Shakespeare uses reverse psychology to display Gratiano as a fool in the first Act of The Merchant of Venice. The reader may be distracted by how much he actually talks, but the words uses he hits the nail on the head. He tells Antonio that he is fooling himself. He's telling Antonio that he's falling too much into the social expectations. Antonio is sad because he can't do what he wants. He's trying to fit into what society wants him to be. Gratiano asks him, "Why should a man whose blood is warm within sit like his grandire cut in alabaster?" Gratiano is pushing him to understand why he conforms, but Lorenzo is mainly focused on how much he talks, downplaying the ultimate effect of that passage. Gratiano even goes along with it saying that if he was allowed to talk all he wants no one would know the sound of their own voice. Maybe he needs to talk that long, because he honestly speaks the truth. Gratiano is the fool, the one with the voice of reason but a voice that is presented in a less than convenient way.
In The Merchant of Venice, Bassanio is a Christ figure. There are several examples to confirm this fact. Obviously, Bassanio is a Christian. Also, Gobbo refers to Bassanio as Worship, which is defined as Lordship. Basssanio title means he holds the rank of a Lord; and another name for Christ is Lord. “To leave a rich Jew’s service, to become the follower of so poor a gentlemen”, said Bassanio when Lancelet asked to become part of his service (2.2.146-147). Christ did not have any money, which is another thing Christ and Bassanio had in common. Moreover, Christ had disciples or followers. Gratiano, Leonardo, Lancelet, and Gobbo all attend and follow Bassanio, along with a few others who were not mentioned. Finally, Lancelet tells Bassanio he has “the grace of God”. Christ and Bassanio have the grace of God because they are both kind and helped others in need. In conclusion, Bassanio is considered a Christ figure because of his demeanor and followers.
Marriage is death. Each of the three engagements in the play is referenced to death. Portia’s picture lies in a casket; she is trapped in the casket of marriage. She brings forth “the several caskets to [these] noble prince[s]” in order for them to marry the girl in the casket, the dead girl (2.7.2). Her future lies within a casket; her future is death. Her marriage does not only affect her, but also Bassanio. The ring that Portia gives him is his key to life. “When this ring parts from this finger, then parts life from hence. O, then be bold to say Bassanio’s dead” (3.2.187-189). The ring is a symbol of his marriage to Portia as well as a quick way to his own life or death. The engagement between Nerissa and Gratiano also deals with the caskets. Bassanio’s “fortune stood upon the caskets there, and so did [Gratiano’s], too, as the matter falls” (3.2.205-206). From Gratiano’s perspective, it was Nerissa’s picture in the casket because Bassanio was playing the game for him as well. Their future in marriage will result in death as well. The elopement between Jessica and Lorenzo causes Shylock to go crazy. Her elopement with a Christian sends her to the grave in Shylock’s perspective. He “would [his] daughter were dead at [his] foot and the jewels in her ear; would she were hearsed at my foot and the ducats in her coffin” (3.1.87-90). Because of her elopement her father dams her not only to Hell, but also to the grave. All three of these relationships begin where they are supposed to end, death.
“Let not the sound of foppr’y enter/ My sober house” (2.5.36-37).
Shylock does not care about his daughter. The only thing he has a love for are material things. He tells his daughter to watch over his house while he eats at Bassanio’s feast, “Lock up my doors” (2.5.30). He then commands her to stay inside, “Clamber not you up to the casements than,/ Nor thrust your head into the public street/ To gaze on Christian fools with varnished faces” (2.5.30-34). SIt appears he wants his daughter to stay safe, uncorrupted by the Christians. The actual reason for his demands is revealed later on when his pride and joy is taken from him: jewels and ducats. Jessica’s father reveals her true worth to him as nothing more than a thief of his riches. “…Stol’n by my daughter! Justice! Find the girl!/ She hath the stones upon her, and the ducats” (2.8.22-23). All he wants is his money and jewels. His daughter is nothing but a hindrance to his access to them, and therefore he does not love her.
In Merchant of Venice, money is valued more than a person’s life. The first case seen based around this idea is when Antonio borrows money from Shylock for Bassanio. Shylock allows Antonio to borrow money from him with the agreement that if Antonio can’t repay him, then “an equal pound of [his] fair flesh [will] be cut off” (Act 1 sc. 3). Antonio readily agrees, which means that he values money over his own self as well as Shylock saying he values money over another person’s life. Shylock also demonstrates this by being angry at his daughter for taking his money rather than being concerned about her well-being: “A sealed bag, two sealed bags of ducats, of double ducats, stol’n from me by my daughter” (Act 2 sc. 8). He isn’t worried about Jessica, he is worried that he has lost his money because of her, even though she is his daughter. His ambitions to find his daughter are also only because he wants his money back: “Justice! Find the girl! She hath the stones upon her, and the ducats” (Act 2 sc. 8). Shylock only wants her back to take back his money. He treats her like a common criminal because she, in Shylock’s mind, did the worst act: take away his precious money.
Shylock is bloodthirsty, vengeful, and inflexible. He kept saying "I'll have my bond" over and over again in Act 3, Scene 3. This shows that Shylock would rather have a piece of Antonio (literally) than "thrice" the amount of money he's owed, confirming him being bloodthirsty. Also, the fact that instead of having Antonio repay him in money and rather in one pound of flesh further proves this point. Go with me to a notary, seal me there Your single bond; and, in a merry sport, If you repay me not on such a day, In such a place, such sum or sums as are Express'd in the condition, let the forfeit Be nominated for an equal pound Of your fair flesh, to be cut off and taken In what part of your body pleaseth me. (1.3.146-153)
Another way to think about Shylock's desire for a pound of Antonio's flesh is to consider the circumstances under which Shylock demands his bond. When Shylock hears the news of Antonio's forfeiture, he also learns that his daughter Jessica has run off to marry a Christian. Shylock's response? He says, "I'll plague him [Antonio]; I'll torture him" (3.1.13).I believe it is possible that Shylock is looking to compensate for the loss of his own flesh and blood (Jessica) by demanding a little bit of Antonio's flesh and blood. And finally, Shylock is vengeful because of how Antonio's people (Christians) have treated his people (Jews) in the past and in the present. Shylock even admits, "I hate him for he is a Christian" (1.3.38) and goes further to say "I will feed fat the ancient grudge I bear him" (1.3.43) saying that this goes revenge began long before Shylock and Antonio.
The women in “The Merchant of Venice” are strong individuals. They are fully capable of handling their own lives with ease as well as taking charge of others’. Portia might be viewed as simply a damsel trapped by her father’s will waiting for a man to come claim her; however, once betrothed to Bassanio, she seizes the opportunity for action. Although she professes her love to Bassanio through words such as “Myself, and what is mine, to you and yours is now converted,” she is ready to seize the opportunity to take control over her own life (3.2.170-171). Right before this, Portia “[wishes herself] much better, yet for [Bassanio] … that only to stand high in [his] account” (3.2.156, 159). Though it appears that Bassanio has redefined Portia’s vision of life, it in fact is the other way around. As Brighton discussed above, Portia granted Bassanio life by the ring she presented to him. “When this ring / Parts from this finger, then parts life from hence. / O, then be bold to say Bassanio’s dead” (3.2.187-189). This ring symbolizes marriage, yes; however, it is Bassanio’s existence as life or as death.
Also, Portia takes charge of her newly-wedded husband’s life. By bonding herself to him through marriage and giving him everything of hers, Bassanio is now able to save Antonio from his debt to Shylock. Without Portia, Bassanio would be forced to live with a guilty conscience and Antonio would be at the mercy of the Jewish money lender’s hand. Therefore, Portia saves not only her husband’s conscience, but saves Antonio’s life by offering to “Pay [Shylock] six thousand [ducats] and deface the bond” (3.2.312).
Portia is not the only resolute female in the play; Jessica is self-aware and adept to handle herself and the outcome of her husband, Lorenzo. She escapes her paternal home in the disguise of a boy and single-handedly robs her father of valuable jewels and numerous ducats. She is ready to throw off the suffocating presence of her father to give love a chance. The women in “The Merchant of Venice” are fully able to handle not only themselves but also others and will surely give the men a run for their money.
In The Merchant of Venice, Shakespeare brings into light humans’ flaw of seeing ourselves as the victims. Those who see themselves as the victims of prejudice are prejudice themselves. The Prince of Morocco’s opening line as he tries to woo Portia, is defensive towards his skin color: “Mislike me not for my complexion, / The shadowed livery of the burnished sun, / To whom I am a neighbor and near bred” (2.1.1-3). He is very aware of the difference of his and Portia’s skin because he puts significance into their differences. He would only believe that she cares about their different skin colors if he has judged people for it before: “Bring me the fairest creature northward born, / Where Phoebus’ fire scarce thaws the icicles, / And let us make incision for your love / To prove whose blood is reddest, his or mine” (2.1.4-7). It’s ironic how he asks Portia not to judge him for his dark skin tone, yet his first reason for courting her is her fair skin. Shylock also victimizes himself throughout the play: “He hath disgraced me and / hindered me half a million … -and what’s his reason? I am a Jew” (3.1.53-57). The syntax used by Shylock is very complicated when he’s trying to persuade himself that he’s the victim, but his reason for their supposed discrimination is expressed in a simple three-word sentence. This portrays Shylock to be a needy character that wants to complicate simple things in order to gain attention and pity. He hasn’t accepted the fact that he is part of the minority and that he is different; therefore, he chooses to blame the Christians for his pariah-like life. Shylock tries to pity himself by insinuating that the Christians have a vendetta against him for his religion, but at the beginning of the play, Shylock is the first to mark the difference: “I hate him for he is a Christian” (1.1.42). Again, Shylock’s syntax is simple. Just as Shylock’s reasons are simple and irrational, the barriers between different religions are as well. He believes the Christians judge him because he judges himself.
Lorenzo and Jessica should not be together. Lorenzo’s continuous nagging at Jessica about her soul as a Jewish person only brings her down and makes her feel more insecure about her place in his community. Towards the end of Act III, Lorenzo begins to worry about Jessica’s soul, “for truly, I think you are damned,” are his words towards the woman he’s supposed to love (3.5.5-6). Jessica is already feeling insecure about entering the Christian community after converting from Judaism and Lorenzo isn’t making her feel any better. He believes that “the sins of the father are to be laid upon the children,” and therefore believes that Jessica doesn’t have a chance of going to Heaven (3.5.1-2). But, if he knows how insecure Jessica is feeling, why would Lorenzo bring this up to her? Lorenzo’s inattention to Jessica’s feelings isn’t a sign of a good relationship. If he’s so worried about her soul, he shouldn’t have married her. Jessica shouldn’t feel guilty about her religious choices and that is exactly what Lorenzo is trying to make her feel. For Jessica’s sake, the two should not have gotten married.
Portia is the queen of death. Everything involved with the quest for her marriage ends in death. She is trapped inside a casket and if the suitor chooses correctly, he will be trapped inside the casket as well. If the suitors choose the wrong casket, then their future is dead. They will not be allowed to marry again, and Portia’s father threatens from his grave that he will kill them if they do; “Take what wife you will to bed; I will ever be your head” (2.9.76-78). Once you decide that you would like to compete to marry Portia, you are committing suicide. You are willingly walking into a figurative death.
Portia refers to herself as the “queen o’er myself,” therefore the queen of death. I think this is significant because it is foreshadowing that she will be the downfall, or death, of the play. Everything associated with Portia is dead.
In act two, the Prince of Morocco chooses the golden casket, and finds "a carrion death" inside. Portia remarks, "A gentle riddance. Draw the curtains, go. Let all of his complexion choose me so." (2.7 78-79)Portia is narrow minded and prejudiced. The Prince shows his interest in her. He compliments her many times but she shakes of each of them with sarcasm or an insult. The color of his skin obviously makes him an unfitting suitor in her eyes, even though he is a prince. Portia quickly judges the Prince based on his appearence as she states in act 1, "if he had the condition of a saint and the complexion of a devil, I had rather he should shrive me than wive me" (1.2.124-126). This comment is definitely racist, especially because this is before she has spoken to him. She immediately assumes that he is inferior because of his dark skin. His personality and money aren't qualities she cares about.
Bassanio’s quest for a wife is the source of Antonio’s sadness. Although best friends, Antonio has more of an emotional connection with Bassanio, than Bassanio realizes. While he is using Antonio to get a loan to “buy” love from Portia, Antonio becomes jealous because this means their relationship will become distant if not diminished. While talking about borrowing money, Antonio reaffirms the fact that he can be trusted; “ To wind about my love with circumstance; and out of doubt you do me now more wrong”(1.1.160-163). Before loaning money, Antonio continues to talk about the importance of their friendship, yet Bassanio is only worried about quickly getting the money to eventually marry Portia.
In Act 2, Salanio says “he only loves the world for him [Bassanio]” to describe Antonio( 2.9.52.). Bassanio is the only person that can conquer Antonio’s sadness, yet he unknowingly is the cause of it. Salarino describes their relationship before they parted their separate ways. During their goodbyes, Antonio tells Bassanio, “and for the Jew’s bond which he hath of me/Let it not enter in your mind of love/ Be merry, and employ your chiefest thoughts/To courtship and such fair ostents of love”(2.9.43-45). After telling Bassanio to passionately seek his future wife, “his eye begin big with tears/ turning his face, he put his hands behind him, and with affection wondrous sensible/ he wrung Bassanio’s hand- and so they parted” (2.9.46-51). Antonio began to cry because he realized that Bassanio is moving on. Shakespeare describes the last scene as if these two men have an affectionate relationship as he describes their last hand touch. However, Bassanio doesn’t realize the true feelings that Antonio has for him. Antonio will forever be jealous of Portia because she attains a relationship with Bassanio that he wishes he could have.
In The Merchant of Venice, the Jewish people are portrayed as the bad guys and the Christian people are portrayed as the victims. The word torchbearer in act two is crucial to this subplot. The first use of torchbearer is that where it means leader. Salarino speaks of torchbearers (2.4.5), and Lorenzo speaks about Jessica being his torchbearer three times within act two. When Salarino was speaking of a leader it was for a masque that night. When Lorenzo needs Jessica to be his leader it questions the audience. Why does he need her to be his leader? Where will she lead him to? Why does he not say she will be his wife or lover? As many of the other girls have stated in their posts, marriage seems to be much like death in this play, and the relationship of Lorenzo and Jessica do not seem to be going so well towards the end of act three. Torchbearer could also come across as someone who carries or holds a torch, lit with fire. All of this signs are suggesting that Jessica is going to lead Lorenzo to hell. Her father is portrayed as evil, lustful man, suggests that because of her background as a Jewish girl, she will send the Christian man to hell and it will have nothing to do with his sins. Shakespeare is using Jessica and Lorenzo so far to set up this idea.
Portia and Jessica are the most influential characters in this play because they manipulate the men in their lives. Portia has men that come from all over the world that want to become her husband, and all of these men have to overcome the “casket” test. If Portia does not care for the suitor who has come to win her hand in marriage, she tries to trick the suitor by manipulating the test. Portia says, “Therefore, for fear of the worst, I pray thee set a deep glass of Rhenish wine on the contrary casket, for if the devil be within and that temptation without, I know he will choose it. I will do anything, Nerissa, ere I will be married to a sponge” (1.2.95-99). Because Portia did not want to marry this suitor, the Duke of Saxony’s nephew, she changed the surroundings where the test took place; as a result, she manipulated the suitor into choosing this casket, and he lost the right of marriage. Portia controls the fate of all of her suitors through the word “casket.” Every suitor whom Portia is not fond of and does not want to marry, she speaks the word “casket” to. She says this word when explaining the obstacle they must endure to receive her as their wife. Portia says this word to every suitor, except Bassanio. She controls Bassanio’s fate because never mentions this word when she is explaining the test to him. This is because he is the one she wants to marry. Because of this, she does not send him to the “wrong casket” or his death. Jessica also controls her man, Lorenzo. When Jessica is first running away with Lorenzo, she says, “Here, catch this casket; it is worth the pains” (2.6.34). By saying this, she is damning Lorenzo. She is literally bringing death upon him by throwing him a “casket.” Just like Brighton said, because of the continuous use of the word “casket,” both of these marriages will end in death at the hands of Portia and Jessica.
What is the value of human life? Merchant of Venice seems to argue that this question can be answered with a dollar amount. Perhaps the most literal example of this is Shylock’s dealing which requires that Antonio pay him in a pound of his own flesh should he be unable repay his debt. This very explicit example of “human worth” may be foreshadowing more serious settling of debts as the story goes on. Another example of money’s importance over human life is Shylock’s reaction to Jessica fleeing with his money and jewels. He says he would rather have her dead and have his possessions back. This book also raises the question: What is acceptable judgment when it comes to dealing with others? What kind of judgment can we pass/act upon? This play seems to be one that pushed boundaries and causes the reader to question themselves. The ultimate question in this work is just as relevant in today’s society of greed as it is in the fictional community of the play, that question being: Can human life be degraded to the point of monetary value?
Who really wears the pants in this novel? In Act 2, every other scene, beginning with Scene 1, ends with a couplet. All but one of these couplets are spoken by women. Shakespeare is known to use couplets at the ends of his literature as a signal for a conclusion or a decision. This suggests that the women will predominantly assume the roles of controllers throughout the play. The couplet ending Scene 1, however, is spoken by the Prince of Morocco. This sets up what is meant on the surface. It seems as if in each couplet, something is left for a man to decide, but this is deceiving. In the first couplet, fortune is “in control,” but the text is centered around if Morocco will be the “blest – or cursed’st of men” (2.1.49). This is a subtle signal that perhaps all of the decisions will be made my men, but that thought is later contradicted. The next ending couplet leaves the decision to Lorenzo. Jessica states that if Lorenzo keeps his promise, she will “become a Christian and [his] loving wife” (2.3.21). It seems as if she will only do this based on his loyalty, but she also says she will “end this strife” (2.3.20). This hints that she has the control of her change in religion and even if he keeps his promise, nothing is possible without her. The ending couplet of Scene 5 seems, once again, to be centered around fortune’s decision and the possibility that Shylock will lose his daughter. The hints that the women are in control are slowly becoming more potent, for this one is equally centered around Jessica as much as Shylock. This equality is accentuated by the fact that this is also the middle of the act. Her use of the words “my” and “I” show that she is a main part of these two lines. This is accented even more because Shylock is losing his daughter – something only she can control. At the end of Scene 7, Portia is brought back into the mix, but she is commanding. When she says “ Let all of his complexion choose me so” (2.7.87) it seems as if she is not in control, but considering this line is followed by commands and is a command itself, what is originally insinuated is actually contradicted. And finally, the last couplet of Act 2 is split between Nerissa and Portia. Portia is anxious to see “Cupid’s post that comes so mannerly” (2.9.108). This implies that Cupid is in control of who comes as suitors to see Portia, which is furthered when Nerissa asks the “Lord Love” to let it be Bassanio who wins Portia. In all of these instances, it is portrayed that either the men or something higher is in control, but as Emma and Hannah both said, Portia and Jessica (and possibly Nerissa) are the strong individuals of the play. Shakespeare slowly and subtly leads to his final point that the women are ultimately controlling and manipulative by starting off with a man speaker, switching to a woman speaker, and ending with two women speakers. He also plays upon his famous use of double meaning. At the beginning, these couplets are mainly centered upon men, but as the final scene approaches, he begins to focus it more and more around the women, even though he still insinuates that the men really make the decisions. He has a surface meaning that is laced with an underlying point. This insinuation is contradicted by his syntax usage. His use of couplets implies that something is concluding, but this knowledge is challenged by the actual content of the text. So, who wears the pants? They could really be anyone’s at this point.
Jessica plays a key role in unraveling religious prejudices held by several of the play’s central characters, especially Lorenzo. Though she refutes her father’s religion, Judaism, the second she and Lorenzo marry, Jessica impacts Lorenzo’s preconceived notions of Jews even before their wedding. While Gratino and Lorenzo wait for Jessica to finish robbing her father and run away with her love, Lorenzo, Gratino tosses in his opinion about Lorenzo’s wife-to-be, “ now, by my hood, a gentile and no Jew!” he exclaims (2.7.53). Lorenzo responds to Gratino’s surprise with a rather uncertain declaration of his love, “Beshrew me but I love her heartily, / For she is wise, if I can judge her, / And fair she is, if that mine eyes be true, / And true she is, as she hath proved herself. / And therefore, like herself, wise, fair, and true, / Shall she be placéd in my constant soul” (2.7.54-59). While Gratino considers Jessica’s kind behavior something that “no Jew” could possess, the very fact that he is able to recognize her actions as likeable in any way contradicts his generalization that all Jews are incapable of kindness. Lorenzo, also, questions his religious prejudices in his declaration of love for Jessica. Each time Lorenzo states one of Jessica’s qualities, “wise,” “fair,” and “true,” he immediately contradicts himself. For instance, he believes that she is “fair,” but only “if that [his] eyes be true,” and he considers her “wise,” but again, if only “[he] can judge of her” (2.7.55-56). With each realization that Jessica can indeed possess positive qualities, Lorenzo is forced to question his beliefs, and in the end, he decides that she shall, despite his prejudices against Jews, “be placed in [his] constant soul” (2.7.59).
The characters in The Merchant of Venice make many difficult choices throughout the play. Portia's suitors must choose the right casket, Portia chooses to obey her father, Bassanio chooses to put Antonio at risk for his debt, and Shylock chooses revenge. The list could go on and on. Portia says, "But this reasoning is not in the fashion to/ choose me a husband. O me, the word 'choose'! I may neither/ choose who I would nor refuse who I dislike; so is the will of a/ living daughter curb'd by the will of a dead father. Is it not/ hard, Nerissa, that I cannot choose one, nor refuse none? (1.2.20-25). She does not want to choose marriage, but in order to obey her father's wishes, surrenders her right to choose. It is still a choice. Unlike many of Shakespeare's plays, the Merchant of Venice is not a play about fate. In making intentional choices, both good and bad, the characters determine their own futures. This makes the play a real and raw experience for its audience. The audience is able to see both the choices the characters make and their consequences. There are no prophesies and nothing supernatural in this play; simply flawed characters with difficult choices to make and consequences to think about.
“the sins of the father are to be laid upon the children.” (III.V.1-2) Both Jessica and Portia have both been left to deal with a repressive legacy. Jessica has lived her life under her racist father as he “feeds fat [his] ancient grudge” against the many Christians that share her world (I.III.39). Portia has, quite literally, been locked in a box by her father and “bar[ed] the right of voluntarily choosing” her husband to make sure the family fortune is only passed on to worthy hands (II.I.16). With the previous generation’s thoughts being transfixed by money and poisoned by material wealth, they have left their children with few happy options. Jessica has had to go underground as she follows her heart by marrying a Christian without her father’s consent, and Portia has been living in grief and self-hatred all her life because of the price a man would have to pay to merely attempt becoming her husband. The main females in “The Merchant of Venice” are the embodiment of the main challenges facing their generation, and every generation since; they must find a way to leave the past and adapt to a changing world, else they live in misery.
Making and trusting promises creates problems. In The Merchant of Venice many potential downfalls are created simply by having a character swear on his actions. In the casket scenes, each suitor makes a huge promise. The Prince of Morocco and the Prince of Arragon, both agreed to, “Swear before [he chose], if [he chooses] wrong, never to speak to lady afterward In way of marriage” (2.1.41-44). Because both prices chose the wrong casket, they will live the rest of their lives without marriage. Those men have fallen in the way of love, because they are unable to marry anyone ever. Also, when Antonio and Shylock make a financial deal, both are risking a great deal. Shylock is risking losing the money he lends, but Antonio is risking losing his good name. If Antonio is not successful in his deal with Bassanio, then by Shylock, “A pound of man’s flesh taken from a man” (1.3.176). Trust is an important thing to have in life. Without it, Antonio will lose his good name and fortune, which will cause him to downfall due to a promise gone wrong. In each case, promises have the potential to create downfall.
With such a strong dislike towards members of other religions, it is ironic that the characters of Merchant of Venice use many references to a pagan religion, Roman mythology. In Act 2, scene one, the Prince of Morocco proclaims it is his “blind Fortune” that guides him to choosing the right chest (2.1.37). But later on as Lancelet points out to his own blind father, such “branches of learning, [are]/ indeed deceased” (2.2.61-62). He states that in everyday life it is foolish to believe that women such as the Three Fates exist. But concerning matters of the heart, other characters hold a much different stance. “O, ten times faster do Venus’ pigeons fly/To seal love’s bond new-made,” Salarino proclaims as Jessica, a Jew, and Lorenzo’s, a Christian, plan for love falls into place (2.6.7-8). Jessica says that Cupid, Venus the goddess of love’s helper, would find their plan to be a bit silly, as she had to dress as a boy. The love between the couple of different religions serves as a bridge between the two opposing cultures and religions in Venice. Yet, there is no way to describe the love they have through both religions that they already practice. Therefore, it only makes sense to use not their own religions, but an outside religion, Ancient Roman mythology, to describe the love they share in their relationship. Throughout much of Act 2 and Act 3, mythology is a link between both religions. It remains a part of the Venetian culture because it is every citizen’s past. In this play, it serves at times as the translation for a love that cannot be described in any other words.
True love is selfless. Whether it is romantic love or simply the love that bonds close friends, in order for the relationship to work, people must be able to put aside their selfish desires. Shakespeare uses Bassanio’s relationships with Portia and Antonio as examples of the previous statement. When Bassanio first mentions Portia, it is not her character he focuses on, but her wealth and her appearance. “In Belmont is a lady richly left, and she is fair, and, fairer than that word of wondrous virtues” (1.1.68-70). His desire to marry Portia is selfish because he only cares for riches and beauty, both of which fade quickly with time. Because his relationship with Portia is centered around personal gain instead of love, Bassanio’s life will end in death. As Brighton states in her post, it doesn’t matter if he passes the casket test; he will have a morbid ending regardless because, metaphorically, he will still be in the casket with Portia. Antonio, however, is entirely selfless in his relationship with Bassanio, whom he loves very much. Not only does he willingly lend Bassanio money to see Portia, Antonio encourages him to take his time on the trip. “Slubber not business for my sake, Bassanio, but stay the very riping of the time; and for the Jew’s bond which he hath of me, let it not enter your mind of love” (2.9.40-43). Antonio’s words are selfless and loving, therefore, their friendship should remain strong.
Love is not your own. Both Portia and Jessica are not able to love who they want. Portia obviously has feelings for Bassanio, but her father's will is restricting her from acting upon her feelings. "He, of all the men that ever my foolish eyes looked upon, was the best deserving a fair lady." (1.2.117-119). Portia is forced to abide by her father's wishes. She cannot love who she wishes to, her emotions, affections, and love are not her own.
Jessica has a similar demise. Her father is a spiteful Jewish man who will not stand for her having relations with a Christian. Jessica wants to love Lorenzo, so she must make a decision: family or love. Either way, she loses something.
Love is not left to those who are involved in it. The ability to love is left to those who govern the possible lovers.
Portia and Jessica are both closely related to death, and this is caused by their fathers.
As Betsy said, Portia is the queen of death. This is because her father made a lottery to choose her husband for her. However, any man who tries to marry her will be tied to her for all time, no matter what time or distance separates them, even if he loses. "And either not attempt to choose at all,/Or swear before you choose, if you choose wrong/Never speak to lady afterward/In way of marriage. Therefore be advised" (Shakespeare 2:1:40-42). As souls are tied to death for eternity, men will be tied to Portia for the rest of their lives whether married to her or not.
Jessica is the daughter of Death. Shylock wants an unnaturally high price for loaning Antonio money. "If you repay me not on such a day,/In such a place, sum or as sums are/Expressed in the condition, let the forfeit/Be nominated for an equal pound/Of your fair flesh, to be cut and taken/In what part of your body it pleaseth me" (Shakespeare 1:3:139-144). He wants his dues for helping Bassiano out of debt, like the Reaper wants payment for taking souls safely to the afterlife, even if his prices could - literally - end in death. He pretends to do it as a gesture of kindness, but at best these measures will cripple Antonio, but more likely will send him to the true Reaper.
Jessica's father is the Reaper, while Portia is Death and the men surrounding her are her souls.
Portia is a huge racist. She has many suitors, many of which are awful. But a few of them are decent guys who really, desperately want her to love them. The Prince of Morocco seems to be a good egg. He's extremely wealthy and very polite, but he's black. He begs her to ignore his dark skin, but she can't get over it. Luckily for Portia, Morocco picks the wrong casket, but how would she have treated him if he had chosen correctly and married her? So far in the play, some of the main themes have been discrimination based on race and religion. Though Portia appears polite and civil to the prince, inside she is discriminating against him because of his color just as much as Antonio and Bassanio discriminate against Shylock for his religion. After the prince chooses the wrong casket, he takes off, unable to bear the pain. Her response is "A gentle riddance.- Draw the curtains; go./ -Let all of his complexion choose me so" (II.7.78-79) The first time she ever saw the prince, she decided he didn't make the cut. He isn't Italian, he doesn't look Italian, he's out.
Women are stereotyped as weak and dependent in A Merchant of Venice, and both Jessica and Portia agree with this stereotype. Portia frequently puts herself down. She describes herself as weak, helpless, and worthless. She tells Nerissa that “[her] little body is aweary of this great world” (1.2 1-2). In scene 9, she calls herself worthless: “That comes to hazard for my worthless self” (2.9 17). She also says that “a maiden hath no tongue but thought” (3.2 8). I think this means that a woman should not speak her thoughts. Portia thinks that she is weak and that she should not speak her thoughts simply because she is a woman. Other characters treat Portia as if she is a thing to be bought. The suitors are willing to choose caskets and pay money to wed Portia. They talk about her worth and they want to wed her because she is rich and fair. They do not mention her intelligence or inner beauty. Portia does not speak up against this treatment. Maybe she believes that this treatment is okay because she is a woman.
In Acts I through III, the time when Portia behaves the most independently is when she and Nerissa run off to follow their husbands. The time when Jessica behaves the most independently is when she sneaks out of her father’s house to run away with Lorenzo. During both of these times, Portia and Jessica are disguised as men. It is as if they have to be disguised as men to act independently. They cannot act strong and independent when they look like women.
I think that Portia and Jessica were stereotyped so much because they are women that they started to believe the stereotypes. They even start to become the stereotypes. Will they aver be able to do something strong and independent as women?
The three caskets that Portia’s suitors must choose from represent equality in The Merchant of Venice. Prejudice is one of the main themes in this play. There is prejudice about race which, as Monica stated, is shown during the interaction between Portia and the Prince of Morocco. The first time the prince speaks to Portia he asks her to “Mislike me not for my complexion, The shadowed livery of the burnished sun, To whom I am a neighbor and near bred” (2.1.1-3). In more modern terms, he asks Portia to mislike him not because of his brown skin. This is also proven later in the play when Lorenzo tells Lancelet that he can justify Jessica being the daughter of a Jew better than Lancelet can justify getting a black woman pregnant. “I shall answer that better to the commonwealth than you can the getting up of the Negro’s belly. The Moor is with child by you, Lancelet” (3.5.36-38). This leads me to the next type of prejudice, religious prejudice. It is no secret that there is huge strive between Christians and Jews in this play. The play’s main antagonist, Shylock, states during his first scene onstage that he "hate[s] him [Antonio] for he is a Christian" (1.3.42). Shylock also declares that Antonio has “laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies-and what’s his reason” (3.1.54-57) Shylock asks rhetorically, “I am a Jew” (3.1.57) he concludes, answering his own question confidently. Even the good and kind Antonio refers to Shylock as the “devil” (1.3.107) and “a villain” (3.1.108) because of Shylocks religion while he and Bassanio are asking the Jew to lend them money. Antonio and his Christian friends have refered to Shylock as the devil for the rest of the play so far. Lancelet even calls both Christians and Jews bad while talking to Jessica in Act 3. sc. 5. He states that she will be damned because her father was a Jew, and Christians, who will raise the price of pork, will be just as much to blame. There is also a continuing prejudice of between the wealthy and the poor. This is shown by Bassanio’s need for money at the beginning of the play, so that he may impress the rich and beautiful Portia and be an equal with at least one of her other suitors. It is also shown by the use of the word “sirrah” throughout the play. A word which one uses to address one’s inferior. These three types of prejudice have been used throughout the first three acts.
The only time these prejudices are inconsequential is during the test to become Portia’s husband. Portia is visited by men of different race, different social classes, and of unknown religion. Some of these suitors include, the County Palantine, a French lord, the baron of England, a duke, and the Prince of Morroco. The audience is unaware of the religious views of these men, and although these men of different races do have a reasonable sum of money they are still at different class levels than one another. In conclusion, the test of the three caskets symbolizes equality.
(Sorry! I don't know why this didn't post the first time!)
Shakespeare uses reverse psychology to display Gratiano as a fool in the first Act of The Merchant of Venice. The reader may be distracted by how much he actually talks, but the words uses he hits the nail on the head. He tells Antonio that he is fooling himself. He's telling Antonio that he's falling too much into the social expectations. Antonio is sad because he can't do what he wants. He's trying to fit into what society wants him to be. Gratiano asks him, "Why should a man whose blood is warm within sit like his grandire cut in alabaster?" Gratiano is pushing him to understand why he conforms, but Lorenzo is mainly focused on how much he talks, downplaying the ultimate effect of that passage. Gratiano even goes along with it saying that if he was allowed to talk all he wants no one would know the sound of their own voice. Maybe he needs to talk that long, because he honestly speaks the truth. Gratiano is the fool, the one with the voice of reason but a voice that is presented in a less than convenient way.
ReplyDeleteIn The Merchant of Venice, Bassanio is a Christ figure. There are several examples to confirm this fact. Obviously, Bassanio is a Christian. Also, Gobbo refers to Bassanio as Worship, which is defined as Lordship. Basssanio title means he holds the rank of a Lord; and another name for Christ is Lord. “To leave a rich Jew’s service, to become the follower of so poor a gentlemen”, said Bassanio when Lancelet asked to become part of his service (2.2.146-147). Christ did not have any money, which is another thing Christ and Bassanio had in common. Moreover, Christ had disciples or followers. Gratiano, Leonardo, Lancelet, and Gobbo all attend and follow Bassanio, along with a few others who were not mentioned. Finally, Lancelet tells Bassanio he has “the grace of God”. Christ and Bassanio have the grace of God because they are both kind and helped others in need. In conclusion, Bassanio is considered a Christ figure because of his demeanor and followers.
ReplyDeleteMarriage is death. Each of the three engagements in the play is referenced to death. Portia’s picture lies in a casket; she is trapped in the casket of marriage. She brings forth “the several caskets to [these] noble prince[s]” in order for them to marry the girl in the casket, the dead girl (2.7.2). Her future lies within a casket; her future is death. Her marriage does not only affect her, but also Bassanio. The ring that Portia gives him is his key to life. “When this ring parts from this finger, then parts life from hence. O, then be bold to say Bassanio’s dead” (3.2.187-189). The ring is a symbol of his marriage to Portia as well as a quick way to his own life or death. The engagement between Nerissa and Gratiano also deals with the caskets. Bassanio’s “fortune stood upon the caskets there, and so did [Gratiano’s], too, as the matter falls” (3.2.205-206). From Gratiano’s perspective, it was Nerissa’s picture in the casket because Bassanio was playing the game for him as well. Their future in marriage will result in death as well. The elopement between Jessica and Lorenzo causes Shylock to go crazy. Her elopement with a Christian sends her to the grave in Shylock’s perspective. He “would [his] daughter were dead at [his] foot and the jewels in her ear; would she were hearsed at my foot and the ducats in her coffin” (3.1.87-90). Because of her elopement her father dams her not only to Hell, but also to the grave. All three of these relationships begin where they are supposed to end, death.
ReplyDelete“Let not the sound of foppr’y enter/ My sober house” (2.5.36-37).
ReplyDeleteShylock does not care about his daughter. The only thing he has a love for are material things. He tells his daughter to watch over his house while he eats at Bassanio’s feast, “Lock up my doors” (2.5.30). He then commands her to stay inside, “Clamber not you up to the casements than,/ Nor thrust your head into the public street/ To gaze on Christian fools with varnished faces” (2.5.30-34). SIt appears he wants his daughter to stay safe, uncorrupted by the Christians. The actual reason for his demands is revealed later on when his pride and joy is taken from him: jewels and ducats.
Jessica’s father reveals her true worth to him as nothing more than a thief of his riches. “…Stol’n by my daughter! Justice! Find the girl!/ She hath the stones upon her, and the ducats” (2.8.22-23). All he wants is his money and jewels. His daughter is nothing but a hindrance to his access to them, and therefore he does not love her.
This comment has been removed by the author.
ReplyDeleteIn Merchant of Venice, money is valued more than a person’s life. The first case seen based around this idea is when Antonio borrows money from Shylock for Bassanio. Shylock allows Antonio to borrow money from him with the agreement that if Antonio can’t repay him, then “an equal pound of [his] fair flesh [will] be cut off” (Act 1 sc. 3). Antonio readily agrees, which means that he values money over his own self as well as Shylock saying he values money over another person’s life. Shylock also demonstrates this by being angry at his daughter for taking his money rather than being concerned about her well-being: “A sealed bag, two sealed bags of ducats, of double ducats, stol’n from me by my daughter” (Act 2 sc. 8). He isn’t worried about Jessica, he is worried that he has lost his money because of her, even though she is his daughter. His ambitions to find his daughter are also only because he wants his money back: “Justice! Find the girl! She hath the stones upon her, and the ducats” (Act 2 sc. 8). Shylock only wants her back to take back his money. He treats her like a common criminal because she, in Shylock’s mind, did the worst act: take away his precious money.
ReplyDeleteShylock is bloodthirsty, vengeful, and inflexible. He kept saying "I'll have my bond" over and over again in Act 3, Scene 3. This shows that Shylock would rather have a piece of Antonio (literally) than "thrice" the amount of money he's owed, confirming him being bloodthirsty. Also, the fact that instead of having Antonio repay him in money and rather in one pound of flesh further proves this point.
ReplyDeleteGo with me to a notary, seal me there
Your single bond; and, in a merry sport,
If you repay me not on such a day,
In such a place, such sum or sums as are
Express'd in the condition, let the forfeit
Be nominated for an equal pound
Of your fair flesh, to be cut off and taken
In what part of your body pleaseth me. (1.3.146-153)
Another way to think about Shylock's desire for a pound of Antonio's flesh is to consider the circumstances under which Shylock demands his bond. When Shylock hears the news of Antonio's forfeiture, he also learns that his daughter Jessica has run off to marry a Christian. Shylock's response? He says, "I'll plague him [Antonio]; I'll torture him" (3.1.13).I believe it is possible that Shylock is looking to compensate for the loss of his own flesh and blood (Jessica) by demanding a little bit of Antonio's flesh and blood. And finally, Shylock is vengeful because of how Antonio's people (Christians) have treated his people (Jews) in the past and in the present. Shylock even admits, "I hate him for he is a Christian" (1.3.38) and goes further to say "I will feed fat the ancient grudge I bear him" (1.3.43) saying that this goes revenge began long before Shylock and Antonio.
The women in “The Merchant of Venice” are strong individuals. They are fully capable of handling their own lives with ease as well as taking charge of others’. Portia might be viewed as simply a damsel trapped by her father’s will waiting for a man to come claim her; however, once betrothed to Bassanio, she seizes the opportunity for action. Although she professes her love to Bassanio through words such as “Myself, and what is mine, to you and yours is now converted,” she is ready to seize the opportunity to take control over her own life (3.2.170-171). Right before this, Portia “[wishes herself] much better, yet for [Bassanio] … that only to stand high in [his] account” (3.2.156, 159). Though it appears that Bassanio has redefined Portia’s vision of life, it in fact is the other way around. As Brighton discussed above, Portia granted Bassanio life by the ring she presented to him. “When this ring / Parts from this finger, then parts life from hence. / O, then be bold to say Bassanio’s dead” (3.2.187-189). This ring symbolizes marriage, yes; however, it is Bassanio’s existence as life or as death.
ReplyDeleteAlso, Portia takes charge of her newly-wedded husband’s life. By bonding herself to him through marriage and giving him everything of hers, Bassanio is now able to save Antonio from his debt to Shylock. Without Portia, Bassanio would be forced to live with a guilty conscience and Antonio would be at the mercy of the Jewish money lender’s hand. Therefore, Portia saves not only her husband’s conscience, but saves Antonio’s life by offering to “Pay [Shylock] six thousand [ducats] and deface the bond” (3.2.312).
Portia is not the only resolute female in the play; Jessica is self-aware and adept to handle herself and the outcome of her husband, Lorenzo. She escapes her paternal home in the disguise of a boy and single-handedly robs her father of valuable jewels and numerous ducats. She is ready to throw off the suffocating presence of her father to give love a chance. The women in “The Merchant of Venice” are fully able to handle not only themselves but also others and will surely give the men a run for their money.
In The Merchant of Venice, Shakespeare brings into light humans’ flaw of seeing ourselves as the victims. Those who see themselves as the victims of prejudice are prejudice themselves. The Prince of Morocco’s opening line as he tries to woo Portia, is defensive towards his skin color: “Mislike me not for my complexion, / The shadowed livery of the burnished sun, / To whom I am a neighbor and near bred” (2.1.1-3). He is very aware of the difference of his and Portia’s skin because he puts significance into their differences. He would only believe that she cares about their different skin colors if he has judged people for it before: “Bring me the fairest creature northward born, / Where Phoebus’ fire scarce thaws the icicles, / And let us make incision for your love / To prove whose blood is reddest, his or mine” (2.1.4-7). It’s ironic how he asks Portia not to judge him for his dark skin tone, yet his first reason for courting her is her fair skin. Shylock also victimizes himself throughout the play: “He hath disgraced me and / hindered me half a million … -and what’s his reason? I am a Jew” (3.1.53-57). The syntax used by Shylock is very complicated when he’s trying to persuade himself that he’s the victim, but his reason for their supposed discrimination is expressed in a simple three-word sentence. This portrays Shylock to be a needy character that wants to complicate simple things in order to gain attention and pity. He hasn’t accepted the fact that he is part of the minority and that he is different; therefore, he chooses to blame the Christians for his pariah-like life. Shylock tries to pity himself by insinuating that the Christians have a vendetta against him for his religion, but at the beginning of the play, Shylock is the first to mark the difference: “I hate him for he is a Christian” (1.1.42). Again, Shylock’s syntax is simple. Just as Shylock’s reasons are simple and irrational, the barriers between different religions are as well. He believes the Christians judge him because he judges himself.
ReplyDeleteLorenzo and Jessica should not be together. Lorenzo’s continuous nagging at Jessica about her soul as a Jewish person only brings her down and makes her feel more insecure about her place in his community. Towards the end of Act III, Lorenzo begins to worry about Jessica’s soul, “for truly, I think you are damned,” are his words towards the woman he’s supposed to love (3.5.5-6). Jessica is already feeling insecure about entering the Christian community after converting from Judaism and Lorenzo isn’t making her feel any better. He believes that “the sins of the father are to be laid upon the children,” and therefore believes that Jessica doesn’t have a chance of going to Heaven (3.5.1-2). But, if he knows how insecure Jessica is feeling, why would Lorenzo bring this up to her?
ReplyDeleteLorenzo’s inattention to Jessica’s feelings isn’t a sign of a good relationship. If he’s so worried about her soul, he shouldn’t have married her. Jessica shouldn’t feel guilty about her religious choices and that is exactly what Lorenzo is trying to make her feel. For Jessica’s sake, the two should not have gotten married.
This comment has been removed by the author.
ReplyDeletePortia is the queen of death. Everything involved with the quest for her marriage ends in death. She is trapped inside a casket and if the suitor chooses correctly, he will be trapped inside the casket as well. If the suitors choose the wrong casket, then their future is dead. They will not be allowed to marry again, and Portia’s father threatens from his grave that he will kill them if they do; “Take what wife you will to bed; I will ever be your head” (2.9.76-78). Once you decide that you would like to compete to marry Portia, you are committing suicide. You are willingly walking into a figurative death.
ReplyDeletePortia refers to herself as the “queen o’er myself,” therefore the queen of death. I think this is significant because it is foreshadowing that she will be the downfall, or death, of the play. Everything associated with Portia is dead.
In act two, the Prince of Morocco chooses the golden casket, and finds "a carrion death" inside. Portia remarks, "A gentle riddance. Draw the curtains, go. Let all of his complexion choose me so." (2.7 78-79)Portia is narrow minded and prejudiced. The Prince shows his interest in her. He compliments her many times but she shakes of each of them with sarcasm or an insult. The color of his skin obviously makes him an unfitting suitor in her eyes, even though he is a prince.
ReplyDeletePortia quickly judges the Prince based on his appearence as she states in act 1, "if he had the condition of a saint and the complexion of a devil, I had rather he should shrive me than wive me" (1.2.124-126). This comment is definitely racist, especially because this is before she has spoken to him. She immediately assumes that he is inferior because of his dark skin. His personality and money aren't qualities she cares about.
This comment has been removed by the author.
ReplyDeleteBassanio’s quest for a wife is the source of Antonio’s sadness. Although best friends, Antonio has more of an emotional connection with Bassanio, than Bassanio realizes. While he is using Antonio to get a loan to “buy” love from Portia, Antonio becomes jealous because this means their relationship will become distant if not diminished. While talking about borrowing money, Antonio reaffirms the fact that he can be trusted; “ To wind about my love with circumstance; and out of doubt you do me now more wrong”(1.1.160-163). Before loaning money, Antonio continues to talk about the importance of their friendship, yet Bassanio is only worried about quickly getting the money to eventually marry Portia.
ReplyDeleteIn Act 2, Salanio says “he only loves the world for him [Bassanio]” to describe Antonio( 2.9.52.). Bassanio is the only person that can conquer Antonio’s sadness, yet he unknowingly is the cause of it. Salarino describes their relationship before they parted their separate ways. During their goodbyes, Antonio tells Bassanio, “and for the Jew’s bond which he hath of me/Let it not enter in your mind of love/ Be merry, and employ your chiefest thoughts/To courtship and such fair ostents of love”(2.9.43-45). After telling Bassanio to passionately seek his future wife, “his eye begin big with tears/ turning his face, he put his hands behind him, and with affection wondrous sensible/ he wrung Bassanio’s hand- and so they parted” (2.9.46-51). Antonio began to cry because he realized that Bassanio is moving on. Shakespeare describes the last scene as if these two men have an affectionate relationship as he describes their last hand touch. However, Bassanio doesn’t realize the true feelings that Antonio has for him. Antonio will forever be jealous of Portia because she attains a relationship with Bassanio that he wishes he could have.
In The Merchant of Venice, the Jewish people are portrayed as the bad guys and the Christian people are portrayed as the victims. The word torchbearer in act two is crucial to this subplot. The first use of torchbearer is that where it means leader. Salarino speaks of torchbearers (2.4.5), and Lorenzo speaks about Jessica being his torchbearer three times within act two. When Salarino was speaking of a leader it was for a masque that night. When Lorenzo needs Jessica to be his leader it questions the audience. Why does he need her to be his leader? Where will she lead him to? Why does he not say she will be his wife or lover? As many of the other girls have stated in their posts, marriage seems to be much like death in this play, and the relationship of Lorenzo and Jessica do not seem to be going so well towards the end of act three. Torchbearer could also come across as someone who carries or holds a torch, lit with fire. All of this signs are suggesting that Jessica is going to lead Lorenzo to hell. Her father is portrayed as evil, lustful man, suggests that because of her background as a Jewish girl, she will send the Christian man to hell and it will have nothing to do with his sins. Shakespeare is using Jessica and Lorenzo so far to set up this idea.
ReplyDeletePortia and Jessica are the most influential characters in this play because they manipulate the men in their lives. Portia has men that come from all over the world that want to become her husband, and all of these men have to overcome the “casket” test. If Portia does not care for the suitor who has come to win her hand in marriage, she tries to trick the suitor by manipulating the test. Portia says, “Therefore, for fear of the worst, I pray thee set a deep glass of Rhenish wine on the contrary casket, for if the devil be within and that temptation without, I know he will choose it. I will do anything, Nerissa, ere I will be married to a sponge” (1.2.95-99). Because Portia did not want to marry this suitor, the Duke of Saxony’s nephew, she changed the surroundings where the test took place; as a result, she manipulated the suitor into choosing this casket, and he lost the right of marriage. Portia controls the fate of all of her suitors through the word “casket.” Every suitor whom Portia is not fond of and does not want to marry, she speaks the word “casket” to. She says this word when explaining the obstacle they must endure to receive her as their wife. Portia says this word to every suitor, except Bassanio. She controls Bassanio’s fate because never mentions this word when she is explaining the test to him. This is because he is the one she wants to marry. Because of this, she does not send him to the “wrong casket” or his death. Jessica also controls her man, Lorenzo. When Jessica is first running away with Lorenzo, she says, “Here, catch this casket; it is worth the pains” (2.6.34). By saying this, she is damning Lorenzo. She is literally bringing death upon him by throwing him a “casket.” Just like Brighton said, because of the continuous use of the word “casket,” both of these marriages will end in death at the hands of Portia and Jessica.
ReplyDeleteWhat is the value of human life? Merchant of Venice seems to argue that this question can be answered with a dollar amount. Perhaps the most literal example of this is Shylock’s dealing which requires that Antonio pay him in a pound of his own flesh should he be unable repay his debt. This very explicit example of “human worth” may be foreshadowing more serious settling of debts as the story goes on. Another example of money’s importance over human life is Shylock’s reaction to Jessica fleeing with his money and jewels. He says he would rather have her dead and have his possessions back. This book also raises the question: What is acceptable judgment when it comes to dealing with others? What kind of judgment can we pass/act upon? This play seems to be one that pushed boundaries and causes the reader to question themselves. The ultimate question in this work is just as relevant in today’s society of greed as it is in the fictional community of the play, that question being: Can human life be degraded to the point of monetary value?
ReplyDeleteWho really wears the pants in this novel?
ReplyDeleteIn Act 2, every other scene, beginning with Scene 1, ends with a couplet. All but one of these couplets are spoken by women. Shakespeare is known to use couplets at the ends of his literature as a signal for a conclusion or a decision. This suggests that the women will predominantly assume the roles of controllers throughout the play.
The couplet ending Scene 1, however, is spoken by the Prince of Morocco. This sets up what is meant on the surface. It seems as if in each couplet, something is left for a man to decide, but this is deceiving. In the first couplet, fortune is “in control,” but the text is centered around if Morocco will be the “blest – or cursed’st of men” (2.1.49). This is a subtle signal that perhaps all of the decisions will be made my men, but that thought is later contradicted. The next ending couplet leaves the decision to Lorenzo. Jessica states that if Lorenzo keeps his promise, she will “become a Christian and [his] loving wife” (2.3.21). It seems as if she will only do this based on his loyalty, but she also says she will “end this strife” (2.3.20). This hints that she has the control of her change in religion and even if he keeps his promise, nothing is possible without her. The ending couplet of Scene 5 seems, once again, to be centered around fortune’s decision and the possibility that Shylock will lose his daughter. The hints that the women are in control are slowly becoming more potent, for this one is equally centered around Jessica as much as Shylock. This equality is accentuated by the fact that this is also the middle of the act. Her use of the words “my” and “I” show that she is a main part of these two lines. This is accented even more because Shylock is losing his daughter – something only she can control. At the end of Scene 7, Portia is brought back into the mix, but she is commanding. When she says “ Let all of his complexion choose me so” (2.7.87) it seems as if she is not in control, but considering this line is followed by commands and is a command itself, what is originally insinuated is actually contradicted. And finally, the last couplet of Act 2 is split between Nerissa and Portia. Portia is anxious to see “Cupid’s post that comes so mannerly” (2.9.108). This implies that Cupid is in control of who comes as suitors to see Portia, which is furthered when Nerissa asks the “Lord Love” to let it be Bassanio who wins Portia. In all of these instances, it is portrayed that either the men or something higher is in control, but as Emma and Hannah both said, Portia and Jessica (and possibly Nerissa) are the strong individuals of the play.
Shakespeare slowly and subtly leads to his final point that the women are ultimately controlling and manipulative by starting off with a man speaker, switching to a woman speaker, and ending with two women speakers. He also plays upon his famous use of double meaning. At the beginning, these couplets are mainly centered upon men, but as the final scene approaches, he begins to focus it more and more around the women, even though he still insinuates that the men really make the decisions. He has a surface meaning that is laced with an underlying point. This insinuation is contradicted by his syntax usage. His use of couplets implies that something is concluding, but this knowledge is challenged by the actual content of the text.
So, who wears the pants? They could really be anyone’s at this point.
Wow, I am impressed so far. Keep it up, team. I can't wait to discuss all this with you in class tomorrow.
ReplyDeleteJessica plays a key role in unraveling religious prejudices held by several of the play’s central characters, especially Lorenzo. Though she refutes her father’s religion, Judaism, the second she and Lorenzo marry, Jessica impacts Lorenzo’s preconceived notions of Jews even before their wedding. While Gratino and Lorenzo wait for Jessica to finish robbing her father and run away with her love, Lorenzo, Gratino tosses in his opinion about Lorenzo’s wife-to-be, “ now, by my hood, a gentile and no Jew!” he exclaims (2.7.53). Lorenzo responds to Gratino’s surprise with a rather uncertain declaration of his love, “Beshrew me but I love her heartily, / For she is wise, if I can judge her, / And fair she is, if that mine eyes be true, / And true she is, as she hath proved herself. / And therefore, like herself, wise, fair, and true, / Shall she be placéd in my constant soul” (2.7.54-59).
ReplyDeleteWhile Gratino considers Jessica’s kind behavior something that “no Jew” could possess, the very fact that he is able to recognize her actions as likeable in any way contradicts his generalization that all Jews are incapable of kindness. Lorenzo, also, questions his religious prejudices in his declaration of love for Jessica. Each time Lorenzo states one of Jessica’s qualities, “wise,” “fair,” and “true,” he immediately contradicts himself. For instance, he believes that she is “fair,” but only “if that [his] eyes be true,” and he considers her “wise,” but again, if only “[he] can judge of her” (2.7.55-56). With each realization that Jessica can indeed possess positive qualities, Lorenzo is forced to question his beliefs, and in the end, he decides that she shall, despite his prejudices against Jews, “be placed in [his] constant soul” (2.7.59).
The characters in The Merchant of Venice make many difficult choices throughout the play. Portia's suitors must choose the right casket, Portia chooses to obey her father, Bassanio chooses to put Antonio at risk for his debt, and Shylock chooses revenge. The list could go on and on.
ReplyDeletePortia says, "But this reasoning is not in the fashion to/ choose me a husband. O me, the word 'choose'! I may neither/ choose who I would nor refuse who I dislike; so is the will of a/ living daughter curb'd by the will of a dead father. Is it not/ hard, Nerissa, that I cannot choose one, nor refuse none? (1.2.20-25). She does not want to choose marriage, but in order to obey her father's wishes, surrenders her right to choose. It is still a choice.
Unlike many of Shakespeare's plays, the Merchant of Venice is not a play about fate. In making intentional choices, both good and bad, the characters determine their own futures. This makes the play a real and raw experience for its audience. The audience is able to see both the choices the characters make and their consequences.
There are no prophesies and nothing supernatural in this play; simply flawed characters with difficult choices to make and consequences to think about.
This comment has been removed by the author.
ReplyDelete“the sins of the father are to be laid upon the children.” (III.V.1-2)
ReplyDeleteBoth Jessica and Portia have both been left to deal with a repressive legacy. Jessica has lived her life under her racist father as he “feeds fat [his] ancient grudge” against the many Christians that share her world (I.III.39). Portia has, quite literally, been locked in a box by her father and “bar[ed] the right of voluntarily choosing” her husband to make sure the family fortune is only passed on to worthy hands (II.I.16). With the previous generation’s thoughts being transfixed by money and poisoned by material wealth, they have left their children with few happy options. Jessica has had to go underground as she follows her heart by marrying a Christian without her father’s consent, and Portia has been living in grief and self-hatred all her life because of the price a man would have to pay to merely attempt becoming her husband. The main females in “The Merchant of Venice” are the embodiment of the main challenges facing their generation, and every generation since; they must find a way to leave the past and adapt to a changing world, else they live in misery.
Making and trusting promises creates problems. In The Merchant of Venice many potential downfalls are created simply by having a character swear on his actions. In the casket scenes, each suitor makes a huge promise. The Prince of Morocco and the Prince of Arragon, both agreed to, “Swear before [he chose], if [he chooses] wrong, never to speak to lady afterward In way of marriage” (2.1.41-44). Because both prices chose the wrong casket, they will live the rest of their lives without marriage. Those men have fallen in the way of love, because they are unable to marry anyone ever. Also, when Antonio and Shylock make a financial deal, both are risking a great deal. Shylock is risking losing the money he lends, but Antonio is risking losing his good name. If Antonio is not successful in his deal with Bassanio, then by Shylock, “A pound of man’s flesh taken from a man” (1.3.176). Trust is an important thing to have in life. Without it, Antonio will lose his good name and fortune, which will cause him to downfall due to a promise gone wrong. In each case, promises have the potential to create downfall.
ReplyDeleteWith such a strong dislike towards members of other religions, it is ironic that the characters of Merchant of Venice use many references to a pagan religion, Roman mythology. In Act 2, scene one, the Prince of Morocco proclaims it is his “blind Fortune” that guides him to choosing the right chest (2.1.37). But later on as Lancelet points out to his own blind father, such “branches of learning, [are]/ indeed deceased” (2.2.61-62). He states that in everyday life it is foolish to believe that women such as the Three Fates exist. But concerning matters of the heart, other characters hold a much different stance. “O, ten times faster do Venus’ pigeons fly/To seal love’s bond new-made,” Salarino proclaims as Jessica, a Jew, and Lorenzo’s, a Christian, plan for love falls into place (2.6.7-8). Jessica says that Cupid, Venus the goddess of love’s helper, would find their plan to be a bit silly, as she had to dress as a boy. The love between the couple of different religions serves as a bridge between the two opposing cultures and religions in Venice. Yet, there is no way to describe the love they have through both religions that they already practice. Therefore, it only makes sense to use not their own religions, but an outside religion, Ancient Roman mythology, to describe the love they share in their relationship. Throughout much of Act 2 and Act 3, mythology is a link between both religions. It remains a part of the Venetian culture because it is every citizen’s past. In this play, it serves at times as the translation for a love that cannot be described in any other words.
ReplyDeleteTrue love is selfless. Whether it is romantic love or simply the love that bonds close friends, in order for the relationship to work, people must be able to put aside their selfish desires. Shakespeare uses Bassanio’s relationships with Portia and Antonio as examples of the previous statement. When Bassanio first mentions Portia, it is not her character he focuses on, but her wealth and her appearance. “In Belmont is a lady richly left, and she is fair, and, fairer than that word of wondrous virtues” (1.1.68-70). His desire to marry Portia is selfish because he only cares for riches and beauty, both of which fade quickly with time. Because his relationship with Portia is centered around personal gain instead of love, Bassanio’s life will end in death. As Brighton states in her post, it doesn’t matter if he passes the casket test; he will have a morbid ending regardless because, metaphorically, he will still be in the casket with Portia. Antonio, however, is entirely selfless in his relationship with Bassanio, whom he loves very much. Not only does he willingly lend Bassanio money to see Portia, Antonio encourages him to take his time on the trip. “Slubber not business for my sake, Bassanio, but stay the very riping of the time; and for the Jew’s bond which he hath of me, let it not enter your mind of love” (2.9.40-43). Antonio’s words are selfless and loving, therefore, their friendship should remain strong.
ReplyDeleteLove is not your own. Both Portia and Jessica are not able to love who they want. Portia obviously has feelings for Bassanio, but her father's will is restricting her from acting upon her feelings. "He, of all the men that ever my foolish eyes looked upon, was the best deserving a fair lady." (1.2.117-119). Portia is forced to abide by her father's wishes. She cannot love who she wishes to, her emotions, affections, and love are not her own.
ReplyDeleteJessica has a similar demise. Her father is a spiteful Jewish man who will not stand for her having relations with a Christian. Jessica wants to love Lorenzo, so she must make a decision: family or love. Either way, she loses something.
Love is not left to those who are involved in it. The ability to love is left to those who govern the possible lovers.
Portia and Jessica are both closely related to death, and this is caused by their fathers.
ReplyDeleteAs Betsy said, Portia is the queen of death. This is because her father made a lottery to choose her husband for her. However, any man who tries to marry her will be tied to her for all time, no matter what time or distance separates them, even if he loses. "And either not attempt to choose at all,/Or swear before you choose, if you choose wrong/Never speak to lady afterward/In way of marriage. Therefore be advised" (Shakespeare 2:1:40-42). As souls are tied to death for eternity, men will be tied to Portia for the rest of their lives whether married to her or not.
Jessica is the daughter of Death. Shylock wants an unnaturally high price for loaning Antonio money. "If you repay me not on such a day,/In such a place, sum or as sums are/Expressed in the condition, let the forfeit/Be nominated for an equal pound/Of your fair flesh, to be cut and taken/In what part of your body it pleaseth me" (Shakespeare 1:3:139-144). He wants his dues for helping Bassiano out of debt, like the Reaper wants payment for taking souls safely to the afterlife, even if his prices could - literally - end in death. He pretends to do it as a gesture of kindness, but at best these measures will cripple Antonio, but more likely will send him to the true Reaper.
Jessica's father is the Reaper, while Portia is Death and the men surrounding her are her souls.
Portia is a huge racist. She has many suitors, many of which are awful. But a few of them are decent guys who really, desperately want her to love them. The Prince of Morocco seems to be a good egg. He's extremely wealthy and very polite, but he's black. He begs her to ignore his dark skin, but she can't get over it. Luckily for Portia, Morocco picks the wrong casket, but how would she have treated him if he had chosen correctly and married her? So far in the play, some of the main themes have been discrimination based on race and religion. Though Portia appears polite and civil to the prince, inside she is discriminating against him because of his color just as much as Antonio and Bassanio discriminate against Shylock for his religion. After the prince chooses the wrong casket, he takes off, unable to bear the pain. Her response is "A gentle riddance.- Draw the curtains; go./ -Let all of his complexion choose me so" (II.7.78-79) The first time she ever saw the prince, she decided he didn't make the cut. He isn't Italian, he doesn't look Italian, he's out.
ReplyDeleteWomen are stereotyped as weak and dependent in A Merchant of Venice, and both Jessica and Portia agree with this stereotype. Portia frequently puts herself down. She describes herself as weak, helpless, and worthless. She tells Nerissa that “[her] little body is aweary of this great world” (1.2 1-2). In scene 9, she calls herself worthless: “That comes to hazard for my worthless self” (2.9 17). She also says that “a maiden hath no tongue but thought” (3.2 8). I think this means that a woman should not speak her thoughts. Portia thinks that she is weak and that she should not speak her thoughts simply because she is a woman. Other characters treat Portia as if she is a thing to be bought. The suitors are willing to choose caskets and pay money to wed Portia. They talk about her worth and they want to wed her because she is rich and fair. They do not mention her intelligence or inner beauty. Portia does not speak up against this treatment. Maybe she believes that this treatment is okay because she is a woman.
ReplyDeleteIn Acts I through III, the time when Portia behaves the most independently is when she and Nerissa run off to follow their husbands. The time when Jessica behaves the most independently is when she sneaks out of her father’s house to run away with Lorenzo. During both of these times, Portia and Jessica are disguised as men. It is as if they have to be disguised as men to act independently. They cannot act strong and independent when they look like women.
I think that Portia and Jessica were stereotyped so much because they are women that they started to believe the stereotypes. They even start to become the stereotypes. Will they aver be able to do something strong and independent as women?
The three caskets that Portia’s suitors must choose from represent equality in The Merchant of Venice. Prejudice is one of the main themes in this play. There is prejudice about race which, as Monica stated, is shown during the interaction between Portia and the Prince of Morocco. The first time the prince speaks to Portia he asks her to “Mislike me not for my complexion, The shadowed livery of the burnished sun, To whom I am a neighbor and near bred” (2.1.1-3). In more modern terms, he asks Portia to mislike him not because of his brown skin. This is also proven later in the play when Lorenzo tells Lancelet that he can justify Jessica being the daughter of a Jew better than Lancelet can justify getting a black woman pregnant. “I shall answer that better to the commonwealth than you can the getting up of the Negro’s belly. The Moor is with child by you, Lancelet” (3.5.36-38). This leads me to the next type of prejudice, religious prejudice. It is no secret that there is huge strive between Christians and Jews in this play. The play’s main antagonist, Shylock, states during his first scene onstage that he "hate[s] him [Antonio] for he is a Christian" (1.3.42). Shylock also declares that Antonio has “laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies-and what’s his reason” (3.1.54-57) Shylock asks rhetorically, “I am a Jew” (3.1.57) he concludes, answering his own question confidently. Even the good and kind Antonio refers to Shylock as the “devil” (1.3.107) and “a villain” (3.1.108) because of Shylocks religion while he and Bassanio are asking the Jew to lend them money. Antonio and his Christian friends have refered to Shylock as the devil for the rest of the play so far. Lancelet even calls both Christians and Jews bad while talking to Jessica in Act 3. sc. 5. He states that she will be damned because her father was a Jew, and Christians, who will raise the price of pork, will be just as much to blame. There is also a continuing prejudice of between the wealthy and the poor. This is shown by Bassanio’s need for money at the beginning of the play, so that he may impress the rich and beautiful Portia and be an equal with at least one of her other suitors. It is also shown by the use of the word “sirrah” throughout the play. A word which one uses to address one’s inferior. These three types of prejudice have been used throughout the first three acts.
ReplyDeleteThe only time these prejudices are inconsequential is during the test to become Portia’s husband. Portia is visited by men of different race, different social classes, and of unknown religion. Some of these suitors include, the County Palantine, a French lord, the baron of England, a duke, and the Prince of Morroco. The audience is unaware of the religious views of these men, and although these men of different races do have a reasonable sum of money they are still at different class levels than one another. In conclusion, the test of the three caskets symbolizes equality.
(Sorry! I don't know why this didn't post the first time!)