#but not have access to infinite knowledge or anything so he doesnt know why he senses something Off

[decimatlas]

@ohlazrus – continued from here. ♡

Giggles pour from lips curled upwards; this is the status quo for Angel – but she really should be more mindful that this is far from the norm for most. And though Gen has danced with what lies beyond, dealt in death and the supernatural – Angel supposes her lifestyle is still... well, out of the ordinary.

She's a paradox – in name, in practice; in the way her eyes remain alight as they linger at the entrance. Angel hooks her arm with theirs, gives them a reassuring nudge on the arm. ❛ Breeeeathe, Gens! ❜ She takes a deep breath in, as if to prompt them to do the same – and she lets a slow breath out. ❛ Abraxas knows you're coming. I told him to tell the others. ❜ There's a beat of silence. Then –  ❛ He's my ex. Well... It's complicated. ❜ She shakes her head. (That's neither here nor there, Angel.)

Back on topic, now. ❛ They're gonna love you. Promise. ❜ She doesn't let go of their arm. Rather, she gives their upper arm a squeeze before – ❛ Oh, one more thing. Some of them don't have vessels, but if any of 'em are too scary, let me know and I'll make them go away. Okay? ❜ A... kind gesture, but she doesn't give Gen much time to react. No, Angel is already pushing the door open and guiding them inside. Platforms step gingerly over the threshold. A social hour with demons. And she brought a friend. If only her parents could see her now.

Music fills the air; playlist carefully curated by theirs truly – it was... she'd say adorable, really. Sure, Hell walked the earth, but Hell listened to Ghost now, so that was pretty cool. And as if on cue – tall, mangled beast emerges from shadows, looming over them. (Good thing Angel gave the warning. That fixes things, right?)

❛ Braxie! ❜ Angel greets the demon with a smile, her grip loosening on Gen's arm for a moment – as if she was about to break off to embrace him – but her hold on them tightens again. (It's complicated.) ❛ This is Gen. See? I told you they were real. ❜

Abraxas' large form turns towards Gen now, semblance of a face twisting slightly as he looks upon them. 'What are you?' Disembodied voice queries, and Angel lets out a gasp. ❛ Don't be rude! – I'm sorry, he doesn't know how to act around people. ❜

And with that, Angel is tugging Gen along. Yet, the demon trails behind – eyes locked onto newcomer with an intensity. Angel half-turns towards him, attempting to shoo him away with her free hand. It's a futile effort, really. ❛ Just ignore him. ❜ She'll chew him out about it later.

The further they make their way into the building – the more evident it becomes that the space is a lounge of sorts. A bit run down, but touches of Angel are apparent throughout the building. Decorations, the music, and of course – a fully stocked bar. Angel guides Gen to the counter, waving at a few characters that lingered about. Some appeared human – others maintained their true, wretched forms.

❛ You doing okay? ❜ Angel pulls a stool out for Gen, gesturing for them to sit before pulling out her own. She glances at Abraxas – visible in her peripheral. (What has gotten into him?) ❛ I promise he isn't always like this. ❜ She turns her head away for a moment, black hair whipping over her shoulder as she looks around the room. ❛ I hope Orias shows up. I think you'll love him. ❜

[vitalmindandbody]

Criminal or scapegoat, Shakespeare’s Shylock is a reputation to celebrate

In his contemporary change of The Merchant of Venice, Howard Jacobson set out to explore Shylocks tolerating plead , not make amends for his Jewishness

If Shakespeare is the most revelatory of columnists, it is because he has infinite symbolizes at his disposal, and can find the poem of grief or disappointment where the circumstances are least poetical. Take that stage in The Merchant of Venice in which Shylock presses his co-religionist Tubal for information of his daughter Jessicas elopement, counting the cost of her “goin ” ducats. Tubal intersperses what he knows of Jessica with what he has is aware of Antonios adversities. Carefully, he divulges out presupposition and hearsay, quantifying their effects. But eventually he must let Shylock know the worst. Jessica has been heard of in Genoa, going through the money she embezzled from her father, and exchanging a reverberate, likewise stolen from him, for a monkey.

Thou torturest me, Tubal, Shylock reacts. And genuinely we dont know whether Tubal intends torture or not. Does Shylock have to be given this agonising info at all? Is Tubal well informed the rings provenance? Whether he is or he isnt, Shylock exposes it to him now, although it was tones as much as though its to himself hes talking. It was my turquoise. I had it of Leah when I was a bachelor. I would not have given it for a wilderness of monkeys.

Whatever we have been thinking of Shylock so far, the field seems to open beneath him here , not to withdraw him but to award us rare access into his history, his antecedent affections, the man he was before he became and maybe why he became the man he is now. Just the word bachelor is a shock, because although we have experienced him with his daughter we have not in so far put our thoughts to his married, let alone his widowed state.

A Jewish patriarch, yes, who realizes his home a inferno, as patriarch are inclined to do, for his restless daughter. But a patriarch brought forward by small children without a bride to help him have we thought that one through? There is no word to say his wife is dead, but we hear it unmistakably in that deceptively plain convict, I had it of Leah when I was a bachelor-at-arms. A happening indivisible from Leah, that endowment voices, an expression of simple-minded closeness that sees Portias and Bassanios ring joke later in the romp look like shallow trumpery. We sense the loss to Shylock, anyway, without his scratching the ache of it. Detecting is not, to him, that thought of elegantly wearisome flaunt it is to Antonio and Portia.

Phoebe and Jonathan Pryce as Jessica and Shylock in a 2015 make at the Globe theatre, London. Photograph: Tristram Kenton for the Guardian

For Jessica to have embezzled the ring her baby demonstrated her papa and she would surely are all aware of its significance is a most terrible betrayal. For her to have parted with it a more terrible sellout still. But to have parted with it for a ape! There have been periods when it was fashionable for a magnificent maiden to dandle a domesticated monkey on her lap or parade with it on a studded rein. Whether that was the case in Genoa the play doesnt tell. Whatever her motivating, the grossness of the transaction is of a style Jessica, the Jewish daughter of Jewish father, should have been alive to. I would not have given it for a wilderness of apes, Shylock adds. What a fine Hebraism is showed in this formulation! William Hazlitt memorandum. No doubt he sounded the Old Testament in that parole wilderness for behind the Mosaic project to civilise and codify, the wilderness was always waiting to seduce and reclaim the natural being. To a people who thoughts God as a philosophical sentiment, never to be identified or encountered, least of all to be confused with the animal deities worshipped abroad , nothing utters the antithesis to civilisation more competently than the unbridled stomach of an ape. A wilderness is a desolate target. A wilderness of apes is a flesh for the despair of the human rights mettle when faithfulness and reward have absconded it.

It is not, nonetheless, the last string of the scene. Tubal bars Shylocks sorrow with better information. But Antonio is certainly undone. And it does the maneuver. Nay, thats true-life, thats very true, Shylock refutes. Go, Tubal, fee me an officer …

So its back to the viciou business of manufacturing Antonio pay. The gambling will have its act and Shylock will have his pound of flesh.

To someone determined to read The Merchant of Venice as a Jew-hating play, this scotches any debate that Shakespeare is of Shylocks party. Yes, Shylock is awarded an illuminating instant of humanity that, after all, is what Shakespeare does: every scoundrel has his enunciate but thereafter, and by his own choose, the Jew quickly returns to the engrossing Jewish occupancy of requital.

That, however, is to say no more than that The Merchant of Venice is a gambling not a exposition, and that we would not expect Shylock to be sentimentalised. He does not become, by virtue of what we have learned, a man forgiven and illustrated. But nor, in my view of the performance, is it possible to return unchanged to all we previously thought. Our feel of who he is should always have been evolving regardless, and we cannot escape our new knowledge of him as a husband who had and lost a wife, and can now be said to have had and lost a daughter. He has been cruelly burgled in a double sense, and the sneering offenders are all indulgent the group of friends of Antonio. This nothing extenuates, but once “weve heard” Shylock narrated his losings, ducats and all, we cannot forget them unless we have our own intellects to.

Two stages after the wilderness of apes, Shylock has animals on his head again. Thou calledst me bird-dog before thou had a crusade, he reminds Antonio, But since I am a pup, beware my fangs. So, yes, though all thats feral disheartens and demoralises him, he will put on a feral disposition in an act that is a sort of obstinacy against himself as well as Antonio. The wilful hardening of centres a reference establishing himself impervious to ground or affection, and so less human than he actually is interests Shakespeare. We see it in Coriolanus. We see it in Lady Macbeth. We even see it, although it was gloomed by clowning, in Hamlet. One human in his time gamblings numerous parts, and one of those components will be his own feeling of who he is or would like or has no choice but to be. The narration Shakespeare tells of Shylock is of a soul who diminishes into the extremely obduracy of irritation he is accused of by those who want him to be nothing else. It is a part that not every man could master, and Shylock notices the wherewithal within to participate it right enough, but being the Jew who must have his pound of flesh is still just as much a capitulation to an expected capacity as it is an expression of something invariable in his character.

I dont say this, as a fellow Jew, to save Shylock from his Jewishness. I simply recount the performance. When “its been” made publicly available by my publishers that I had hot-headedly taken up current challenges to write a contemporary romance in The Merchant of Venice, some cynics premised I would be embarking on a clean-up errand with the aim of reaching removing piquing fabric from Shakespeare, much as those who disapprove of Cecil Rhodes would eliminate his statue from wherever it stands. But I am not, as a Jew or as anything else, piqued by a word Shakespeare wrote.

Howard Jacobson at his home in Soho, London. Photograph: Richard Saker for the Observer

My Shylock, if I may employ it like that and he is the Shylock I see when I speak Shakespeares play is not intended as a post-Holocaust better on the original. Because I am deeply touched by his extending reference to his wife, I guess him in constant speech with her. The dead have much to say, just as the living have much they want to hear, and Shylock wont be the first person to have continued those discussions. Astonished by exhilaration impatient as the Wind/ I turned to share the transport Oh! with whom/ But Thee, long buried in the silent Tomb. If this is a freedom and does the participate a progressive disservice I apologise for it.( Though Wordsworth did say it was Shakespeare who opened his nature .) What I surely dont apologise for, nonetheless, is following the write when it comes to Shylocks spiritedness and wit.

So much of which is something we become of Shylock is determined by the age of the actor who draws him, the clothes he wears, the accent he is given, the inhumanity of his stare and the curvature of his nose, most of government decisions as to these being unnecessary by anything in the textbook. Last-place summertime, while making a television programme about Shylock in the Venice ghetto, I saw a relatively young actor play him. The result, in particular in the opening exchanges with Antonio and Basanio, was electrifying.

The bristling invasion with which Shylock entertains the first mention from Basanio that Antonio is looking for a loan was not softened.

Three thousand ducats, Shylock muses in that half public, half private method of his. I make I may take his bail. To which Basanio, who is never other than literal, responds Be assured you are able. Shylock deters up the maying and puns on the notion of statement. I will be assured I may. And that I may be assured, I will bethink me … If he already searches more verbally quick for Basanio on the sheet, his gratification of an encounter in which he is the lord looked inhuman, actor to actor. Is the methodology used to his assurance the pound of Antonios flesh already forming in his psyche as he jests?

With Antonios arrival, which he memo with a satirists contempt How like a fawning publican he seems! Shylocks flavours rise so far. Now he can remind, reprimand, retard, offering and disclaim and render again, while a blustering Antonio, standing on basic principles he has forefeited, can do no better than threaten to spew on Shylock again. If it is war now, it is both their doing but, when playing with youth zest, Shylock was having the better of it. When he described the proposed draft bond as a merry play he seemed joyous surely. Tell the relinquish/ Be nominated for an equal pound/ Of your fair flesh, to be cut off and taken/ In what part of your figure it pleaseth me.

Angus Wright( Shylock ), crest, and James Garnon( Antonio) in the RSCs 2008 production of The Merchant of Venice at the Courtyard theatre, Stratford on Avon. Image: Tristram Kenton for the Guardian

These wires should never be delivered anything but flirtatiously. Your fair flesh is an friendship that Antonio, had he been smarter, or less hopeless to self-assured the loan, or less egotistical about his ability to repay it, or little accustomed to flattery, might have recoiled from. Alone moments before, they had been to talk of spew. It takes person very quick on his hoofs to change the colour with such agility. Perhaps most performers, weighed down by their Jewish gabardine and the guessed peculiarity of a Jew manufactured age-old by the relic of his religion, is very hard to applied the requisite verve into this. But the young Venetian Shylock I attended didnt shy from it. For the duration of their deal Antonios flesh was exhibition as fair to Shylock, and whatever of that was derision it was up to the devil himself to find out. As for where Shylock, should Antonio are inadequate to redeem his alliance, merrily proposed to move his cut in what part of your form it pleaseth me why that selfsame devil might have blushed to hear it.

To my ear, the allusion is sex or its good-for-nothing. Interred deep in the antiJewish lores that contacted Shakespeare was a fear of Jews as castrators, and all that medieval Christianity never understood about circumcision. Did Jews eunuch themselves? Did Jewish gentlemen bleed like women? Was that why they needed the blood of Christian children, to oust the blood theyd lost? I dont remark Shakespeare was consciously mentioning all this at the moment that Shylock proposes the bond. But dark as well as comic powers are in play here, the darker, perhaps, for being comic, because what Shylock is building merry with is inchoate Christian terror. To play him as a consummate comedic provocateur, then, as I received him played by a young and juiced-up actor in Venice, is not at all to rescue him from obloquy. But it is to give him the vitality that I feel Shakespeare intended for him. And it is to suggest that the jaunt from Antonios privy parts, which might just ought to have the website please select Shylock for relinquish, to Antonios heart, is not of Shylocks picking only.

Before the idea of deliberate redoubling Shylock making a Jew of Antonio in advance of Antonios making a Christian of him I pull up short. I am not convinced that Shakespeare was ever interested in such abstract, academic mapping. But it is part of his greatness to grant unworked its importance and unsorted old material to have their road without him in a gambling. DH Lawrence wrote astutely about “whats happening in” a living production when the creator throws his finger in the wash, obliging the outcome document. It ceases to be a living design. And Shakespeare was a writer in Lawrences sense, dogma free, permitting characters to find their genuine souls in interaction with one another, and giving language do its own remembering.

It has always seemed incorrect to me to talk of The Merchant of Venice as an anti- or a pro-semitic gambling. Were it either it would be less the play it is. Those who are distressed by what the hell is see as the plays anti-Jewishness find themselves, ironically it seems to me, on the side of the individuals who glory in any anti-Jewishness they find. In both cases, Shylock scandalizes them. The former are scandalized into embarrassment Is that us? the latter into confirmation of what theyve always concluded – Yes, that is you. But for me Shylock lives, with all his human insufficiencies on evidence. We know him by his speech, his repetitions as though no thing said only once can possibly be trusted those strange stutterings in which he addresses himself in a kind of surprise, his sudden absences when he is with others that causes them to wonder whether he is taking note of them at all, his sudden revertings to lyricism, his enraged volleys of speculation , no matter that no one will accept a word of what he supposes, that draw him a kind of fucking cousin to Hamlet. No, there is never any thinking of him as other than a Jew: the Venetians playboys who spit on him one minute and ask for money from him the next will not earmark the Jew in him to be forgotten and, whether as a consequence or by preference, he will not countenance the Jew in him to be forgotten either.

Its hard work. Would he have become life easier for himself had he relented? Perhaps. Its said that finally, as he readies himself to take out Antonios heart, he is the Jew of pitiless legality, the moral antonym of passion as represented by Christians. Were Shakespeare interested in pressing this opposition to the detriment of the Jews he wouldnt have allowed the Christians to substantiate as quite so squalid. They speak of enjoy and think of money. They speak of kindness and evidence nothing. They are merely not more dangerous because they are indolent and forget to be.

In my tale I move Portias world from Belmont to Cheshires Golden Triangle, home to footballers, heiresses and Manchesters most wealthy. I planned no ailment to Cheshire by doing that. But I appear Portias moral universe of childish choices and pettish subterfuges, where protestations of fine experiencing cannot disguise materialism and malice, licenses me to satire. Shylock and Portia now Plurabelle meet again up there. Once more she isnt sure who the Jew is and who the shopkeeper. I never ensure it as my function to give Shylock a second chance. Where thoughts objective for him, they aim forever. But he does have one thing he would like to say to Portia/ Plurabelle. And I allow him to say it.

Shylock Is My Name is publicized next week by Hogarth.

The post Criminal or scapegoat, Shakespeare’s Shylock is a reputation to celebrate appeared first on vitalmindandbody.com.

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