A Merry Devil: Launcelot Gobbo in TheMerchant of Venice

From The Fools of Shakespeare by Frederick Warde. London:McBride, Nast & Company.

In that delightful comedy, "The Merchant of Venice,"we have a type of the shrewd but ignorant servingman, or boy, drawn on the same lines as Launceand Speed in "The Two Gentlemen of Verona," andthe two Dromios, in "The Comedy of Errors," butapparently younger and less matured than either ofthem.

His name is Launcelot Gobbo, a fact of which he issomewhat proud. He has a crude philosophy and arude kind of wit. He uses big words and misappliesthem most ingenuously. He is good­natured, full offun, and rejoices in a practical jest.

Launcelot is the servant to Shylock, a wealthyJewish merchant and money lender of Venice, withwhom he lives and of whom he stands inwholesome awe. His fun­loving nature, however,has served to brighten the dull and dreary home ofthat stern and revengeful gentleman, a fact thatJessica, the Jew's daughter, frankly acknowledgesin her first interview with the boy.

Our house is hell, and thou a merry devilDid'st rob it of some taste oftediousness.

Launcelot does not appear until the second sceneof the second act of the comedy, when we find himstealthily leaving his master's house. We learn thathe feels aggrieved at some apparent wrong at thehands of his employer, and is debating whether toremain in his service, or to run away. His soliloquyor self­argument on the point is most entertaining.He would be just, but being both plaintiff anddefendant, as well as advocate and judge of thequestion at issue, he can scarcely be credited withimpartiality.

However, the motives that he franklyacknowledges, and the reasons he advances aremost delightfully human, and most humorouslyexpressed. The entire passage is a quaint, and by

no means unnatural, self­contention between dutyand inclination; the conclusion, as a matter ofcourse, being in favor of inclination.

Certainly, my conscience will serve me

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Certainly, my conscience will serve meto run from this Jew, my master: thefiend is at mine elbow, and tempts me,saying to me, "Gobbo, LauncelotGobbo, good Launcelot, or good Gobbo,or good Launcelot Gobbo, use yourlegs, take the start, run away." Myconscience says ­ "No; take heed,honest Launcelot; take heed, honestGobbo; or," as aforesaid, "honestLauncelot Gobbo; do not run; scornrunning with thy heels." ­ Well, the mostcourageous fiend bids me pack; via!says the fiend; away, says the fiend; forthe heavens rouse up a brave mind,says the fiend, and run. Well, myconscience, hanging about the neck ofmy heart, says very wisely to me ­ "myhonest friend Launcelot, being anhonest man's son" ­ or rather an honestwoman's son; ­ for, indeed, my father didsomething smack, something grow to, ­he had a kind of taste; ­ well, myconscience says ­ Launcelot, budgenot;" "budge," says the fiend; budgenot," says my conscience. Conscience,say I, you counsel well; fiend, say I, youcounsel well; to be ruled by myconscience, I should stay with the Jew,my master, who, Heaven bless themark! is a kind of devil; and, to run awayfrom the Jew, I should be ruled by thefiend, who, saving your reverence, is thedevil himself: certainly, the Jew is thevery devil incarnation, and, in myconscience, my conscience is but a kindof hard conscience, to offer to counselme to stay with the Jew : the fiend givesthe more friendly counsel! I will run;fiend, my heels are at yourcommandment, I will run.

However, Launcelot does not run; he is spared thatviolence to his conscientious scruples by theunexpected advent of his father, an old Italianpeasant, whose voice is heard calling in thedistance, and halts the would­be runaway.

Launcelot's decision of character is not verymarked, nor his resentments very strong, for in amoment his wrongs are forgotten, and he isdesigning a practical jest on his aged parent.

"O heavens!" he exclaims, "this is my true­begottenfather; who, being more than sand­blind, high­gravel­blind, knows me not: ­ I will try confusionswith him."

Old Gobbo, bent with age, almost blind, and feelinghis way by the aid of a staff, hobbles on the scene;he carries a small basket on his arm, and in a voiceof "childish treble" cries: "Master young gentleman,I pray you, which is the way to master Jew's?"

Launcelot takes the old fellow by the shoulders,and turns him first to the right, then to the left, andfinally completely round, giving him the following,somewhat confusing directions: "Turn up on yourright hand at the next turning, but at the next turningof all, on your left; marry, at the very next turning,turn of no hand, but turn down directly to the Jew'shouse."

Small wonder that the old man exclaims: "By God'ssonties, 'twill be a hard way to hit."

However, he is seeking and most anxious to findhis son, and as soon as he has recovered from thejolting he has received at the hands of hisdemonstrative informant, he asks him the followingmost extraordinary and confusing question: "Canyou tell me whether one Launcelot, that dwells withhim, dwell with him, or no?"

This is excellent matter for the boy to try confusionswith, so he answers question with question,prefacing it, however, with an aside, "Mark me now;now will I raise the waters. Talk you of youngMaster Launcelot?"

But the old man will not admit that his son is entitledto the dignity of "Master" Launcelot: so thateccentric young gentleman, who certainly has anovel sense of humor, tells him that his son is dead.The sincere grief of the old man evidently shamesthe boy, for he quickly changes his tone, and asks:"Do you know me, father?"

Old Gobbo pitifully replies: "Alack, sir, I am sand

Old Gobbo pitifully replies: "Alack, sir, I am sandblind; I know you not."

This induces some shrewd observations fromLauncelot, which are worthy of note: "If you hadyour eyes, you might fail of the knowing me: it is awise father that knows his own child."

Launcelot then kneels down with his back to hisfather, and continues: "Give me your blessing: truthwill come to light, murder cannot be hid long, aman's son may, but in the end truth will out."

The old man has been deceived once andhesitates; upon which Launcelot exclaims withsome impatience: "Pray you, let's have no morefooling about it, but give me your blessing; I amLauncelot, your boy that was, your son that is, yourchild that shall be."

Still the old man is not convinced, and protests: "Icannot think you are my son." To which Launcelotanswers: "I know not what I shall think of that; but Iam sure Margery, your wife, is my mother."

This is conclusive, and Old Gobbo proceeds to layhis hand upon his son's head to give him hisblessing; but Launcelot having knelt with his backtowards him, the paternal hand encounters the backof the boy's head which is crowned with a luxuriousgrowth of hair, and causes the old man to exclaim:"Lord worshipp'd might he be! what a beard thouhast got: thou hast got more hair on thy chin thanDobbin, my fill­horse, has on his tail."

Which informs us, that though "exceeding poor,"Gobbo is sufficiently well off to own a shaft horse,and as he subsequently states, he has brought adish of doves as a present to Launcelot's master,we may infer that he and his wife Margery cultivatea piece of ground, or a small farm outside the city;and possibly raise pigeons and doves, a notuncommon industry among the Italian peasantry.

Having established his identity with his father,Launcelot proceeds to tell him of his intention to runaway from the Jew's service, and we gather hisreason to be, that he does not get sufficient food tosatisfy his youthful appetite; but perhaps the factthat the Lord Bassanio is engaging servants, andgiving them "rare new liveries," may be thetemptation.

The contemptuous reference to the Jewish race bythis ignorant boy, and his vulgar pun on the wordJew are significant indications of the generalprejudice against the Jews at this period; not only inVenice, but in all parts of the civilized world.

Venice, but in all parts of the civilized world.

Well, well; but, for mine own part, as Ihave set up my rest to run away, so I willnot rest till I have run some ground. Mymaster's a very Jew; give him a present!give him a halter; I am famish in hisservice; you may tell every finger I havewith my ribs. Father, I am glad you arecome; give me your present to oneMaster Bassanio, who indeed gives rarenew liveries; if I serve not him, I will runas far as God has any ground. ­ O rarefortune! here comes the man: ­ to him,father; for I am a Jew if I serve the Jewany longer.

The interview between Old Gobbo, his son, and theLord Bassanio is delightfully entertaining.Launcelot's usual volubility halts in the presence ofthe young nobleman, and his father's assistancebecomes necessary to prefer the suit "impertinent"to himself, and express "the very defect of thematter." However, the suit is granted, and Launcelotis instructed to take leave of his old master, andreport at the lodgings of his new employer.

The self­satisfaction of Master Launcelot at hissuccess is most humorously expressed, and withan egotism equally amusing; while his optimisticviews of the future, obtained from the lines in hishand, indicate a confidence in the science ofpalmistry, which the author evidently does notshare.

Father, in. ­ I cannot get a service, no; Ihave ne'er a tongue in my head. ­ Well,if any man in Italy have a fairer table,which doth offer to swear upon a book! ­I shall have good fortune. ­ Go to, here'sa simple line of life; here's a small trifleof wives; alas! fifteen wives is nothing!eleven widows and nine maids is asimple coming­in for one man; and thento 'scape drowning thrice, and to be inperil of my life from the edge of a featherbed, ­ here are simple 'scapes. Well, ifFortune be a woman, she's a goodwench for this gear. ­ Father, come; I'lltake my leave of the Jew in the twinklingof an eye.

Notwithstanding his scruples of conscience thatcaused him so much anxiety, when we first methim, Launcelot has not been entirely loyal to hismaster, and on leaving we find him secretly bearinga letter from Jessica, the Jew's daughter, to heryoung Christian lover, Lorenzo. The missive

young Christian lover, Lorenzo. The missiverequires a reply which Launcelot obtains verbally,and the cunning young rascal cleverly manages toconvey it to the young Jewess, while bearing aninvitation to her father, from his new master,Bassanio. His words are not brilliant, but serve toindicate his ingenuity.

Mistress, look out at window, for all this; There will come a Christian by, Will be worth a Jewess' eye.

Launcelot accompanies his new master to Belmont,where on our next meeting we find him comfortablyinstalled; very much at home, and in a new livery.He is still bandying words with Jessica, who is nowthe wife of Lorenzo, and, in the absence of Portia,mistress of the house. His self­esteem seems tohave grown in his new service, his vocabulary hasincreased, and he speaks with more authority, butwith the same unfortunate propensity for punning.He is obviously favored by his "betters," and likemany others of small mind takes advantage of thatfact to speak with a freedom that is not entirelydevoid of impudence. However, his humor atonesfor much, and his good­nature accomplishes therest.

The dialogue quoted (with some slight eliminations)below takes place in the garden of Portia's house(Act 3, Scene 5). It is apparently the continuation ofa discussion of the old theme of Jessica'sparentage, and her father's sins; Launcelot taking aliteral view of the scriptural precept in her case.

Laun. Yes, truly; for, look you, the sins ofthe father are to be laid upon thechildren; therefore, I promise you, I fearyou. I was always plain with you, and sonow I speak my agitation of the matter;therefore, be of good cheer; for, truly, Ithink thou art damned. There is but onehope in it that can do you any good.Jess. And what hope is that, I pray thee?Laun. Marry, you may partly hope thatyou are not the Jew's daughter. Jess. Sothe sins of my mother should be visitedon me. Laun. Truly then I fear you aredamned both by father and mother; thuswhen I shun Scylla, your father, I fall intoCharybdis, your mother; well, you aregone both ways. Jess. I shall be savedby my husband; he hath made me aChristian. Laun. Truly, the more toblame he; we were Christians enowbefore; e'en as many as could well live,one by another. This making ofChristians will raise the price of hogs; if

Christians will raise the price of hogs; ifwe grow all to be porkeaters, we shallnot shortly have a rasher on the coalsfor money.

The entrance of Lorenzo puts an end to Launcelot'scalamitous predictions, and that gentleman havinglittle appreciation of the latter's verbal fooling,directs him. "Go in, sirrah: bid them prepare fordinner."

To which the irrepressible Launcelot replies: "Thatis done, sir; they have all stomachs." With someimpatience, Lorenzo exclaims: "Goodly Lord, whata wit­snapper art thou! then bid them preparedinner."

This does not discourage the boy, who responds:"That is done too, sir; only, cover is the word."

Lorenzo, with some irritation, seeks to bring thisequivocation to a close, and now gives hisdirections with emphasis: "I pray thee, understand aplain man in his plain meaning; go to thy fellows,bid them cover the table, serve in the meat, and wewill come in to dinner."

The imperturbable self­esteem and good­nature ofLauncelot is proof, however, against censure orsarcasm; and with unruffled gravity he replies withhumorous iteration: "For the table, sir, it shall beserved in; for the meat, sir, it shall be covered; foryour coming in to dinner, sir, why, let it be ashumors and conceits shall govern."

And having thus delivered himself, Launcelotmakes a dignified exit from the scene.

Lorenzo's apostrophe to Launcelot's discourse isan admirable summary of the shallow mind, thatmistakes the mere jugglery of words for wit.

It was a favorite method of Shakespeare's to furnishhumor in his "simples" and serving men, andproved an amusing diversion in their mouths: but, inothers, it is the unconscious tribute that ignoranceand incapacity pays to knowledge and distinction.

Lor. O dear discretion, how his wordsare suited! The fool hath planted in his memory An army of good words; and I do know A many fools that stand in better place, Garnish'd like him, that for a tricksy wordDefy the matter.

Launcelot makes one more brief appearance, toannounce the early return of Bassanio to Belmont,

and as a harbinger of glad tidings we leave him inthe service of a noble master and a graciousmistress.

The business of the Shakespearean clowns istraditional. It has been handed down by comediansfrom generation to generation. It was familiar toevery stage manager of experience, in the days ofthe resident stock company; and any departure fromthe conventional business of these parts was, untilrecently, viewed with disapproval, and regarded aspresumption.

A most interesting and unique performance ofLauncelot Gobbo was given some years ago bythat sterling character actor, Mr. Robert PeytonCarter, so long associated with Miss MaudeAdams. I was the Shylock of the performance towhich I refer. Mr. Carter's Launcelot was not a boy,but a humorous and mischievous young man. At notime during the performance, even when tremblingwith fear before his master, was a smile absent fromhis face; with this result, the audience were smilingall the time Launcelot was in view. You knew, asyou looked at him during his self­argument betweenduty and inclination, that his mind was alreadymade up to run away, and that his conscientiousscruples (if he really ever had any) were overcomebefore he uttered them. His practical jest with hisfather, when he misdirects him to the Jew's house,indicated that it was but a sample of the pranks theyoung man had played upon him all his life, and thebright twinkle in his eyes as his young mistresscalled him "a merry devil" connoted a thousandtricks that the young rascal had played during theterm of his service in the Jew's house and robbedthat somewhat dreary residence of its "taste oftediousness."

Mr. Carter's business on the delivery of Jessica'sletter to Lorenzo was original and good; hisexaggerated obeisance to the several friends incompany with that gentleman being particularlycharacteristic and happy. In the last act of thecomedy, too frequently omitted in representation,Mr. Carter's appreciation of Shakespearean humorwas manifest. The importance of his newemployment, his vanity in his "rare new livery," andconfidence of privileged service were delightfullypresented, and rounded out a performance asnotable as it was consistent and effective.

"The Merchant of Venice" held an important placein the repertoire of the late Mr. Richard Mansfield. Indiscussing the various characters in the play withthat distinguished gentleman, he told me heconsidered the Launcelot Gobbo of Mr. A. G.

considered the Launcelot Gobbo of Mr. A. G.Andrews, of his company, the best he had everseen. It did not surprise me, for I knew Mr. Andrewsto be a thorough and painstaking artist, studying outto the most minute detail every point of his make­up, costume and business. Mr. Andrews presentedLauncelot as a boy to whom life was a very seriousproblem. His costume was extremely characteristic;his doublet and trunks were worn and patched, hishose seamed and darned, and his sandal­shoeswith their leather straps had seen service hard andlong. He made his first entrance from his master'shouse hastily, then looked round fearfully and,finding himself unobserved, sat down upon thedoor­step and seriously held self­communion as tothe justice of leaving his master's service. In otherrespects he followed the traditional business of thepart; but nothing was exaggerated, rather subdued;his object being to present Launcelot as a possiblehuman being, and not an impossible clown, asmany comedians have done. The humor of the partwas always present, never intruded, but conveyednaturally and without effort: the result being a wellproportioned and artistic performance.

How to cite this article: Warde, Frederick. The Fools of Shakespeare.London: McBride, Nast & Company, 1915.Shakespeare Online. 20 Feb. 2011. (date whenyou accessed the information) <http://www.shakespeare­online.com/plays/characters/merchantgobbo.html>.

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