti-Semite，anarch-conservativeoramisogynist?Orisheinsteadaliberalhumanist，pro—Jewish，pro—Moororpro-woman?Eventoposesuchquestionsinthesetermsisnotsensible．Heisamanofthetheatreinthebusinessofbringingintheaudienceandraisingfunds，韶butunlikeothertheatremen，heknowspeople’Stastethatistowatchaplayfilledwithcharactersthatareasgenuineaspossible．Therefore，theremainsofShakespeareareartifactsneedtobehandledwithcare，withdueregardfortheirnatureandshape．89Theyarenotdiariesorpersonalmementoes．Theyareartisticcreationsavailabletopeopleofeverygenerationnotonlyintheirscripts，butalsointhelaughterandthecrytheyarereadytooffer．Peopleareledtoexaminethemselvesandtoasknotonlywhattheyarelaughingatorcryingfor,butalsowhatthatlaughterorcrymightconceal．AconcealedcombinationofloverandsoldieLofpassionandreasonisMarkAntony；aconcealedcombinationoffatherandusurer,ofloveandself-interestisShylockandaconcealedcombinationofmanandking，ofindividualandsocietyisLear．Relationsbetweentheselfandtheself,theselfandothers，theselfandthesocietyareclearlyintheirassertionsthattheyarenotonlyforlifeintermsoffullnessandhappinessbutalsoforlifeintermsofdefectivenessandimperfectness．TheyareShakespeare’Sdramaticcharacters，thecoinoftwosides．Obviously,withinthespaceofthispaper,IcanonlyprovidethebriefestoutlineofhowIthinkShakespearehasappliedhimselftothetaskofhistwo—sidecoin44
characters．TheconclusioniSthatthediscussionofhisdramaticcharactersiSopen-endedandalwayswillbe．Theyarecomplexinmotivationandtemperament，whoareasdifficulttodescribewithanyadequacyaspersonsinreallife，andlikerealpersons，arecapableofsurprisingtheaudienceandthereader．90TheirdimensionsofchangeandgrowthCanneverbefullyunderstood．AndAntony,LearandShylockarejustthreetypicalcharacterspresentedbyhimwithsubtleparticularityamonghisdiversity．Throughcenturies，allofhiscriticshavehadpreoccupiedthemselveswithcharacterstudyingreaterorlesserdegree，butnonehasbeenasthoroughgoingasShakespearehimself．ItseemsthatShakespearehasmadethewordcharacterization．BenJonsonassurespeoplethatShakespeareisnotforanagebutforalltime．WhathemeansisthatShakespeareisalwaysdirectlyspeakingtoeverygeneration．91He，ratherthanbeingasalearnedpoet，isforemostbeingasanatural，whichcontributestohispopularity．92Andasanatural．hisAntony,LearandShylockarenotpresentedasbeingtheperfectionofsomeparticulartype；otherwisenoonehastheopportunitytoseebothsidesofthecoin．45
Notes：p．30．24lbid．．P．33．巧Ibid。P．35．26Ibid．，P．77．17lbid．，P．118．30Ibid．，P．599．“lbid．．P．598．“Ibid．．P．599．”Ibid．．P．600．34lbid．P．96．38Ibid．．P．120．39lbid．矗．117．
P．33．60lbid．．P．412．03Ibid⋯P921．60Ibid⋯P915．驯lbid⋯P886．础Ibid．．P．885．69Ibid．．P．886．47
78WilliamShakespeare，TheCompleteWorksofWilliamShakespeare：lOngLear(Hertfordshire：WordsworthEditionsLtd．，1996)，P．906．79MichaelMangan．APrefacetoShakespeare蟹Tragedies(Beijing：BeijingUP,2005)，P．188．80WilliamShakespeare，TheCompleteWorksofVVilliamShakespeare．KingLear(Hertfordshire：WordsworthEditjonsLtd．，1996)，P．919．81JobnBayley,ShakespeareandTragedy(London：Routledge&KeganPaulLtd．，1981)，P．44．82FrankKerrnode．ed．Shakespeare．"King￡PD卜．4Casebook(London：TheMacmillanPressLtd．，1978)．P．170．83SteV_enMarx．ShakespeareandtheBible(London：OxfordUP,2000)，P．64．¨TerenceHawkes．ShakespeareandtheReason(London：Routledge，2005)，P．162．85WilliamShakespeare。TheCompleteWorksofIHlliamShakespeare：KingLear(Hertfordshire：WordsworthEditionsLtd．，1996)，P．923．86JohnBayley,ShakespeareandTragedy(London：Routledge&KeganPaulLtd．，1981)，P．50．87AlexanderLeggatt。Shakespeare譬Come@ofLove(NewYork：Methuen&Co．，1974)，P．142．88JanetteDillon．ShakespeareandtheSolitaryMan(London：TheMacmillanPressLtd．，1981)，P．131．89JohnF．Andrews，ed．。WilliamShakespeareHisWormHisWorkHisInflue．ce．(NewYork：CharlesScribner’SSons，l985)，P．291．90MichaelRosenberg，pub．，AGlossaryofLiteraryTerms．EighthEdition．(Boston：ThomsonWadsworth，2005)，P．33．91M．M．Reese．ShakespeareHisWormandHisWork(NewYork：St．Martin’SPress，1980)，P．328．92MargretadeGrazia&StanleyWells。ed．砌PCambridgeCompaniontoShakespeare(Edinbu—rgh：CambridgeUP,2001)，P．266．48
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