Merchant of Venice. - Repositories
Merchant of Venice. - Repositories Merchant of Venice. - Repositories
194 NOTES of an iambus, or of a dactyl (three syllables, of which the first is accented). " Often I have you I heard that told: ^ ^ ^ ^ Many a | man his | life hath | sold." — IL, viL, 66, 67. Sometimes an iambic line is substituted in one of the trochaic stanzas, as in II., vii., 72. In v., i,, note also the amoebean verses, and the stichomythia; both of these terms are explained on p. 184, 11. 1-24 — note. SOURCES OF THE PLAY The Originality of Shakespeare. —Shakespeare was not an imitator nor a plagiarist, although he probably never devised the entire plot of any one of his dramas. But what need had he of original stories when in London libraries and bookstalls could be found translations of French and Italian romances, and when the history of his own country and of Scotland was full of the most thrilling tragedy ? What time, moreover, had he in which to devise plots had he wished, since he was actor as well as playwright, and since, as Dr. Furness shows us from an examination of the diary of the stage-manager, Henslowe, the London public demanded "a new play, upon an average, every seventeen or eighteen days, including Sundays " ? Shakespeare himself, as the same author computes, must have written on the average at least two plays a year. Above all it must be remembered that the story or old play that Shakespeare found ready made, was a mere outline, and that it had to be altered to suit
NOTES 195 nis taste, that it had sometimes to be combined with other stories, and that its shadowy characters had to be developed and made lifelike. The Merchant of Venice: (i) The Bond Story.—One reading of The Merchant of Venice will reveal two distinct stories, that usually spoken of as The Bond Story, and that known as The Three Gaskets. In the Elizabethan age these were already old and had been told by many people in many tongues. The Bond story, with some variation in details, was known among the Hindus in India, among the Turks in Constantinople, and among the Persians. It is found in the Gesta Bomanorum, a collection of legends and stories \mtten in Latin by English monks of the thirteenth or fourteenth century. It is written in English in the Cursor Mundi, a poem composed about 1320. Finally it appears in one of those Italian novels so popular in Shakespeare's time, II Pecorone. In many respects the drama corresponds very closely to this novel. In the novel, as in Shakespeare, the merchant lends money to a friend (his godchild in fact), in order that the latter may win a fair lady for his wife. The generous lender is forgotten by the ardent lover and is in danger of losing his life, when he is rescued by the lady herself in the guise of a lawyer. Here, moreover, the mystery of the lady's disguise is solved by the episode of the rings, itself really a third narrative, and, except in this novel, not united with the story of the bond. In addition to the sources mentioned above, two English ballads have been found relating the Story of the Jew and the pound of flesh. Possibly, however, these ballads may have been based upon the play; the date of their composition is uncertain. Although not in any
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194 NOTES<br />
<strong>of</strong> an iambus, or <strong>of</strong> a dactyl (three syllables, <strong>of</strong> which the<br />
first is accented).<br />
" Often I have you I heard that told:<br />
^ ^ ^ ^<br />
Many a | man his | life hath | sold."<br />
— IL, viL, 66, 67.<br />
Sometimes an iambic line is substituted in one <strong>of</strong> the trochaic<br />
stanzas, as in II., vii., 72.<br />
In v., i,, note also the amoebean verses, and the stichomythia;<br />
both <strong>of</strong> these terms are explained on p. 184, 11. 1-24 — note.<br />
SOURCES OF THE PLAY<br />
The Originality <strong>of</strong> Shakespeare. —Shakespeare was not an<br />
imitator nor a plagiarist, although he probably never devised the<br />
entire plot <strong>of</strong> any one <strong>of</strong> his dramas. But what need had he<br />
<strong>of</strong> original stories when in London libraries and bookstalls could<br />
be found translations <strong>of</strong> French and Italian romances, and when<br />
the history <strong>of</strong> his own country and <strong>of</strong> Scotland was full <strong>of</strong> the<br />
most thrilling tragedy ? What time, moreover, had he in which<br />
to devise plots had he wished, since he was actor as well as<br />
playwright, and since, as Dr. Furness shows us from an examination<br />
<strong>of</strong> the diary <strong>of</strong> the stage-manager, Henslowe, the London<br />
public demanded "a new play, upon an average, every seventeen<br />
or eighteen days, including Sundays " ? Shakespeare himself,<br />
as the same author computes, must have written on the<br />
average at least two plays a year. Above all it must be remembered<br />
that the story or old play that Shakespeare found ready<br />
made, was a mere outline, and that it had to be altered to suit