ABSTRACT
The beauty of the play’s style has often been celebrated. Early in the nineteenth century Henry Hallam observed, as if the matter were self-evident, that ‘the copiousness of the wit and the beauty of the language it would be superfluous to extol.’ The importance of viewing the incidents in full response to the qualities of the style is evident in the judgment we make, for instance, of Bassanio, or of Lorenzo and Jessica. The intense reality of such a style, and the fierce nature of his character and actions, threaten to reduce to makebelief all that is not Shylock. The richness and beauty found elsewhere need fully valuing, lest the play become his monopoly. Even Portia’s virtues of style only just hold their own against his power. The values, and the style, of romance and charity prevail, but only by closing the curtain over the acrimony of hatred which for a while Shylock has drawn aside.
