威尼斯商人中的反犹太主义.docx

PAGE  PAGE 13 Anti-Semitism in The Merchant of Venice and The Jew of Malta Elizabethan England produced two great plays involving Jewish protagonists, and for most of the past hundred years or so it has been generally believed that one of these plays is essentially defensible although highly problematic while the other is simply and crudely anti-Semitic. The Merchant of Venice remains controversial, and with good reason, but it is generally defended and is and can be performed in the English-speaking world without much protest. The Jew of Malta, Marlowe’s earlier masterpiece, on the other hand is, in fact, not controversial: it is generally regarded as crudely anti-Semitic and therefore almost unperformable. There are occasional public readings of the play, and there have been one or two productions in London and New York, but its reputation as an anti-Semitic rant has rendered it pretty well outside the scope of general theatrical performance and even undergraduate university courses. I think the general opinion has it precisely backwards: the Merchant of Venice is, in fact, an anti-Semitic text, albeit attenuated in many important ways and indeed defensible, whereas the Jew of Malta is, I think, not an anti-Semitic text at all. This is going to require some explaining, but it’s an important point especially to someone like me who spends a good deal of time thinking about the problems of defamation such as Islamophobia and anti-Semitism. To begin with the Merchant of Venice, for most of the history of the reception of the play, Shylock has been seen as fundamentally an unsympathetic character if not a villain. He is also often seen as a caricature of a grasping, vicious and resentful Jew. The debate is not about whether or not Shylock is bad, but really is about whether Shylock is bad because he is a bad Jew or bad because he is simply a Jew. The play establishes quite clearly that he and his community are badly treated in Venice and subject to vicious disc