By Jeremy Dauber
Antonio’s Devils offers either traditionally and theoretically with the origins of contemporary Hebrew and Yiddish literature by way of tracing the growth of some extraordinary writers who, for varied purposes and in a variety of methods, pointed out Scripture for his or her personal objective, as Antonio’s devil,” Shylock, does within the service provider of Venice.By analyzing the paintings of key figures within the early heritage of Jewish literature in the course of the prism in their allusions to classical Jewish texts, the booklet focuses recognition at the extraordinary and hugely complicated ideas the maskilim hired to accomplish their polemical and ideological objectives. Dauber makes use of this system to envision foundational texts via many of the Jewish Enlightenment’s finest and demanding authors, attaining new and sometimes marvelous conclusions.
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Antonio’s Devils offers either traditionally and theoretically with the origins of contemporary Hebrew and Yiddish literature through tracing the growth of some striking writers who, for varied purposes and in a number of methods, stated Scripture for his or her personal function, as Antonio’s devil,” Shylock, does within the service provider of Venice.
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Additional resources for Antonio's Devils: Writers of the Jewish Enlightenment and the Birth of Modern Hebrew and Yiddish Literature (Stanford Studies in Jewish History and C)
In the previous section, we have argued for his role in the play as an archetype—an allegory of the Jewish nation—who will be ultimately defeated by the Christian church. This does not imply one-dimensionality: Shakespeare’s complex construction simultaneously casts Shylock as a marginal Wgure in the Jewish community. His brief references to Jewish practice and his friendship with another Jew, Tubal,38 can hardly disguise his seeming separation from the community in which Antonio and the other Venetian merchants so blithely place him.
Though, as we have said, it may be that Antonio is mistaken about what he believes to be Shylock’s purpose. 51. Shapiro 8. 52. 48 supra. 53. This will be discussed more fully in Chapters Three and Four. 54 To return to our scene, Antonio challenges Shylock’s use of this allusion on the grounds of relevance, or, we may say, literalism: though perhaps a “corrupt” Jewish interpretation may twist this passage to refer to interest—and indeed Shylock does coyly seem to link this story to the topic under discussion (“No, not take interest; not as you would say, directly interest”),55 an honest Christian literalist reading can Wnd no such support here.
Lewalski 47. For a seminal account of this approach, see Lewalski 35, 38–43. See also Danson 56–57. On the important aspect of salvation history within the play, see Danson 165–166. 59. L. Barber, “The Merchants and the Jew of Venice: Wealth’s Communion and an Intruder,” in Barnet 11–32, 27. See also Alice N. Benston, “Portia, the Law, and the Tripartite Structure of The Merchant of Venice,” in Wheeler 163–194, esp. 165, 175–179. 60. Barber 26. 220–224, emphasis mine), may indicate a respect for the law over and above the merely instrumental.