Shakespeare\u2019s Merchant of Venice Commentary by A. J. Drake<\/title><meta name= \"description\" content= \"Merchant of Venice commentary addresses major themes, major characters such as Shylock, Antonio, Bassanio, Portia, Nerissa, literary analysis, drama theory.\"><\/head><\/p>\n\n\n<h3 class=\"wp-block-heading has-text-align-center\">Commentaries on Shakespeare’s Comedies<\/h3>\n\n\n\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-4f6cdd05 uag-hide-mob\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \">\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-dcba7b2a wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"https:\/\/www.ajdrake.com\/shakespeare\/\" rel=\"follow noopener\" target=\"_self\" role=\"button\"><div class=\"uagb-button__link\">HOME<\/div><\/a><\/div><\/div>\n\n\n\n<div 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target=\"_self\" role=\"button\"><div class=\"uagb-button__link\">GUIDES<\/div><\/a><\/div><\/div>\n\n\n\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-d5da63d7 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"https:\/\/www.ajdrake.com\/shakespeare\/shakespeare-links\/\" rel=\"follow noopener\" target=\"_self\" role=\"button\"><div class=\"uagb-button__link\">LINKS<\/div><\/a><\/div><\/div>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-uagb-buttons uagb-buttons__outer-wrap uagb-btn__default-btn uagb-btn-tablet__default-btn uagb-btn-mobile__default-btn uagb-block-19d28286\"><div class=\"uagb-buttons__wrap uagb-buttons-layout-wrap \">\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-69502be5 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"#act1\" rel=\"follow noopener\" target=\"_self\" role=\"button\"><div class=\"uagb-button__link\">ACT 1<\/div><\/a><\/div><\/div>\n\n\n\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-0ec42142 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"#act2\" rel=\"follow noopener\" target=\"_self\" role=\"button\"><div class=\"uagb-button__link\">ACT 2<\/div><\/a><\/div><\/div>\n\n\n\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-6ac70dcb wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"#act3\" rel=\"follow noopener\" target=\"_self\" role=\"button\"><div class=\"uagb-button__link\">ACT 3<\/div><\/a><\/div><\/div>\n\n\n\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-bfd6ecc9 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"#act4\" rel=\"follow noopener\" target=\"_self\" role=\"button\"><div class=\"uagb-button__link\">ACT 4<\/div><\/a><\/div><\/div>\n\n\n\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-55716ff6 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"#act5\" rel=\"follow noopener\" target=\"_self\" role=\"button\"><div class=\"uagb-button__link\">ACT 5<\/div><\/a><\/div><\/div>\n\n\n\n<div class=\"wp-block-uagb-buttons-child uagb-buttons__outer-wrap uagb-block-0246bad9 wp-block-button\"><div class=\"uagb-button__wrapper\"><a class=\"uagb-buttons-repeater wp-block-button__link\" aria-label=\"\" href=\"#endnotes\" rel=\"follow noopener\" target=\"_self\" role=\"button\"><div class=\"uagb-button__link\">ENDNOTES<\/div><\/a><\/div><\/div>\n<\/div><\/div>\n\n\n\nShakespeare, William. The Comical History of The Merchant of Venice.<\/em> (The Norton Shakespeare: Comedies,<\/em> 3rd ed. 467-521).<\/p>\n\n\n\nOf Interest: <\/strong><a href=\"https:\/\/www.rsc.org.uk\/the-merchant-of-venice\/\" target=\"_blank\" rel=\"noreferrer noopener\">RSC Resources<\/a> | <a href=\"https:\/\/internetshakespeare.uvic.ca\/Library\/Texts\/MV\/\" target=\"_blank\" rel=\"noreferrer noopener\">ISE Resources<\/a> | <a href=\"https:\/\/www.shakespeare-online.com\/sources\/merchantsources.html\" target=\"_blank\" rel=\"noreferrer noopener\">S-O Sources<\/a> | <a href=\"https:\/\/www.folger.edu\/explore\/shakespeare-in-print\/first-folio\/bookreader-68\/\" target=\"_blank\" rel=\"noreferrer noopener\">1623 Folio 183-204 (Folger)<\/a> | <a href=\"https:\/\/quod.lib.umich.edu\/e\/eebo\/A11019.0001.001\/1:3?rgn=div1;view=fulltext\" target=\"_blank\" rel=\"noreferrer noopener\">Gesta Romanorum,<\/em> Historie 32<\/a> | <a href=\"https:\/\/catalog.hathitrust.org\/Record\/012142198\" target=\"_blank\" rel=\"noreferrer noopener\">Fiorentino\u2019s Il Pecorone, <\/em>English<\/a> | <a href=\"https:\/\/www.jewishvirtuallibrary.org\/theater#England\" target=\"_blank\" rel=\"noreferrer noopener\">Jews and Theater in England (JVL)<\/a> | <a href=\"https:\/\/www.jewishvirtuallibrary.org\/blood-libel\" target=\"_blank\" rel=\"noreferrer noopener\">Blood Libel (JVL)<\/a><\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"act1\">ACT 1<\/h3>\n\n\n\nAct 1, Scene 1 (467-71, Antonio refers to his own mystifying sadness; Solario, Solanio, and finally Graziano fail to cheer him up with their diagnostic attempts; Bassanio reports to Antonio on his apparent love quest to Portia, the rich, beautiful heiress of Belmont; Antonio generously promises to help Bassanio achieve his heart\u2019s desire, no matter the cost.)<\/strong><\/p>\n\n\n\nFrom the play\u2019s beginning, Antonio sets himself up to play the willing victim: \u201cIn sooth I know not why I am so sad\u201d (467, 1.1.1), he says, and laments that he has \u201cmuch ado\u201d (467, 1.1.7) to understand himself at all. Salerio and Solanio try to tease him into a better mood by painting a picture of a commodities-obsessed, materialistic consciousness, one bound to think obsessively about all the precious goods he must have currently at risk.<\/p>\n\n\n\nSalerio even compares the movement of Antonio\u2019s ships to a rich, stately pageant (467-68, 1.1.8-14), and everyone in Shakespeare\u2019s day knew how expensive an aristocrat\u2019s pageants, progresses, and courtly masques were liable to be. <a href=\"#_edn1\" id=\"_ednref1\">[1]<\/a> Seldom will we find a better approximation in comic literature of Marx & Engels\u2019s dictum that \u201cIt is not the consciousness of men that determines their existence, but their social existence that determines their consciousness.\u201d <a href=\"#_edn2\" id=\"_ednref2\">[2]<\/a><\/p>\n\n\n\nAntonio the wealthy merchant, however, isn\u2019t buying what his jaunty friends are selling, and he says only, \u201cMy ventures are not in one bottom trusted \u2026\u201d (468, 1.1.42). He has not staked all his fortunes on his business dealings, and he dismisses the notion than his consciousness can be neatly confined within the boundaries of objects produced for material gain.<\/p>\n\n\n\nWell, if it isn\u2019t money, insists Solanio, it must be love<\/em> that\u2019s getting his friend down. When he is rewarded by Antonio only with a double \u201cfie!\u201d (468, 1.1.46), he shoots back what sounds like \u201cSnap out of it!\u201d: \u201c\u2018twere as easy \/ For you to laugh and leap and say you are merry \/ Because you are not sad\u201d (468, 1.1.48-50). To Solanio, his friend the merchant is merely playing the contrarian.<\/p>\n\n\n\nBut just now, in come Bassanio, Graziano, and Lorenzo, and Solario and Solanio take their leave. Now it\u2019s the loquacious Graziano\u2019s turn to serve up his own apparent specialty, rhetoric that pokes fun at the recipient. When Antonio says gravely, \u201cI hold the world but as the world, Graziano\u2014 \/ A stage where every man must play a part \/ And mine a sad one\u201d (469, 1.1.77-79), Graziano jovially accuses his friend of striking an ultra-serious pose just to \u201cbe dressed in an opinion \/ Of wisdom, gravity, profound conceit \u2026\u201d (469, 1.1.91-92).<\/p>\n\n\n\nThis produces only a civil but non-committal remark or two from Antonio, and the last man standing, aside from Antonio, is Bassanio, who promptly dismisses the memory of Graziano\u2019s performance as \u201can infinite deal of nothing \u2026\u201d (470, 1.1.114) and gets to the point of his visit.<\/p>\n\n\n\nThe point, it quickly becomes apparent, is the very thing that Antonio, for his part, has already sworn off: a love pursuit. Antonio may not be in love, but he has already been apprised that Bassanio is, or at least he means to be. The young man issues fair words at length, all of which boil down to acquainting a probably not surprised Antonio that he has greatly \u201cdisabled\u201d (470, 1.1.123) his finances thanks to an excessively showy lifestyle. In sum, as we would say, Bassanio is serially unable to balance a checkbook and live within his otherwise ample means.<\/p>\n\n\n\nTo this rather slick performance, Antonio responds that so long as the venture is honorable, \u201cMy purse, my person, my extremest means \/ Lie all unlocked to your occasions\u201d (470, 1.1.138-39). He even insists that Bassanio is insulting him by spending so many words on the matter, as if Antonio would give anything less than his \u201cuttermost\u201d (471, 1.1.156) to help his youthful, profligate friend attain his heart\u2019s desire.<\/p>\n\n\n\nWith such urging, Bassanio delivers a breathtaking description of the object of his affections, one Portia, heiress of Belmont: \u201cIn Belmont is a lady richly left, \/ And she is fair, and fairer than that word, \/ Of wondrous virtues\u201d (471, 1.1.161-63). <a href=\"#_edn3\" id=\"_ednref3\">[3]<\/a> Bassanio even compares her to Brutus\u2019s faithful wife Portia, which is high Classical praise. Better yet, her \u201csunny locks\u201d are a \u201cgolden fleece\u201d (471, 1.1.169-70) that he would snatch like Jason in the Greek myth. <a href=\"#_edn4\" id=\"_ednref4\">[4]<\/a> Bassanio firmly believes that he can be the <\/em>Jason who takes the prize, but he needs the means to play the role properly.<\/p>\n\n\n\nAntonio doesn\u2019t have liquid assets at the moment, but he gives Bassanio the answer that by now we knew he would give: \u201cTry what my credit can in Venice do; \/ That shall be racked even to the uttermost \/ To furnish thee to Belmont to fair Portia\u201d (471, 1.1.180-82).<\/p>\n\n\n\nThe first scene has established for us the parameters of the relationship between Antonio and Bassanio. The older man started the play as a question-mark of sorts, certain only that his melancholia doesn\u2019t stem from anxieties about commerce or the pangs of love.<\/p>\n\n\n\nStill, to many modern readers and viewers, love seems to be the obvious cause of Antonio\u2019s sadness. Modern directors tend to cast the bond between Antonio and Bassanio as resembling the classical Greek and Roman conception of male friendship, amicitia perfecta<\/em>. <a href=\"#_edn5\" id=\"_ednref5\">[5]<\/a> This kind of friendship \u2014depending on the individuals involved\u2014may or may not be deeply tinged with erotic attachment, and it is something that Shakespeare regularly explores in his drama and poetry. It may have more to do with the space that one man takes up in the mind and spirit of another than with anything physical.<\/p>\n\n\n\nEither way, Antonio\u2019s depression, as we would call it, may be plausibly connected to his brooding over what for him must be a painful eventuality, one that he has known about for some time, and which he has so generously promised Bassanio he will advance with every ducat within his reach. <a href=\"#_edn6\" id=\"_ednref6\">[6]<\/a><\/p>\n\n\n\nIn sum, Antonio has pledged to help Bassanio transfer his love from him to a beautiful, rich young woman who lives at some distance. We may suppose that this presents no problem since love, we would like to believe, is a spiritual quality, not a material good subject to the alleged Ricardian law of scarcity. But Antonio seems mature enough to intuit, in Shakespeare\u2019s rendering, that such suppositions are na\u00efve, and that they leave the heart open to still deeper wounds than it usually is. <a href=\"#_edn7\" id=\"_ednref7\">[7]<\/a><\/p>\n\n\n\nIn any case, it\u2019s clear that absolute trust exists between Antonio and Bassanio, but it\u2019s also true that this trust, in the act of being given so freely, leads the two men to engage in excessive oath-making and promising, a process that Antonio begins by pledging, in effect, to \u201cmax out\u201d his credit in Venice to help his young and somewhat foolish friend. Antonio promises to hazard all he has, as will Bassanio later on during the casket-choice episode by which he wins the hand of Portia.<\/p>\n\n\n\nThe impulse here is generous, but the hyperbolic quality of the men\u2019s oaths will take on more importance, and become more problematic, as the plot moves forward. But more on that later.<\/p>\n\n\n\nAct 1, Scene 2 (471-74, Portia discusses frankly with Nerissa her dead father\u2019s plans for her married future at Belmont; Portia weighs the merits\u2014or rather the lack thereof\u2014of her international suitors thus far; she declares that she will be obedient to her father\u2019s will.)<\/strong><\/p>\n\n\n\nPortia is the active agent in this play. She is constrained by the firm wishes of a departed father, but she is not a passive sufferer with respect to that father\u2019s marriage arrangements for her. This is true in spite of her complaint when we first meet her: \u201cI may neither choose who I would \/ nor refuse who I dislike; so is the will of a living daughter \/ curbed by the will of a dead father\u201d (472, 1.2.20-22).<\/p>\n\n\n\nAlong with Nerissa, Portia trusts in the man\u2019s wisdom: \u201cI will die as chaste as \/ Diana unless I be obtained by the manner of my father\u2019s will\u201d (473, 1.2.91-92), but she doesn\u2019t leave aside her own judgment. Witness her snide but perceptive remarks about the men who are pursuing her (472-73, 1.2.35-85), all of whom are shallow poseurs, fools, or narcissists: the Neapolitan prince, County Palatine, Monsieur le Bon, the English nobleman Falconbridge, the Scottish lord, and the Duke of Saxony\u2019s nephew hardly sound like great catches.<\/p>\n\n\n\nAll the same, Portia does not fundamentally challenge her father\u2019s patriarchal arrangements. She is no rebel. <a href=\"#_edn8\" id=\"_ednref8\">[8]<\/a> Nerissa sums things up well at the scene\u2019s end: Bassanio \u201cof all the men that ever my foolish \/ eyes looked upon was the best deserving of a fair lady\u201d (473, 1.2.100-01). Bassanio is not exactly a paragon of achievement, but he belongs to the right class, he knows how to put on a good display, and he\u2019s handsome. Bassanio will do just fine.<\/p>\n\n\n\nAct 1, Scene 3 (474-77, Shylock the Jewish moneylender voices his personal and collective grudges against Christians; at Bassanio\u2019s urgent request, he assesses Antonio\u2019s credit-worthiness and strikes an agreement with the cash-strapped merchant; Shylock offers the \u201cmerry sport\u201d of a 3,000-ducat bond with its forfeit consisting in \u201ca pound of flesh\u201d; Antonio accepts the bond, though Bassanio mistrusts Shylock\u2019s intentions.)<\/strong><\/p>\n\n\n\nWe are introduced to the Jewish moneylender Shylock. He is a strong character, and bold in his manner of speaking. We will find that his perspective and sensibilities are very different from those of the Christians in The Merchant of Venice. <\/em>When we meet Shylock, he is following out his process of assessing the creditworthiness of the rich Merchant Antonio.<\/p>\n\n\n\nWhat is his judgment? Well, even when one factors in the possibility of Antonio\u2019s ships being ransacked by pirates, or of succumbing to \u201cthe peril of waters, winds, and \/ rocks\u201d (474, 1.3.21-22), \u201cThe man is, notwithstanding, sufficient\u201d (474, 1.3.22), and Shylock decides to take on the Christian\u2019s request for a short-term loan of 3,000 ducats\u2014a considerable sum, perhaps around $700,000 dollars in today\u2019s currency. <a href=\"#_edn9\" id=\"_ednref9\">[9]<\/a><\/p>\n\n\n\nAct 1, Scene 3 is partly about the different understanding of linguistic terms between Christians and Jews\u2014as Shylock and Bassanio, and then Antonio as well, engage in their spirited bargaining, we learn that to be a \u201cgood\u201d man, in Shylock\u2019s view, is to have sufficient funds, while to \u201cbe assured\u201d is to acquire the necessary information about a person\u2019s finances.<\/p>\n\n\n\nSays Shylock to Bassanio before Antonio comes onto the scene, \u201cMy meaning in saying he is a \/ good man is to have you understand me that he is suffi- \/ cient\u201d (474, 1.3.13-15). The play\u2019s Christians pride themselves on using these words mainly as moral terms, not financial ones.<\/p>\n\n\n\nShylock is unintimidated by Bassanio\u2019s advancement of his own perspective, and goes so far as to declare to him, \u201cI will \/ buy with you, sell with you, talk with you, walk with you, \/ and so following. But I will not eat with you, drink with you, \/ nor pray with you\u201d (474, 1.3.29-32). As we would say, he\u2019s \u201cnot that into\u201d the Christian Bassanio or his older gentleman friend: he would prefer to keep things cordial, distant.<\/p>\n\n\n\nWe see Shylock\u2019s resentment of Antonio almost from the outset, and it certainly sounds like he has good reason for that bitter feeling: the Jewish outsider isn\u2019t driven only by his desire to win an argument about the moral standing of interest-based lending, even though Shylock may sound as if he is fixated on that: \u201cI hate him for he is a Christian; \/ But more for that in low simplicity \/ He lends out money gratis \u2026\u201d (474, 1.3.36-38).<\/p>\n\n\n\nNo, Shylock\u2019s \u201cancient grudge\u201d (474, 1.3.41) is both individual and collective: the personal insults and gobs of spit that Antonio and other Christians so casually toss his way (and that Shylock will mention in just a moment) are insults to his \u201csacred nation\u201d as well as to his person (474, 1.3.42). All things considered, Shylock believes it to be his duty not to forgive Antonio for the demeaning conduct to which the Christian trader has subjected him: \u201cCursed be my tribe \/ If I forgive him\u201d (475, 1.3.45-46).<\/p>\n\n\n\nThe moment Antonio enters the scene, he treats Shylock in an unreflectively condescending manner: he expresses a lordly willingness to \u201cbreak a custom\u201d (475, 1.3.58) and deal with the Jewish moneylender who takes interest on the principal sums he lends. The barbed quality of Antonio\u2019s remark does not go unnoticed by Shylock, who promptly casts the words in the merchant\u2019s face. As for interest, he says to Antonio, \u201cMethoughts you said you neither lend nor borrow \/ Upon advantage\u201d (475, 1.3.63-64). The merchant responds with an obviously sheepish affirmation.<\/p>\n\n\n\nShylock furthers his rhetorical takedown of Antonio by trotting out a story from the Hebrew Bible. He alludes to the story in Genesis<\/em> 30:25-43 of how Jacob got the better of his uncle Laban, a man he served for seven years for the hand of Rachel, only to be given Leah instead and required to work another seven years for Rachel (who eventually gave birth to Joseph). <a href=\"#_edn10\" id=\"_ednref10\">[10]<\/a><\/p>\n\n\n\nAt the end of his second service period, Laban asked Jacob to stay on, and Jacob asked as his wages Laban\u2019s speckled, spotted sheep and goats, and the dark-colored lambs. These supposedly inferior creatures were to be his own flock. Then he took some poplar branches and peeled the bark to expose the white inside, and he placed these in the animals\u2019 watering troughs.<\/p>\n\n\n\nTo make a long story short, Jacob bred the stronger animals in the presence of these branches and their young were born spotted, so his flocks increased greatly. \u201cAnd thrift is blessing,\u201d says Shylock, \u201cif men steal it not\u201d (475, 1.3.84).<\/p>\n\n\n\nAntonio finds the story inappropriate, and by no means a justification of Shylock\u2019s moneylending practices: Jacob\u2019s increased flock, insists Antonio, wasn\u2019t really due to his own honest effort, but was \u201cswayed and fashioned by the hand of heaven\u201d (475, 1.3.87). It\u2019s just money breeding money as if by magic, Antonio seems to be suggesting. We can see that there will be no agreement between these two men beyond the basic terms of the loan they are about to undertake.<\/p>\n\n\n\nShylock is as blunt with Antonio as he has been with Bassanio. His manner is an odd shunting back and forth between cheerful courtesy and confrontation. He wryly rehearses his grievances, reminding Antonio of the shocking cruelty he has shown towards him in the past, and the patience Shylock himself, a member of an ethnic-religious group known for its \u201csuff\u2019rance,\u201d has shown in turn: \u201cIn the Rialto you have rated me \/ About my moneys and my usances. \/ Still have I borne it with a patient shrug \u2026\u201d (476, 1.3.101-03).<\/p>\n\n\n\nAntonio has, in fact, done worse than badmouth Shylock, as is apparent from the latter\u2019s description: \u201cYou call me \u2018misbeliever,\u2019 \u2018cut-throat dog,\u2019 \/ And spit upon my Jewish gabardine \u2026\u201d (476, 1.3.105-06).<\/p>\n\n\n\nThis, and more. All of it is the sort of thing that Antonio and Bassanio are surely hoping Shylock will not cast in their teeth just now, when they badly need a loan. How can a Christian who behaves in such an abominable manner ask a Jew for such a favor?<\/p>\n\n\n\nStill, Shylock backpedals for effect, saying with obvious insincerity when Antonio responds to his directness by threatening to repeat his breaches of civility, \u201cWhy, look you, how you storm! \/ I would be friends with you \u2026 \/ \u2026 and you\u2019ll not hear me\u201d (130-31, 134).<\/p>\n\n\n\nThis said, Shylock proceeds to accept his role as moneylender on his own terms: the infamous deal, so fairy-tale-like in its provenance, is cast by Shylock as \u201ca merry sport\u201d and \u201cfriendship\u201d (476-77, 1.3.138, 161). The exact terms are that if the loan is not repaid on time, Antonio\u2019s penalty will be set down as \u201can equal pound \/ Of your fair flesh, to be cut off and taken \/ In what part of your body pleaseth me\u201d (477, 1.3.142-44).<\/p>\n\n\n\nA chance to injure Antonio has come Shylock\u2019s way, and he, having already told us in soliloquy exactly how much he hates this Christian mocker, takes it up gleefully.<\/p>\n\n\n\nWhat is proposed is a high-stakes wager on the order of Christian salvation, but no matter that\u2014Antonio seems self-assured and dismissive, even hubristic. He has no doubts about his ability to pay his debts, so Shylock\u2019s grotesque, absurd conditions don\u2019t trouble him. Shylock\u2019s continued false good cheer is hardly necessary: \u201cwhat should I gain,\u201d he asks, \u201cBy the exaction of the forfeiture?\u201d (477, 1.3.166-67) To this protestation, Antonio remarks jestingly, \u201cThe Hebrew will turn Christian\u2014he grows kind\u201d (477, 1.3.171).<\/p>\n\n\n\nAll the same, the conditions of the bond certainly trouble Bassanio, who warns Antonio, \u201cI like not fair terms and a villain\u2019s mind\u201d (477, 1.3.172). Antonio should have listened to his young friend\u2014we in the audience are better positioned to see the dark side of Shylock\u2019s admission that a quantity of human flesh \u201cIs not so estimable, profitable neither, \/ As flesh of muttons, beefs, or goats\u201d (477, 1.3.159-60). Of course it isn\u2019t\u2014this \u201cmerry sport\u201d is about revenge, not money, and Antonio\u2019s characteristic stereotyping of Shylock as a greedy usurer blinds him to the peril to which he is voluntarily subjecting himself.<\/p>\n\n\n\nShylock has his moments in The Merchant of Venice\u2014<\/em>moments in which he may appear to be a sympathetic figure, as actors have been playing him for a few centuries now\u2014but this is not one of them. Here, at the end of the first act, we see him cunningly trapping a feckless Christian into signing his own death warrant. Perhaps, as St. Paul wrote, \u201cthe Spirit giveth life,\u201d but at present, Shylock is delighted with his instantiation of the other half of that pronouncement through his foisting of a carefully worded bond upon the unsuspecting Antonio: \u201cthe letter killeth.\u201d <a href=\"#_edn11\" id=\"_ednref11\">[11]<\/a><\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"act2\">ACT 2<\/h3>\n\n\n\nAct 2, Scene 1 (477-78, Morocco makes his entrance to Belmont, and boldly declares that he will enter the casket contest; Portia responds with subtle, comic irony.)<\/strong><\/p>\n\n\n\nMorocco joins Aaron from Titus Andronicus <\/em>as one of Shakespeare\u2019s \u201cMoorish\u201d characters, as will Othello in subsequent years. Morocco has none of the gravity of the other two: he\u2019s a comic figure and cultural outsider who isn\u2019t in a position to get the joke behind Portia\u2019s polite dismissal: his exuberant \u201cMislike me not for my complexion\u201d (477, 2.1.1) nets him only Portia\u2019s agreement that the prince stands \u201cas fair \/ As any comer I have looked on yet\u201d (477, 2.1.20-21). Of course, we have already become acquainted with the wretched suitors who have so far made their way to Belmont.<\/p>\n\n\n\nAct 2, Scene 2 (478-82, Lancelet decides to abandon Shylock; Lancelet engages in comic banter with his nearly blind father Gobbo, and, like the biblical figure Jacob with Isaac, seeks his blessing; Bassanio accepts Lancelet\u2019s awkward prayer to become his servant; Bassanio finalizes his plans to attend a masque and dinner; Graziano asks to attend him in Belmont and is told to tone down his attitude, at least after the festivities.)<\/strong><\/p>\n\n\n\nShylock\u2019s Christian servant Lancelet accepts the \u201cfiend\u2019s\u201d counsel (447, 2.2.24) to abandon his master, running against his own conscience. Should we, then, accept this treatment of Shylock as comic raillery, something easy to do? This servant gives a fine account of his internal dialogue, shuttling back and forth between a putative good angel who counsels him to stay put and a bad angel who tells him it\u2019s time to quit Shylock\u2019s employ. <a href=\"#_edn12\" id=\"_ednref12\">[12]<\/a> Lancelet sees Shylock as a stock figure, \u201ca kind of devil\u201d (479, 2.2.20), even if the play as a whole doesn\u2019t reduce him to that.<\/p>\n\n\n\nConsider the conversation between Lancelet and his father, which alludes to the biblical story about Jacob stealing Esau\u2019s birthright and tricking father Isaac into giving him the blessing as the first-born son that should properly have gone to Esau. <a href=\"#_edn13\" id=\"_ednref13\">[13]<\/a> \u201cGive \/ me your blessing,\u201d asks Lancelet towards the end of his talk with the half-blind father who doesn\u2019t recognize him (480, 2.2.69-70), thereby casting himself as a veritable Jacob in his striving to move onward and upward in life.<\/p>\n\n\n\nTypologically, this biblical story has been read as indicating the rightness of choosing the Christian master (Christ) over the Jewish master, the old religion. <a href=\"#_edn14\" id=\"_ednref14\">[14]<\/a> Lancelet\u2019s father Gobbo has brought a present for Shylock, but Lancelet wants the present to go to Bassanio (480, 2.2.97-98), not to the Jew he\u2019s abandoning.<\/p>\n\n\n\nThe comic spirit overcomes all, accomplishing something like \u201cgrace,\u201d which Lancelet attributes to Bassanio: \u201cyou have the grace of God, sir, \/ and he hath enough\u201d (481, 2.2.135-36). Bassanio cheerfully accepts Lancelet\u2019s linguistically inept suit to become his servant (481, 2.2.137-40). In general, we see that the process of abandoning Shylock begins right after the bargain of flesh has been struck. First Lancelet decides to flee, and finds an easy welcome with Bassanio, and then, in the next scene, Jessica makes her choice, which is also met with enthusiastic acceptance.<\/p>\n\n\n\nIt\u2019s hard to avoid the notion that the text normalizes this abandonment of Shylock. Within the play\u2019s Christian framework, the qualities that bind people together are generosity and love, <a href=\"#_edn15\" id=\"_ednref15\">[15]<\/a> but Shylock appears to reject this imperative. He has some powerful reasons, no doubt, but in the text, abandoning him seems to be cast as the \u201cnatural\u201d result of this refusal. In this framework, Lancelet\u2019s comic abandonment of Shylock is preparation for the far more serious and injurious, but apparently entirely licit,<\/em> abandonment of him by other characters.<\/p>\n\n\n\nThere is some irony in Lancelet\u2019s decision in that there is no evidence in the text for any claim that Shylock has abused or cozened his servant; he is rather dour at times, but not at all abusive towards his silly, word-mangling Christian helper.<\/p>\n\n\n\nAct 2, Scene 3 (482-83, Jessica admits to feeling anguish over her dislike of Shylock and her desire to abandon him, but she is firm in her decision.)<\/strong><\/p>\n\n\n\nShylock\u2019s daughter Jessica is torn with regard to what she is about to do: \u201cAlack, what heinous sin is it in me \/ To be ashamed to be my father\u2019s child!\u201d (451, 2.3.15-16) But she gives Lancelet a ducat\u2014a substantial gift for a man of his station\u2014and makes him carry a letter to Lorenzo, sighing to herself, \u201cO Lorenzo, \/ If thou keep promise I shall end this strife, \/ Become a Christian and thy loving wife\u201d (2.3.18-20).<\/p>\n\n\n\nAct 2, Scene 4 (483-84, Lorenzo tells Graziano about his intention to help Jessica forsake her father and steal some of his gold and jewels during her escape.)<\/strong><\/p>\n\n\n\nIn 2.4, we hear Lorenzo confiding his elopement plan to Graziano: Jessica has made provision, he says, \u201cHow I shall take her from her father\u2019s house, \/ What gold and jewels she is furnished with, \/ What page\u2019s suit she hath in readiness \u2026\u201d (483, 2.4.30-32). The plot will take advantage of the disguise made possible by Christian festivities: Bassanio, who doesn\u2019t yet know about the plot, means to hold a masked ball that night, which Lorenzo and Graziano realize will provide cover for the romantic escape Lorenzo has planned.<\/p>\n\n\n\nAct 2, Scene 5 (484-85, Shylock frets over attending supper with Christians, but tells Lancelet to announce that he will show up; Shylock admonishes Jessica to keep their home\u2019s door shut lest \u201cthe sound of shallow foppery\u201d invade the place; when he leaves, Jessica again voices her determination to go through with her plan to elope with Lorenzo.)<\/strong><\/p>\n\n\n\nLancelet had spoken of Shylock with contempt in Act 2, Scene 1, but in Scene 5, Shylock\u2019s interaction with his daughter doesn\u2019t seem cruel: he tells her to keep the doors shut against Christian revelers during what may or may not be Carnival season, <a href=\"#_edn16\" id=\"_ednref16\">[16]<\/a> which occurs just before the austere, fasting forty days of Lent are ushered in and capped by Easter, which in turn commemorates the resurrection of Christ.<\/p>\n\n\n\nShylock admonishes Jessica, \u201cLet not the sound of shallow fopp\u2019ry enter \/ My sober house\u201d (484, 2.5.34-35). Taking the dismissal of Lancelet as a good break, he winds up his reflections with a proverb: \u201cFast bind, fast find: \/ A proverb never stale in thrifty mind\u201d (485, 2.5.52-53). Shylock would prefer to remain isolated in Venice, but he will this once attend on them, the better, he says, \u201cto feed upon \/ The prodigal Christian\u201d (484, 2.5.14-15) and thereby waste their substance.<\/p>\n\n\n\nShylock is determined to maintain the purity of his household, but increasingly, he will be an isolated figure whose situation and attitude invite Christian characters\u2019 mockery: tracing the intensification of that isolation is in large part the task of the play\u2019s remaining acts, and Jessica advances the process on the spot: after her father exits, she addresses him, \u201cFarewell, and if my fortune be not crossed, \/ I have a father, you a daughter, lost\u201d (485, 2.5.54-55).<\/p>\n\n\n\nAct 2, Scene 6 (485-86, Jessica steals Shylock\u2019s money and jewels; and, dressed as a male page, boards a small boat with Lorenzo, Graziano, and Salerio; Lorenzo tells his friends that his love for Jessica is genuine.)<\/strong><\/p>\n\n\n\nGraziano makes pleasantries about how people fail to meet their love obligations: \u201cAll things that are \/ Are with more spirit chas\u00e8d than enjoyed\u201d (485, 2.6.13-14). This observation is a setup for the weightier wrangling between Portia and Nerissa and their men later on. Jessica joins the Christians and absconds with some of Shylock\u2019s wealth (485, 2.6.50-51). Shylock loses his daughter and money to Christian masquers, perhaps, as mentioned earlier, during Venice\u2019s carnival season; but in any season, Venice kept about it as part of its grand myth <a href=\"#_edn17\" id=\"_ednref17\">[17]<\/a> a sense of liberty and temporary overturning of conventional morality.<\/p>\n\n\n\nFreedom to change is the key here, and the quality to transform one\u2019s identity in a felicitous way seems to be a Christian prerogative in this play, <a href=\"#_edn18\" id=\"_ednref18\">[18]<\/a> one that Jessica wins by her willingness to abandon her Jewish father and turn Christian. Lorenzo is duly impressed, declaring that Jessica will \u201cbe plac\u00e8d in my constant soul\u201d (486, 2.5.58).<\/p>\n\n\n\nAct 2, Scene 7 (486-88, Morocco makes his choice for gold, and is rewarded with a skull that contains a scroll proclaiming \u201cAll that glisters is not gold.\u201d)<\/strong><\/p>\n\n\n\nMorocco chooses between deserving, desire, and hazard. He chooses gold, what \u201cmany men desire,\u201d on the assumption that outward appearances correspond to inward qualities (487, 2.7.37-38). He also rates himself very highly, and so associates himself with the most precious of the three metals on display. One gets the feeling that with Morocco, \u201cit\u2019s all about him,\u201d though to be fair, he also values Portia in terms of the same most precious metal.<\/p>\n\n\n\nMorocco is rewarded with crushing failure and is subject to the interdiction against marrying any other woman. In one act of misreading, then, he has traded his own futurity, his own family or dynastic line, for \u201call that glisters\u201d (488, 2.7.65) or glitters.<\/p>\n\n\n\nIt was a Renaissance assumption that good is productive of still more good, while what is bad eventually exhausts itself. The underlying judgment involved in the casket contest, then, involves serious moral principles; it isn\u2019t merely a trick or a chance-driven device. The performance note on pg. 488 reminds us that this scene ends unpleasantly, with Portia saying with relief, \u201cLet all of his complexion choose me so.\u201d<\/p>\n\n\n\nClearly, Portia is not attracted to this man with dark skin; even though he is a leader among his people and, we may presume, a valiant warrior, the text treats him as a figure of fun, which is bound to be distressing to a modern audience.<\/p>\n\n\n\nAs an aside, it should be pointed out that a great prince such as Morocco would find ways around this interdiction. Having children out of wedlock and then more or less (or fully) legitimizing them with lands, responsibilities, and titles would be the main strategy. <a href=\"#_edn19\" id=\"_ednref19\">[19]<\/a><\/p>\n\n\n\nAct 2, Scene 8 (488-89, Salerio and Solanio report on Shylock\u2019s confusion after Jessica runs away.)<\/strong><\/p>\n\n\n\nSalerio and Solanio report on Shylock and mock his supposed babbling about Jessica and his squandered ducats: \u201cI never heard a passion so confused, \/ So strange, outrageous, and so variable \/ As the dog Jew did utter in the streets. \/ \u2018My daughter, O my ducats, O my daughter!\u2019\u201d (488, 2.8.12-15). To this equivalence-making between a human being and a gold coin, they contrast the generous friendship between Antonio and Bassanio. Of Antonio, Solanio says, \u201cI think he only loves the world for him\u201d (489, 2.8.50).<\/p>\n\n\n\nWe may also surmise, though not prove, that Antonio and Bassanio may by now be apprised of Lorenzo\u2019s elopement with Shylock\u2019s daughter. Lorenzo had informed Graziano about it, and Graziano is traveling with Bassanio, so perhaps we should assume that he has informed that worthy about what is afoot. In any event, Lorenzo and his \u201ctorch-bearer\u201d Jessica are not on board Bassanio\u2019s vessel when the Venetian Duke went with Shylock to search it. Moreover, Bassanio\u2019s ship sailed earlier than planned because the masque was canceled, which Antonio informed Graziano of at the end of 2.6.<\/p>\n\n\n\nAll of this may mean that the successful conspiracy to help Jessica make her break from her father Shylock is a bit larger than we might have thought. I any case, Salerio has heard that one of Antonio\u2019s ships may have been wrecked while crossing the English Channel, so he will have to be given that anxiety-provoking news.<\/p>\n\n\n\nAct 2, Scene 9 (489-91, Aragon makes his choice, and silver nets him a picture of \u201ca blinking idiot\u201d; news comes to Portia and Nerissa that Bassanio is nearing Belmont.)<\/strong><\/p>\n\n\n\nThe prideful, falsely self-sufficient Aragon (a stock Spanish nobleman since Spaniards were generally considered more than commonly arrogant about status) assumes silver \u201cdesert,\u201d and is rewarded not with Portia\u2019s image but instead with the portrait of \u201ca blinking idiot\u201d (490, 2.9.50, 53). His fate is easy to predict since he treats the whole affair as purely transactional, insulting Portia by saying \u201cYou shall look fairer ere I give or hazard\u201d (490, 2.9.21).<\/p>\n\n\n\nWe can at least say of Aragon that he gets the point about people\u2019s tendency to be taken in by fair shows: that\u2019s why he doesn\u2019t choose the golden casket the way thoughtless Morocco did.<\/p>\n\n\n\nThe scene closes with news that Bassanio is at Belmont\u2019s gates. Morocco and Aragon will be no help to Bassanio, alas, since both had to assent to a non-disclosure agreement prior to the big contest. We find that out when Aragon says that one of the three conditions for being allowed to make his choice is \u201cnever to unfold to anyone \/ Which casket \u2018twas I chose \u2026\u201d (489, 2.9.10-11).<\/p>\n\n\n\nOh well! Bassanio and his entourage can\u2019t simply ask the losers why they fared as they did. Bassanio will have to get it right on his own. Life is so unfair!<\/em> But Nerissa solicits the aid of Cupid, so no doubt all will go well.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"act3\">ACT 3<\/h3>\n\n\n\nAct 3, Scene 1 (491-93, Shylock lectures Salerio and Solanio about common humanity and revenge, but with no success; Tubal listens to Shylock unburden his grief, and tells him there\u2019s good prospect of Antonio\u2019s commercial ruin at sea; Shylock prepares to have Antonio arrested if he cannot pay his debt.)<\/strong><\/strong><\/p>\n\n\n\nSolanio believes he has confirmed the loss of one of Antonio\u2019s ships, probably the same one mentioned in the previous scene. Right away he catches sight of Shylock approaching and declares him to be the devil \u201cin the likeness of a Jew\u201d (492, 3.1.18). Shylock immediately accuses the two men of having known about Jessica\u2019s plan to abandon him, and Salerio does not deny it.<\/p>\n\n\n\nSalerio then asks Shylock if he has heard anything about Antonio\u2019s possible loss at sea, and it seems as if the moneylender may indeed have heard that a ship had been lost since he responds with truculent mockery of the Christian \u201cbankrupt\u201d and \u201cprodigal\u201d (492, 3.1.36-37) who dared to accept a loan on the most frightening terms.<\/p>\n\n\n\nShylock apparently feels certain that Antonio, now in financial distress, will be easy to isolate and destroy. The cash nexus<\/em> is the only tie he seems to recognize as binding, and as we will see later on during the trial scene, he places great faith in Venetian commercial contract law to uphold his terms. His only advice to the absent Antonio is the twice-repeated \u201cLet him look \/ to his bond\u201d (492, 3.1.38-39, 41).<\/p>\n\n\n\nShylock seems gravely provoked at Salerio\u2019s incredulous question as to what possible good taking a pound of a human being\u2019s flesh could do anyone, and he at once launches into his famous mini-lecture on the jarring combination of common humanity and revenge. As for the pound of flesh, he says, it might as well serve \u201cTo bait fish withal\u201d (492, 3.1.44). Or at least, he adds, it will feed his own desire for revenge. Antonio, Shylock points out, has insulted and injured him at every turn. And his \u201creason,\u201d his excuse for doing so? The moneylender sums it up for his audience: \u201cI am a Jew\u201d (492, 3.1.48).<\/p>\n\n\n\nFrom 3.1.49-60, Shylock makes his noteworthy \u201cHath not a Jew eyes?\u201d speech, and it is all the more powerful for falling on deaf Christian ears. Jews are part of a common humanity, but he and his people have been scorned and mocked. Revenge, says Shylock, is now the law of his being: he will repay Christian injustice with increase, or with \u201cusury,\u201d as the play\u2019s Christians would say. There is no hint of comprehension in either Salerio or Solanio\u2019s response to Shylock\u2019s words. Both decamp in disgust when they see Tubal approaching. Solanio even compares Tubal, as he had Shylock previously, to the devil.<\/p>\n\n\n\nTubal has been searching without success for Jessica in Genoa, he says (493, 3.1.68). Shylock is by now in a state of agony, his mind warped by his losses and the insult involved in how they were inflicted upon him. He continually mingles money and expense with a deep sense of loss over his daughter and his damaged affiliation with the Jewish community. He seems painfully confused about spiritual and material priorities, to the point where he can utter a deplorable sentence such as, \u201cI would my daughter were dead at my foot and the jewels \/ in her ear\u201d (493, 3.1.73-74).<\/p>\n\n\n\nStill, for the last few hundred years, most actors have played this scene with sympathy. <a href=\"#_edn20\" id=\"_ednref20\">[20]<\/a> The choice is not without justification: some of Shylock\u2019s lines are powerful, especially if we accept that even his unseemly obsession with financial loss stems not from simple greed, but instead from the psychic trauma of losing access to the signs of material success\u2014ducats and jewels\u2014that have long allowed him to thrive as a member of an unjustly despised group within a larger, hostile society.<\/p>\n\n\n\nIf we keep this factor in mind, statements like Shylock\u2019s complaint that he has \u201cno satisfaction, no revenge, nor no ill luck stirring but what \/ lights o\u2019my shoulders, no sighs but o\u2019my breathing, no tears \/ but o\u2019my shedding\u201d (493, 3.1.78-80), may inspire sympathy for his anguish.<\/p>\n\n\n\nTubal brings Shylock momentary but strong relief when he tells him that Antonio also may have suffered from \u201cill luck\u201d\u2014he \u201chath an argosy cast away coming from Tripoli\u201d (493, 3.1.84). This relief is dimmed, however, when the moneylender hears the words Tubal speaks about Jessica\u2019s trading of a turquoise ring for a monkey. In extreme distress, Shylock can only say, \u201cI had it of Leah when I was a bachelor. I would \/ not have given it for a wilderness of monkeys\u201d (493, 3.1.101-02).<\/p>\n\n\n\nBut again, when we factor in the severity of the psychic injury the man has sustained, we may feel that there is pathos even in this strange remark. Given the context, how could it be played with anything less than deep feeling? Jessica has laid waste his fond memory of the wife, Leah, whom we may presume death has taken from him.<\/p>\n\n\n\nStill, the scene ends with Shylock buoyed by Tubal\u2019s reminder that Antonio\u2019s ruin is certain, and he directs Tubal to hire an officer in advance to arrest Antonio for forfeit of his bond when the appointed day comes. Shylock looks forward to the day when this Christian tormentor will no longer hinder him: \u201cwere he out of Venice I can \/ make what merchandise I will\u201d (493, 3.1.106-07).<\/p>\n\n\n\nToday, it\u2019s common knowledge that Jews took on the role of moneylenders (a function necessary to any commercial state) mostly thanks to Christian hypocrisy about the accumulation of interest on loans. Shakespeare\u2019s audience, it is true, might not have been aware of that historical fact, and to them, since England\u2019s Jews were forcibly expelled from the country in 1290 by King Edward I, Jews were no doubt more fiction than fact.<\/p>\n\n\n\nThere were very few actual Jews living in England in Shakespeare\u2019s time (and for four decades thereafter\u2014Oliver Cromwell undid Edward\u2019s cruel policy in the 1650s). <a href=\"#_edn21\" id=\"_ednref21\">[21]<\/a> It must have been all too easy to dehumanize Jews in England when their presence was so limited that it was comprised of a tiny number who had converted to Christianity, or perhaps in some cases claimed<\/em> to have done so.\u201d <a href=\"#_edn22\" id=\"_ednref22\">[22]<\/a><\/p>\n\n\n\nBe that as it may, by Act 3, Scene 1, it is clear that Shylock is worthier and more interesting than a one-dimensional stage villain. He is <\/em>in part a stage villain, and in that sense kin to Christopher Marlowe\u2019s brazenly wicked Barabas, the main character in The Jew of Malta<\/em>, but for better and for worse, Shakespeare\u2019s genius allows him to represent a villain as a villain and something more. <a href=\"#_edn23\" id=\"_ednref23\">[23]<\/a><\/p>\n\n\n\nIt is too easy to suggest that in The Merchant of Venice, <\/em>Shakespeare is advancing to the audience their strong prejudices and cruel fantasies about Jews, but then using that advance as an opportunity to challenge those same defects and delusions. Today\u2019s audiences must work this out for themselves: there is a range of opinion going from the conviction that the play is profoundly antisemitic to the claim that opposes that abominable prejudice. <a href=\"#_edn24\" id=\"_ednref24\">[24]<\/a><\/p>\n\n\n\nAct 3, Scene 2 (494-500, Bassanio chooses rightly and everyone celebrates; Graziano announces that he and Nerissa are an item, too; a messenger brings news of Antonio\u2019s extreme danger; Portia declares her loyalty and promises to help Antonio.)<\/strong><\/p>\n\n\n\nIn Richard Robinson\u2019s 1595 English edition of the Gesta Romanorum <\/em>or Deeds of the Romans, <\/em><a href=\"#_edn25\" id=\"_ednref25\">[25]<\/a> Tale 32, we find the basic \u201ccasket choice\u201d story from which Shakespeare is working. The daughter of the King of Ampluy, while sailing towards a marriage with the son of the Roman Emperor Anselme, is shipwrecked and then swallowed by a whale, which soon casts her ashore. A nobleman named Pyrris finds her and sends her to Anselme, who, to test her ultimate fitness for marriage to his heir, puts her through a trial similar to the one Shakespeare\u2019s play adapts.<\/p>\n\n\n\nThree vessels of gold, silver, and lead are placed before her, with the golden one bearing the inscription \u201cWho so chooseth mee shall finde that [i.e. \u2018that which\u2019] he deserueth,\u201d <\/em>the silver vessel \u201cWho so chooseth me shall finde that his nature desireth<\/em>,\u201d and the lead vessel \u201cWho so chooseth mee, shall finde that God hath disposed for him.<\/em>\u201d The maiden rejects the gold vessel because, she reasons, \u201cThough this vessel be full precious and made of pure gold, neuerthelesse know not I what is with in.\u201d She also rejects the silver vessel because, she says, \u201cmy nature desireth the lust of the flesh.\u201d<\/p>\n\n\n\nFinally, we come to the lead vessel. In the source tale, the maid declares simply that \u201cGod neuer disposed any harme,\u201d so she correctly chooses the least impressive vessel, and ends up marrying the emperor\u2019s son and heir. <a href=\"#_edn26\" id=\"_ednref26\">[26]<\/a><\/p>\n\n\n\nThe Gesta Romanorum <\/em>in its Latin form dates back several centuries from Shakespeare\u2019s day. It functioned as material from which preachers might develop their sermons, and it\u2019s easy to see the scriptural quality in the tale from which Shakespeare developed his \u201ccasket scene\u201d in The Merchant of Venice. <\/em>The moral of the story in the Gesta\u2019s <\/em>terms is simple: the Emperor is a figure for God, and in choosing to follow God\u2019s dispensation for her, the maiden represents a Christian soul choosing salvation in God and Christ the Son.<\/p>\n\n\n\nWe might also cite biblical passages such as 1 John <\/em>2.15: \u201cLove not this world, neither the things that are in this world. If any man love this world, the love of the Father is not in him.\u201d <a href=\"#_edn27\" id=\"_ednref27\">[27]<\/a><\/p>\n\n\n\nIn a sense, the entire casket scene works as an extended memento mori <\/em>or vanitas <\/em>display. These artifacts\u2014skulls or images thereof would be one prominent example\u2014were very common in medieval and Renaissance times as meditative objects to encourage Christian humility. Sometimes, the objects would display a fair front, but an ugly, worm-eaten reverse side or parallel image.<\/p>\n\n\n\nThe plain message was that we should be mindful always of death, but a second message, in some cases, was that we should never give in to the deceptive \u201clust of the eyes.\u201d Hamlet, gazing at the skull of the jester Yorick, muses to Horatio, \u201cNow get you to my \/ lady\u2019s table and tell her, let her paint an inch thick, to this \/ favor she must come\u2026.\u201d <a href=\"#_edn28\" id=\"_ednref28\">[28]<\/a><\/p>\n\n\n\nIn the Christian framework, the way to salvation is through honesty, self-restraint, and above all, acceptance of one\u2019s frail mortality. The carefully chosen metal lead, <\/em>thanks to Portia\u2019s father, has much the same effect on the winning candidate Bassanio as the skulls and other artifacts of Christian iconography.<\/p>\n\n\n\nAs Bassanio\u2019s moment of choice nears, some strain shows between Portia and her departed father: \u201cthese naughty times \/ Puts bars between the owners and their rights\u201d (494, 3.2.18-19). Still, her viewing of the momentous event is steeped in guiding literary precedent, as we see when she recalls by way of contrast the thoroughly materialistic bit of heroism shown by Hercules (\u201cAlcides\u201d) in rescuing a Trojan princess to win a pair of fine horses. <a href=\"#_edn29\" id=\"_ednref29\">[29]<\/a> That, <\/em>she understands, is not what her father had in mind when he devised the casket contest for her suitors.<\/p>\n\n\n\nSo what does the song that follows mean? \u201cTell me where is fancy bred: \/ Or in the heart or in the head; \/ How begot, how nourish\u00e8d?\u201d (495, 3.2.63-65) We are told that \u201cfancy dies \/ In the cradle where it lies\u201d (495, 3.2.63-68-69). <a href=\"#_edn30\" id=\"_ednref30\">[30]<\/a> This may be a warning to Bassanio, if he isn\u2019t too busy deliberating to catch the words: love begins with the eyes, so we had better not trust them too much.<\/p>\n\n\n\nWhether he hears the song or not, Bassanio understands the warning. He chooses the threatening lead container rather than the attractive silver or golden one: \u201cThou meagre lead, \/ Which rather threaten\u2019st than dost promise aught, \/ Thy paleness moves me more than eloquence\u201d (496, 3.2.104-06).<\/p>\n\n\n\nBassanio has the right combination of appreciation for outward beauty and willingness to accept that this is only part of the matter: beauty does not banish the cares or duties of a life that, on the whole (even for a rich heiress or a privileged young man like himself), more closely resembles the base metal that Portia\u2019s other suitors have scorned than glittering gold or even that \u201ccommon drudge\u201d (496, 3.2.103) silver that takes its value from transactional exchange alone. The scroll that greets him in victory offers sound advice for anyone to take: \u201cBe content and seek no new \u2026\u201d (496, 3.2.134).<\/p>\n\n\n\nOnce Bassanio has made the correct choice\u2014and frankly, the maturity he shows in his lengthy assessment may strike many readers as unexpected, given the rather irresponsible figure he has cut previously\u2014Portia delivers a fine speech in which she says she could (for Bassanio\u2019s sake) wish herself \u201cA thousand times more fair, ten thousand times \/ More rich\u201d (497, 3.2.154-55) and emphasizes that she considers herself only \u201can unlessoned girl, unschooled, unpracticed\u201d (497, 3.2.159) but willing to learn. <a href=\"#_edn31\" id=\"_ednref31\">[31]<\/a><\/p>\n\n\n\nPortia muses that just moments ago, before Bassanio made his choice of caskets, she was master of a great estate and of her own person, and now she isn\u2019t: \u201cThis house, these servants, and this same myself \/ Are yours, my lord\u2019s\u201d (497, 3.2.170-71). Even so, Portia remains unflappable: she is the very picture of \u201cRenaissance girl, uninterrupted.\u201d <a href=\"#_edn32\" id=\"_ednref32\">[32]<\/a><\/p>\n\n\n\nStill, there is one condition for Bassanio to observe: Portia is all his, unless<\/em> he gives away the ring she presents to him, in which case she will have the upper hand and may reproach him at will (497, 3.2.171-74).<\/p>\n\n\n\nBassanio admits that Portia\u2019s words have all blended together for him (497, 3.2.175-85), but he seems to understand what she has said about the ring, and even takes things up a notch, and again we hear the excessive, exuberant rhetoric from one of the play\u2019s men. Bassanio swears that death will take him before he gives away the golden keepsake: \u201cBut when this ring \/ Parts from this finger, then parts life from hence: \/ Oh, then be bold to say Bassanio\u2019s dead\u201d (497, 3.2.183-85).<\/p>\n\n\n\nPortia didn\u2019t condemn him to death\u2014only distrust! To make up for it, though, before blurting out that oath, he offers her the wonderfully romantic thought, \u201cMadam, you have bereft me of all words, \/ Only my blood speaks to you in my veins \u2026\u201d (497, 3.2.175-76). Well said, Bassanio!<\/p>\n\n\n\nGraziano at once announces that he has managed to sweet-talk Nerissa into marrying him, adding yet a third happy couple to the play\u2019s circle of \u201cshiny happy people holding hands.\u201d <a href=\"#_edn33\" id=\"_ednref33\">[33]<\/a> Graziano adds a bawdy pun to cap things off. Because of course he does. And since this is a comedy, we might as well expect a false catastrophe (i.e. happy ending). Sure enough, in come Lorenzo and Salerio to announce that all is not yet well. These two men come bearing a letter from Antonio that turns Bassanio\u2019s cheeks pale with distress when he reads it.<\/p>\n\n\n\nJust at the moment, Bassanio must feel a lot like Fiorentino\u2019s Giannetto in Shakespeare\u2019s source text Il Pecorino,<\/em> who, as discussed in an endnote below, forgets all about his godfather Ansaldo\u2019s generous borrowing of 10,000 ducats for the young man at his request, with similarly grave results as impend here in Shakespeare\u2019s play.<\/p>\n\n\n\nBassanio has no choice but to come clean about his showy suit to Belmont: \u201cRating myself at nothing, you shall see \/ How much I was a braggart\u201d (499, 3.2.255-56). Can it be that the successful suitor to the dazzling and \u201crichly left\u201d Portia was just the sort of production we might identify as \u201cglistering\u201d gold eye candy rather than one grounded in truth and virtue?<\/p>\n\n\n\nAs Bassanio himself admits, \u201cI have \u2026 \/ Engaged my friend to his mere enemy, \/ To feed my means\u201d (499, 3.2.259-61). When he puts it that way, it sounds dreadful, as in fact it is, even if the comic genre ultimately makes light of the imposition. Meantime, as Salerio says, Shylock is in no mood to compromise. He knows Venetian law, and it\u2019s said that \u201cHe plies the Duke at morning and at night, \/ And doth impeach the freedom of the state \/ If they deny him justice\u201d (499, 3.2.275-77).<\/p>\n\n\n\nNo matter: Portia will gladly take the part of Bassanio\u2019s friend: she declares, \u201cPay him [Shylock] six thousand and deface the bond. \/ Double six thousand and then treble that, \/ Before a friend of this description \/ Shall lose a hair thorough Bassanio\u2019s fault\u201d (500, 3.2.297-300). Portia must be very rich indeed to conjure up such enormous sums as 36,000 ducats as if they were pocket change. <a href=\"#_edn34\" id=\"_ednref34\">[34]<\/a><\/p>\n\n\n\nBassanio, we note, uses the language of Roman honor in referring to Antonio\u2019s friendship: Antonio is \u201cone in whom \/ The ancient Roman honour more appears \/ Than any that draws breath in Italy\u201d (500, 3.2.292-94). The two men somewhat over-talk their bond, as becomes increasingly apparent, but that is not to disparage its integrity. They now have the wealthy, not <\/em>boastful Portia as their guarantor, if Shylock will accept an enormous monetary windfall at the expense of his sense of injury.<\/p>\n\n\n\nAct 3, Scene 3 (500-01, Shylock remains implacable; Antonio despairs of rescue.)<\/strong><\/p>\n\n\n\nShylock is implacable against Antonio, that \u201cfool that lent out money gratis\u201d (500, 3.3.2). The sum of his response to the anguished merchant is, \u201cI\u2019ll have my bond; I will not hear thee speak\u201d (501, 3.3.12). Antonio then says Shylock\u2019s hatred stems from resentment of Christian interference in his harsh dealings with benighted creditors: as he explains, \u201cI oft delivered from his forfeitures \/ Many that have at times made moan to me\u201d (501, 3.3.22-23).<\/p>\n\n\n\nBut that\u2019s obviously not the whole story: it\u2019s hard to sustain the notion that Shylock\u2019s revenge is simply about money. Antonio also points out that Venice must take up an attitude that is nearly as hard-hearted as Shylock\u2019s: a bargain struck is a bargain struck. Venice depends on the cash nexus, too: \u201cThe Duke cannot deny the course of law, \/ For the commodity that strangers have \/ With us in Venice, if it be denied, \/ Will much impeach the justice of the state \u2026\u201d (501, 3.3.26-29).<\/p>\n\n\n\nThere is a monetary categorical imperative involved in such calculations as both Antonio and Shylock are capable of making: a mercantile state like Venice does not thrive when it is forced to operate by the laws of ordinary, compassionate humanity, which would entail forgiveness of debts instead of strict adherence to harsh laws in the financial and mercantile sectors.<\/p>\n\n\n\nMarx and Engels weren\u2019t the first economists to understand that in a capitalist society (or a proto-capitalist one, as here in Shakespeare\u2019s Venice), it is money that matters, and not so much the people themselves. In any case, Antonio is a man exhausted. His commercial and personal losses have wasted him almost to the bone, and he would rather suffer than fight: \u201cPray God Bassanio come,\u201d he says, \u201cTo see me pay his debt, and then I care not\u201d (501, 3.3.35-36).<\/p>\n\n\n\nAct 3, Scene 4 (501-03, Portia puts Lorenzo and Jessica in charge of Belmont; she sends a servant to her learned cousin Dr. Bellario to ask for his advice about the law; she informs Nerissa about the lawyerly scheme they will carry out to save Antonio.)<\/strong><\/p>\n\n\n\nPortia is drawn to Antonio, she says to Lorenzo, because friends are so much alike (501, 3.4.10-18). Then she places Lorenzo and Jessica in charge at Belmont since she must go on a trip, the purpose of which she dissembles about to these two. That done, Portia hatches her \u201cdoctor of laws\u201d scheme. She sends her servant Balthasar to her cousin, Dr. Bellario, with a letter-request to send her back some legal notes and lawyer\u2019s garments.<\/p>\n\n\n\nWith Dr. Bellario\u2019s remote assistance, she will play the role of a male attorney who can wield the potent weapon of law against Shylock and the Venetian commercial state. To accomplish this task, Portia must play fast and loose with her own gender, since a woman of Shakespeare\u2019s time (leaving aside Queen Elizabeth) was in no position to take on such authority. She puts great faith in the power of disguise and in her own sly understanding of male posturing. As she tells her accomplice Nerissa, \u201cI have within my mind \/ A thousand raw tricks of these bragging Jacks \/ Which I will practice\u201d (503, 3.5.76-78).<\/p>\n\n\n\nAct 3, Scene 5 (503-05, Jessica and Lancelet argue wittily about salvation; Lorenzo light-heartedly reproaches Lancelet.)<\/strong><\/p>\n\n\n\nJessica and Lancelet dispute comically over salvation and damnation; Jessica summarizes Lancelet\u2019s case against her and Lorenzo well: the couple are damned \u201cbecause I am a Jew\u2019s daughter, and he says you are no good \/ member of the commonwealth, for in converting Jews to \/ Christians you raise the price of pork\u201d (503, 3.5.29-31). This quarrel is the precursor of a more serious argument during the trial about how mercy is granted, and to whom.<\/p>\n\n\n\nAfter telling him that he has got a Moorish girl in Portia\u2019s household pregnant, Lorenzo accuses Lancelet of egregious quibbling: \u201cHow every fool can play upon the word!\u201d (504, 3.5.38) exclaims Lorenzo. Lancelet\u2019s misstatements and quibbles are the light-hearted version of the play\u2019s weightier regard for terminological and spiritual misinterpretation, equivocation, and hypocrisy. Lancelet\u2019s wit is probably meant mainly to poke at Shylock\u2019s literalism and cunning, but it may also be a proleptic dig at \u201cBalthazar\u2019s\u201d upcoming defeat of Shylock, which results in a Jew\u2019s forced conversion to Christianity.<\/p>\n\n\n\nFrom Lorenzo\u2019s exasperated question, \u201cWilt thou show \/ the whole wealth of thy wit in an instant?\u201d (504, 3.5.48-49) we can tell that Lancelet is earning his keep as something on the order of Bassanio\u2019s unofficial court jester. Or at least he\u2019s trying to do that.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"act4\">ACT 4<\/h3>\n\n\n\nAct 4, Scene 1 (505-14, Trial scene: Antonio is resigned to death; Portia\/Balthazar makes a two-pronged case\u2014moral and legal appeals to show leniency; Shylock refuses both, and is trapped by the bond\u2019s narrow language; Portia\/Balthazar, Antonio, and the Duke work together so that Shylock loses half of his fortune and must agree to convert to Christianity; when pressed, Portia\/Balthazar asks for Bassanio\u2019s ring as payment; urged by Antonio, Bassanio agrees and sends Graziano off to deliver the ring to Portia\/Balthazar.)<\/strong><\/p>\n\n\n\nAs the trial is about to begin, Antonio again appears resigned: why bother with a man the Duke calls a \u201cstony adversary\u201d (505, 4.1.4)? At this point, the anti-Jewish invective is severe, which is evident even in the way the Duke wraps up his preamble with a mean-spirited pun: \u201cWe all expect a gentle [i.e., gentile<\/em>] answer, Jew\u201d (505, 4.1.34). But Shylock also shows great harshness in this scene, by Christian lights. He isn\u2019t claiming to be better than his adversaries: \u201cI give no reason, nor I will not, \/ More than a lodged hate and a certain loathing \/ I bear Antonio\u201d (506, 4.1.59-61).<\/p>\n\n\n\nWe the audience may have some insight into what Shylock\u2019s grounds for this hate are, but how is the play\u2019s internal court audience to know that? When the Duke tries to shame him with the concept of mercy, Shylock offers the chilling response, \u201cWhat judgment shall I dread, doing no wrong?\u201d (506, 4.1.89) This rhetorical question is also an advance response to the claim that Portia, disguised as the attorney Balthazar, will soon stake for the concept of mercy.<\/p>\n\n\n\nAs far as Shylock is concerned, his stance conforms to and therefore reaffirms the law: he considers himself perfectly righteous in his suit to the assembled court.<\/p>\n\n\n\nShylock has purchased the flesh of a Christian hypocrite at great personal cost. He will not give it up, and the State cannot afford to dismiss his suit. As he says to the Duke, \u201cIf you deny me, fie upon your law: \/ There is no force in the decrees of Venice\u201d (507, 4.1.101-102). Money isn\u2019t the issue, though Venetian commercial interests make up part of his justification. As Antonio himself said earlier in the play, the law Shylock invokes can\u2019t be ignored lest the republic\u2019s status suffer with international merchants.<\/p>\n\n\n\nPersonal and collective revenge is Shylock\u2019s \u201cmatter,\u201d not the ducats Antonio owes him. This angle is one that Antonio, Bassanio, and the other Christians simply cannot understand due to their insistent stereotyping of Shylock as a flinty-hearted, scarcely human bogeyman. This is obvious in such statements as the one Antonio makes early in the proceeding: \u201cI pray you, think you question with the Jew\u201d (506, 4.1.70). The merchant adds a few poetical images to reinforce his point, but in truth, the simple phrase \u201cthe Jew\u201d says everything we need to know about Antonio\u2019s attitude towards Shylock.<\/p>\n\n\n\nThe Duke makes no headway with Shylock, and neither do Graziano\u2019s vile, baiting imprecations have any effect on him. Antonio, for his part, seems prepared to give up the ghost, saying, \u201cI am a tainted wether of the flock, \/ Meetest for death\u201d (507, 4.1.114-15). The wealthy merchant aligns himself with the dimension of Christian practice that has earned it the title \u201creligion of sorrow.\u201d<\/p>\n\n\n\nThat\u2019s where Portia, disguised as Balthazar, comes in: she bears a letter from Dr. Bellario praising the young doctor of laws, and against Shylock she soon unveils the essence of her moral argument: \u201cThe quality of mercy is not strained. \/ It droppeth as the gentle rain from heaven \/ Upon the place beneath\u201d (508, 4.1.182-84).<\/p>\n\n\n\nAs far as the play\u2019s Christian\u2019s are concerned, the very fact that Shylock has to ask, <\/em>\u201cOn what compulsion must I?\u201d when he is enjoined to show compassion condemns him morally (508, 4.1.181). To Portia\/Balthazar\u2019s suggestion, \u201cin the course of justice none of us should \/ See salvation\u201d (509, 4.1.197-98), Shylock hurls back, \u201cMy deeds upon my head! I crave the law, \/ The penalty and forfeit of my bond\u201d (509, 4.1.204-05). <a href=\"#_edn35\" id=\"_ednref35\">[35]<\/a><\/p>\n\n\n\nPortia\/Balthazar admits that the state can\u2019t help here, and Shylock, ever strict, protests that he has \u201can oath in heaven\u201d (509, 4.1.226) to stick to the bond. In his view, he is like the biblical Apocrypha\u2019s Susannah, being championed by a veritable Daniel against the Elders who tried to seduce her and then falsely accused her, constituting a corrupt court. <a href=\"#_edn36\" id=\"_ednref36\">[36]<\/a> Portia\/Balthazar demonstrates what she considers the callous attitude of Shylock: witness his refusal to keep a surgeon nearby because no such thing is mentioned in his contract with Antonio (510, 4.1.255-56).<\/p>\n\n\n\nIt is hard to avoid the feeling that in mentioning the spilling of Christian blood so centrally in connection with Shylock\u2019s bond, the play thereby connects the two in a way that at least obliquely suggests the infamous \u201cblood libel\u201d: the notion that Jews murder gentiles so they can use their blood in rituals such as the Passover. Its more distant implication is that Jews are guilty of shedding Christ\u2019s blood. From this conspiracy-theory-like, antisemitic perspective, Shylock\u2019s failure to note the presence of blood in his bond would look like mere evasion and shiftiness, not just strict, literalist reading. <a href=\"#_edn37\" id=\"_ednref37\">[37]<\/a><\/p>\n\n\n\nAntonio is ready to depart from this world with a reaffirmation of his love for Bassanio (510, 4.1.271-75), which leads Bassanio to make an extreme utterance, wishing his wife and goods to heaven to redeem the situation: \u201cI would lose all\u2014ay, sacrifice them all \/ Here to this devil\u2014to deliver you\u201d (510, 4.1.284-85). After Graziano repeats the gesture, Shylock notes the outrageousness of such remarks: \u201cThese be the Christian husbands!\u201d (510, 4.1.293)<\/p>\n\n\n\nIt would be hard to overestimate the smug self-certainty of this kind of reasoning and oath-making on some of the Christians\u2019 part in this play: they would do any amount of wrong, it seems, to enforce their conception of right in favor of their own tribe.<\/p>\n\n\n\nPortia\/Balthazar promptly insists that the bond must be read even more literally than Shylock can conceive. She has already advanced her moral argument and met with defiance: Shylock is ready to carve up his Christian rival. Now comes the legal argument: \u201cThis bond doth give thee here no jot of blood\u201d (511, 4.1.304). The penalty for spilling Christian blood is forfeiture of one\u2019s goods and property to the state (511, 4.1.308-09).<\/p>\n\n\n\nFurthermore, says Portia, when an alien like Shylock tries to bring about the death of a Venetian citizen, the law prescribes that to the citizen shall go half of the offender\u2019s goods, while \u201cthe other half \/ Comes to the privy coffer of the state, \/ And the offender\u2019s life lies in the mercy \/ Of the Duke\u201d (512, 4.1.351-54).<\/p>\n\n\n\nShylock has, in fact, sought the death of a Venetian citizen. The Duke pardons his life, and Antonio asks him to allow Shylock to keep half his wealth so long as he wills it to his Christian son-in-law Lorenzo and his daughter Jessica (512, 4.1.378-83). As for the half he owes the state, the Duke says it may <\/em>be reduced to a fine. <\/p>\n\n\n\nIn a scene of great pathos, Shylock had already begged the court not to impose ruinous financial penalties on him: \u201cYou take my house when you do take the prop \/ That doth sustain my house; you take my life \/ When you do take the means whereby I live\u201d (512, 4.1.373-75).<\/p>\n\n\n\nFurthermore\u2014and cruelest cut of all\u2014this committed Jewish religionist must \u201cpresently become a Christian\u201d (513, 4.1.385). This is Antonio\u2019s request, and it becomes the Duke\u2019s stern command: \u201cHe shall do this or else I do recant \/ The pardon that I late pronounc\u00e8d here\u201d (513, 4.1.389-90).<\/p>\n\n\n\nShylock is forced to say\u2014one wants to say \u201cpretend\u201d\u2014that he is \u201ccontent\u201d with his lot (513, 4.1.392), now that he has been commanded to convert to Christianity and give away much of his fortune. The word \u201ccontent\u201d can hardly mean what it usually would, given the context. Shylock has simply given up, confronted as he is with the full legal and economic power of Venice and the implacable cultural weight of a religion alien to him. <a href=\"#_edn38\" id=\"_ednref38\">[38]<\/a><\/p>\n\n\n\nOne wonders if, during or after the trial scene, Shakespeare\u2019s audience would have remembered Shylock\u2019s strongest self-defense and collective defense in Act 3, Scene 1, which drew upon the common humanity he and his fellow Jews share with the Christians of Venice. There seems to be no trace of that argument in anything Shylock says during the trial scene here in Act 4, Scene 1, and soon after uttering the words \u201cI am content\u201d and promising to sign the necessary deed, he is gone from the play with no further substantive consideration.<\/p>\n\n\n\nImmediately after the trial\u2019s conclusion, Portia, still in disguise, responds to Bassanio\u2019s offer of a gift that she wants his ring (513, 4.1.425), and to his rather feeble protest, she declares, \u201cif your wife be not a madwoman, \/ And know how well I have deserved this ring, \/ She would not hold out enemy for ever \/ For giving it to me\u201d (514, 4.1.443-46). <a href=\"#_edn39\" id=\"_ednref39\">[39]<\/a> And with that, the two men decide to head back to Belmont in the morning.<\/p>\n\n\n\nAct 4, Scene 2 (514, Graziano catches up with Portia and Nerissa (both still in disguise) and gives her Bassanio\u2019s ring; Nerissa tells Portia that she will see if she can get Graziano to give up his ring, too.)<\/strong><\/p>\n\n\n\nGraziano hands over Bassanio\u2019s ring to Portia\/Balthazar, and Nerissa tells Portia that she will get her own ring from Graziano, too (514, 4.2.13-14).<\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"act5\">ACT 5<\/h3>\n\n\n\nAct 5, Scene 1 (515-21, While carrying on a mock argument about faith with Jessica, Lorenzo lectures her about the Music of the Spheres; Portia delivers a lecture to the men on absolute oaths vs.<\/em> generosity; Shylock remains an outcast, Antonio will remain a charitable outsider)<\/strong><\/p>\n\n\n\nLorenzo and Jessica discuss faith and faithlessness by referencing disappointed lovers such as Troilus, Thisbe, and Dido (515, 5.1.1-24 inclusive). Perhaps by these means they are transitioning into mature married life after their wild initial romance, one involving the betrayal of a father and a heady escape from Venice proper.<\/p>\n\n\n\nAfter Stefano announces that Portia will soon be home in Belmont, and Lancelet announces that Bassanio is on the way, too, Lorenzo discusses with Jessica the power of music to transform the soul: in so doing, he touches upon the possibility of transformation and redemption.<\/p>\n\n\n\nLorenzo says that music\u2014even earthly music as opposed to the heavenly harmonies lost to us because of our sin-induced mortality\u2014will soften Jessica if she will only listen intently enough and open herself to the experience: \u201cThere\u2019s not the smallest orb which thou behold\u2019st \/ But in his motion like an angel sings \u2026 \/ Such harmony is in immortal souls, \/ But whilst this muddy vesture of decay \/ Doth grossly close it in, we cannot hear it\u201d (516, 5.1.54-55, 63-65). <a href=\"#_edn40\" id=\"_ednref40\">[40]<\/a><\/p>\n\n\n\nThe whole \u201castronomy\u201d scene is in comic contrast to what the play casts as Shylock\u2019s hard-heartedness, his inability to change, as Lorenzo may be insinuating when he says, \u201cThe man that hath no music in himself, \/ Nor is not moved with concord of sweet sounds, \/ Is fit for treasons, stratagems, and spoils\u201d (516, 5.1.83-85).<\/p>\n\n\n\nPortia appreciates the fine music (517, 5.1.99-100), but at line 109 she makes it stop because she has another vehicle of transformation: the playfully stern lecture she\u2019s about to deliver. The absoluteness of Antonio and Bassanio\u2019s oath-taking must be tempered. Mercy doesn\u2019t like extremes: to swear excessively is to take one\u2019s responsibilities lightly.<\/p>\n\n\n\nBassanio in particular has shown a willingness to break an oath to his intended wife to satisfy a male-centered demand\u2014that of giving a gift to the \u201cman\u201d who helped Antonio win his case. He and Graziano trivialize the marriage bond when, after making such a show of their fidelity, they break their excessive oaths at will.<\/p>\n\n\n\nSo Bassanio must be schooled by Portia about his responsibilities towards her as a faithful husband. She asserts that this marriage bond entails reciprocity and generosity, an accommodation that he has not yet fully acknowledged: \u201cIf you had known the virtue of the ring, \/ Or half her worthiness that gave the ring \u2026\u201d (519, 5.1.199-208). Portia may be obedient to her father, but she is not a fool or a child. Her actions show her to be far more mature than most of the men in The Merchant of Venice.<\/em><\/p>\n\n\n\nThe point of the ring episode is that Portia will exercise mercy with respect to the decree she had previously issued. She didn\u2019t require the decree of faithfulness in the deadly fashion understood by Bassanio. She interprets her own words liberally rather than literally, and here in Act 5 she is generous enough to forgive Bassanio since at least he put up a struggle, however brief, over the loss of the ring. That doesn\u2019t amount to full merit of pardon, but under Portia\u2019s dispensation, perfection isn\u2019t necessary.<\/p>\n\n\n\nAntonio finds out that he isn\u2019t a pauper after all (489, 5.1.275-79), and we hear that Shylock, upon his death, will \u201cgift\u201d the remaining half of his estate to Lorenzo and Jessica (489, 5.1.290-92). Bassanio, with Antonio\u2019s help, gets the chance to make a second affirmation of his constancy towards Portia, saying, \u201cPardon this fault, and by my soul I swear \/ I never more will break an oath with thee\u201d (520, 5.1.247-48). It\u2019s probably worth noting that the oath is just as extreme as the previous ones he and Antonio have made.<\/p>\n\n\n\nEven so, a generous understanding of speech and act is the essential contrast in the play between Christians and Jews. The former are represented as having the flexibility to transform and to be transformed, while Shylock remains implacable and experiences his enforced change as nothing short of torture; he remains outside the circle of happiness that concludes the play\u2014this latter inference is represented explicitly, and sympathetically, in Michael Radford\u2019s stellar 2004 production of The Merchant of Venice. <\/em><a href=\"#_edn41\" id=\"_ednref41\">[41]<\/a><\/p>\n\n\n\nHow should we understand the play\u2019s conclusion? Aside from all the concluding happiness, Antonio, somewhat like Shylock, remains outside the charmed comic circle, so his melancholy self-understanding seems to be validated by the play\u2019s ending: Antonio\u2019s part in life is a sad one, just as he had said in Act 1, Scene 1. That may be because Shakespeare recognizes the ambivalence of Elizabethan (and more ancient) attitudes towards the classical \u201chomosocial\u201d conception of male friendship that obtains between Antonio and Bassanio.<\/p>\n\n\n\nThe men\u2019s excessive rhetoric notwithstanding, the play\u2019s comic emphasis and structure positively demand that Antonio step aside so that Bassanio\u2019s orthodox pursuit of happiness with Portia may succeed. Jessica\u2019s story, however, seems to hold out the possibility of redemption for all: she\u2019s a Jewish woman whose free conversion for the sake of love stands in comic defiance against the spiteful Christian saying \u201ctill the Jews be converted\u201d as a way of saying \u201cnever.\u201d <a href=\"#_edn42\" id=\"_ednref42\">[42]<\/a><\/p>\n\n\n\nWe can reasonably contrast The Merchant of Venice <\/em>with the religious skeptic Christopher Marlowe\u2019s 1589-90 masterpiece The Jew of Malta, <\/em>with its villainous merchant Barabas who dies horribly (and deservedly) at the play\u2019s end, but we will never really know what Shakespeare\u2019s own audience members thought about the conclusion, or indeed what the playwright himself thought of it. <a href=\"#_edn43\" id=\"_ednref43\">[43]<\/a> Does Shylock \u201cget what he deserves,\u201d or is he (to borrow King Lear\u2019s anguished phrase) a man \u201cMore sinned against than sinning\u201d? <a href=\"#_edn44\" id=\"_ednref44\">[44]<\/a><\/p>\n\n\n\nWhich counts for more\u2014the pathos of Shylock\u2019s suffering and his earlier appeal, in Act 3, Scene 1, to universal humanity, or the undeniable malice and cruelty he shows in his sustained attempt to take down a longtime Christian enemy? Is Portia\u2019s emphasis on the need to imitate God\u2019s mercy worthy to stand on its own, or it is largely (or entirely) undercut by the play\u2019s context, which underscores the Christian characters\u2019 cliquishness and general failure to practice what they preach when it comes to outsiders?<\/p>\n\n\n\nPerhaps what we can<\/em> say with some confidence is that Shakespeare has provided enough strands and counter-strands in The Merchant of Venice <\/em>to make the weaving of many interpretations at least plausible. This play is essentially comic, but for modern audiences, it seems, it is bound to remain an unsettling kind of comedy. Many directors, Michael Radford included, have chosen to present it as closer to a tragicomic or \u201cmixed\u201d affair instead of as a cheerful comedy.<\/p>\n\n\n\nNo doubt some of Shakespeare\u2019s contemporaries saw no need to worry about the fate of Shylock (or Antonio, for that matter), but we are not bound to cast aside those elements of the story in favor of rendering this difficult, disturbing play satisfying. We may do well to keep in mind Homer\u2019s request of his muse in The Odyssey: <\/em>he asks her to \u201csing for our time too.\u201d <a href=\"#_edn45\" id=\"_ednref45\">[45]<\/a> Each generation responds to a play, or any work of art, in a way that makes sense to them.<\/p>\n\n\n\nEdition.<\/strong>\u00a0Greenblatt, Stephen et al., editors.\u00a0The Norton Shakespeare: Comedies + Digital Edition. <\/em>3rd ed. W. W. Norton, 2016. ISBN-13:\u00a0978-0-393-93861-6.<\/p>\n\n\n\nCopyright \u00a9 2012, revised 2025 Alfred J. Drake<\/strong><\/p>\n\n\n\nDocument Timestamp: 8\/3\/2025 6:51 AM<\/strong><\/p>\n\n\n\n<h3 class=\"wp-block-heading\" id=\"endnotes\">ENDNOTES<\/h3>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n*To return to exact part of the text referenced by the endnotes below, left-click on the endnote’s numbered link. By contrast, the blue scroll-up button at the bottom right of the page returns to the top of the document.<\/p>\n\n\n\n<a href=\"#_ednref1\" id=\"_edn1\">[1]<\/a> See Greenblatt, Stephen. Will in the World: How Shakespeare became Shakespeare. <\/em>New York & London: W. W. Norton & Co., 2004. Pp. 45-50. Greenblatt points out that in 1575, Robert Dudley, Earl of Leicester put on a lavish entertainment program for the visiting Elizabeth I at Kenilworth Castle about twelve miles northeast of young Shakespeare\u2019s own Stratford. The future playwright may, conjectures Greenblatt, have enjoyed some of the festivities himself, or at least heard them described in some detail.<\/p>\n\n\n\n<a href=\"#_ednref2\" id=\"_edn2\">[2]<\/a> Marx, Karl. <a href=\"https:\/\/www.marxists.org\/archive\/marx\/works\/1859\/critique-pol-economy\/preface.htm\">\u201cPreface\u201d to A Contribution to the Critique of Political Economy<\/em><\/a>. Progress Publishers, Moscow, 1977<\/em>. Accessed 3\/10\/2024.<\/p>\n\n\n\n<a href=\"#_ednref3\" id=\"_edn3\">[3]<\/a> Some critics insist that Bassanio\u2019s main reason for pursuing Portia is her wealth, but that may be somewhat unfair: his motives are probably best described as \u201cmixed.\u201d<\/p>\n\n\n\n<a href=\"#_ednref4\" id=\"_edn4\">[4]<\/a> With the love-struck Medea\u2019s help, Jason and his Argonauts get hold of the Golden Fleece on Colchis, and take advantage of Pelius\u2019s offer of the Iolchan throne in Thessaly. Perhaps it should give us pause that the story shows a man gaining power and mastery by betrayal of a woman who loves him, but of course in a comedy this is no more than a dark highlight or hint; its full potential will not be realized in Shakespeare\u2019s play. See Theoi.com\u2019s \u201c<a href=\"https:\/\/www.theoi.com\/articles\/what-is-the-story-of-jason-and-the-golden-fleece\/\">What Is the Story of Jason and the Golden Fleece?<\/a>\u201d Accessed 3\/23\/2024.<\/p>\n\n\n\n<a href=\"#_ednref5\" id=\"_edn5\">[5]<\/a> Amicitia perfecta. <\/em>See Shakespeare\u2019s Globe essay \u201c<a href=\"https:\/\/medium.com\/@shakespearesglobe\/shakespeare-and-friendship-d4dd854e0670\">Shakespeare and Friendship.<\/a>\u201d April 6, 2018. Accessed 3\/22\/2024.<\/p>\n\n\n\n<a href=\"#_ednref6\" id=\"_edn6\">[6]<\/a> McPherson, David C. Shakespeare, Jonson, and the Myth of Venice.<\/em> Newark: U of Delaware Press, 1990. McPherson suggests that Antonio\u2019s sadness may exist at least partly due to the declining fortunes of Venetian merchants, in which case Salerio and Solanio might not be entirely<\/em> wrong. See pg. 51.<\/p>\n\n\n\n<a href=\"#_ednref7\" id=\"_edn7\">[7]<\/a> Shakespeare, William. King Lear.<\/em> Folio with additions from the Quarto. In The Norton Shakespeare: Tragedies,<\/em> 3rd ed. Combined text 764-840. However undiplomatic she may be, King Lear\u2019s daughter Cordelia may not be far from the mark when she implies that there\u2019s something quantifiable about love, so that it is not entirely free of constraint. Cordelia tells the stunned Lear, \u201cHappily, when I shall wed, \/ That lord whose hand must take my plight shall carry \/ Half my love with him \u2026\u201d (766, 1.1.98-100).<\/p>\n\n\n\n<a href=\"#_ednref8\" id=\"_edn8\">[8]<\/a> McPherson, David C. ibid. <\/em>Indeed, if McPherson is correct, it may be plausible to view Portia as one of the high-born citizens of Venice\u2014essentially part of a semi-aristocratic set in longtime republican Venice\u2014who managed to distance themselves from the declining performance of the merchant profession, often moving to landed estates outside the city. Belmont might be construed as just such a removed estate. See pg. 56. See also Harold Bloom\u2019s Shakespeare: The Invention of the Human.<\/em> New York: Riverhead Books, 1998. He remarks that Portia is just fine bearing with Bassanio and his spendthrift, happy-go-lucky set. She is in no way morally superior, Bloom suggests, to many of the characters in this play\u2019s Venice. See pp. 177-79.<\/p>\n\n\n\n<a href=\"#_ednref9\" id=\"_edn9\">[9]<\/a> A ducat consisted of .11 Troy ounces of gold, which, multiplied by 3,000 at 2024\u2019s gold prices yields 330 ounces, and then multiplied by gold\u2019s value as of March 15, 2024 ($2159 per ounce), that would be a bit north of $700,000.<\/p>\n\n\n\n<a href=\"#_ednref10\" id=\"_edn10\">[10]<\/a> With regard to the story in <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Genesis+30%3A25-33%3A20&version=GNV\">Genesis <\/em>30:25-43<\/a>, Jacob is Esau\u2019s brother, and the son of Isaac and Rebekah and the grandson of Abraham and Sarah; Jacob was subsequently renamed \u201cIsrael\u201d by an angel and is the great ancestor of the tribes of Israel. Antonio seems to miss the point of the story, as far as Shylock is concerned: the deal that Laban made with Jacob, who was working so he might return to his family, turned out to be unjust because he kept changing the terms of the contract. It\u2019s a matter of a pair of clever deceivers colliding, and Jehovah blesses Jacob as the chosen seed.<\/p>\n\n\n\nJacob, in perpetrating his trick against Laban, trusts that God will sustain him and thereby advance the story of the Jews in their quest for the Promised Land. The deception itself is not some kind of dark magic, and by implication, neither is Shylock the moneylender\u2019s \u201ctrick\u201d of making money breed money such dark magic: it is a licit way to survive and thrive in the presence of hostile others who treat them as alien and \u201cless than.\u201d The hypocrisy of the Christians in such economic matters here is ludicrously obvious since Venetian commerce, like all other advanced commerce, undeniably turns upon interest-based lending practices. Accessed 3\/22\/2024. Biblegateway.com.<\/p>\n\n\n\n<a href=\"#_ednref11\" id=\"_edn11\">[11]<\/a> See <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=2%20Corinthians%203:6-8&version=GNV\">2 Corinthians<\/em> 3:6<\/a>. The Geneva Bible of 1599. St. Paul writes, \u201cfor the letter killeth, but the Spirit giveth life.\u201d The reference is to the purported truth of the New Testament,<\/em> which demands, in his view, a new and liberating emphasis in interpretation. For those who find the theological undertones of The Merchant of Venice <\/em>central, this Pauline principle would seem to be very important: one might say that Shylock conforms to the Christian slur that Jews read spiritual texts in a literalist, \u201cdead-letter\u201d fashion rather than with a view to their spiritual import. Accessed 3\/20\/2024. Biblegateway.com.<\/p>\n\n\n\n<a href=\"#_ednref12\" id=\"_edn12\">[12]<\/a> Rendering Lancelet\u2019s speech fully comic is the sense that when he describes for us the content and progress of his thoughts, it makes sense to suppose there is nothing more going on in his head than this medieval-style allegorical debate.<\/p>\n\n\n\n<a href=\"#_ednref13\" id=\"_edn13\">[13]<\/a> See <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Genesis+25%3A29-34&version=GNV\">Genesis<\/em> 25:29-34<\/a>. Geneva Bible, 1599. Biblegateway.com. Accessed 3\/18\/2024.<\/p>\n\n\n\n<a href=\"#_ednref14\" id=\"_edn14\">[14]<\/a> Garber, Marjorie. Shakespeare after All. <\/em>New York: Anchor Books, 2004. Pg. 304.<\/p>\n\n\n\n<a href=\"#_ednref15\" id=\"_edn15\">[15]<\/a> The appropriate theological term would be charity, caritas.<\/em><\/p>\n\n\n\n<a href=\"#_ednref16\" id=\"_edn16\">[16]<\/a> The text does not definitively mention the season during which the play is set, so there is no reason to suppose that the season is Carnival-time. Still, Shylock\u2019s description in 2.5 of the masquers he expects will soon be parading in the street below his home sounds like what one might say of Carnival revelers: he calls them \u201cChristian fools with varnished [painted] faces\u201d (12), and complains about the madcap music they will soon play. There is a general holiday ambience in Venice, as Shakespeare describes the place, and that is sufficient to reinforce the play\u2019s contrast between Christian attitudes and Shylock\u2019s somber demeanor.<\/p>\n\n\n\n<a href=\"#_ednref17\" id=\"_edn17\">[17]<\/a> McPherson, David C. ibid., <\/em>27-28, 32, 35-36. McPherson\u2019s general theme is that Shakespeare and Jonson are dealing with Venice as a mythic construction more than an actual place. Among other qualities, the beautiful city was noted for its wealth, devotion to pleasure, elegance, political wisdom and craftiness, as well as strictness and even severity in its justice system.<\/p>\n\n\n\n<a href=\"#_ednref18\" id=\"_edn18\">[18]<\/a> Like the spendthrift Bassanio, who uses his friend\u2019s money to step into the role of a man of great substance, and thence actually to become one when he marries Portia; or Portia, who disguises herself as a learned male doctor of laws to rescue Antonio from his forfeit. Incidentally, that Bassanio is something of a fortune-hunter would not necessarily have marked him for opprobrium in Shakespeare\u2019s day\u2014he is of sufficiently high social standing to make his enterprise seem respectable. See Marjorie Garber\u2019s Shakespeare after All. <\/em>New York: Anchor Books, 2004. Pg. 287.<\/p>\n\n\n\n<a href=\"#_ednref19\" id=\"_edn19\">[19]<\/a> In English history, there\u2019s a rich history of \u201cbastards\u201d along the royal line. William the Conqueror was also known as \u201cWilliam the Bastard\u201d since his father, Robert I, Duke of Normandy, was not married to the boy\u2019s mother. Henry VIII\u2019s son Henry Fitzroy was born out of wedlock to Elizabeth Blount, and he became Duke of Richmond and Somerset. John of Gaunt\u2019s four children by Katherine Swynford were born out of wedlock (he was married to Constance of Castile at the time), but later legitimized by royal and papal decree when he married her in 1396. Many more examples could be adduced. A good study on this topic of illegitimacy is Sara McDougall\u2019s Royal Bastards: the Birth of Illegitimacy, 800-1230. <\/em>Oxford UP, 2017.<\/p>\n\n\n\n<a href=\"#_ednref20\" id=\"_edn20\">[20]<\/a> See, for example, the RSC\u2019s article \u201c<a href=\"https:\/\/www.rsc.org.uk\/the-merchant-of-venice\/about-the-play\/stage-history\">The Stage History of The Merchant of Venice.<\/em><\/a>\u201d Rsc.org.uk. Accessed 3\/23\/2024.<\/p>\n\n\n\n<a href=\"#_ednref21\" id=\"_edn21\">[21]<\/a> See Susan Abernethy\u2019s \u201c<a href=\"https:\/\/thefreelancehistorywriter.com\/2018\/06\/15\/rodrigo-lopez-royal-physician\/\">Rodrigo Lopez, Royal Physician.<\/a>\u201d Thefreelancehistorywriter.com. Accessed 3\/23\/2024. The harrowing story of Elizabeth I\u2019s physician Rodrigo Lopez reveals the unhealthy combination of fear and contempt with which such an exotic figure was regarded. When he was about to be executed for his alleged treason against the queen in 1594, his pious claim that he loved Elizabeth as much as he loved Jesus Christ met with Christian derision.<\/p>\n\n\n\n<a href=\"#_ednref22\" id=\"_edn22\">[22]<\/a> See, for example, the entry \u201c<a href=\"https:\/\/www.jewishvirtuallibrary.org\/london\">London, England<\/a>\u201c at jewishvirtuallibrary.org. Accessed 3\/8\/2024.<\/p>\n\n\n\n<a href=\"#_ednref23\" id=\"_edn23\">[23]<\/a> See Harold Bloom\u2019s Shakespeare: The Invention of the Human.<\/em> New York: Riverhead Books, 1998. One key point that Bloom makes in his essay on The Merchant of Venice <\/em>is that Shylock is something other than pathos-inducing, even in his famous \u201cHath not a Jew eyes?\u201d speech to Christian onlookers in 3.1. In Bloom\u2019s analysis, \u201cShylock kindled Shakespeare\u2019s imagination and became enlarged beyond comedy, though into menace rather than pathos\u201d (181).<\/p>\n\n\n\n<a href=\"#_ednref24\" id=\"_edn24\">[24]<\/a> See Bloom, ibid., <\/em>171. The author writes, \u201cOne would have to be blind, deaf, and dumb not to recognize that Shakespeare\u2019s grand, equivocal comedy The Merchant of Venice<\/em> is nevertheless a profoundly anti-Semitic work.\u201d<\/p>\n\n\n\n<a href=\"#_ednref25\" id=\"_edn25\">[25]<\/a> <a href=\"https:\/\/quod.lib.umich.edu\/e\/eebo\/A11019.0001.001\/1:3.32?rgn=div2;view=fulltext\">Gesta Romanorum<\/em><\/a>. <\/em>Trans. Richard Robinson. London, 1595. See <a href=\"https:\/\/quod.lib.umich.edu\/e\/eebo\/A11019.0001.001\/1:3.32?rgn=div2;view=fulltext\">Tale 32<\/a>. This is the edition that Shakespeare appears to have consulted. EEBO\/umich.edu. Accessed 2\/8\/2024.<\/p>\n\n\n\n<a href=\"#_ednref26\" id=\"_edn26\">[26]<\/a> This last point seems to conform to Augustine\u2019s framework in The City of God: <\/em>evil is a falling away from things that are in themselves good. See in particular Vol. 1, Book 13. Trans. Marcus Dodds. Edinburgh: T & T Clark, 1871. <a href=\"https:\/\/www.gutenberg.org\/files\/45304\/45304-h\/45304-h.htm\">Project Gutenberg e-text<\/a>. Accessed 3\/23\/2024.<\/p>\n\n\n\n<a href=\"#_ednref27\" id=\"_edn27\">[27]<\/a> See <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=1%20John%202%3A15-17&version=GNV\">1 John<\/em> 2:15<\/a>, 1599 Geneva Bible. Biblegateway.com. Accessed 3\/8\/2024.<\/p>\n\n\n\n<a href=\"#_ednref28\" id=\"_edn28\">[28]<\/a> <a>Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. <\/em>Second Quarto with additions from the Folio. In The Norton Shakespeare: Tragedies,<\/em> 3rd ed. Combined text 358-447.<\/a> Hamlet<\/em> 435, 5.1.173-75.<\/p>\n\n\n\n<a href=\"#_ednref29\" id=\"_edn29\">[29]<\/a> See Norton note 7 on pg. 495.<\/p>\n\n\n\n<a href=\"#_ednref30\" id=\"_edn30\">[30]<\/a> Here, \u201cfancy\u201d means \u201cattraction, love, affection.\u201d<\/p>\n\n\n\n<a href=\"#_ednref31\" id=\"_edn31\">[31]<\/a> One notices the difference between Portia\u2019s oaths, which are grounded in humility and desire to please, and some of the oaths that Bassanio and Antonio casually offer up to each other and in other situations, as at court in Act 4. These seem more extravagant than Portia\u2019s stated desires.<\/p>\n\n\n\n<a href=\"#_ednref32\" id=\"_edn32\">[32]<\/a> A pun on the 1999 film Girl, Interrupted<\/em> directed by James Mangold and starring Angelina Jolie, Winona Ryder, and others.<\/p>\n\n\n\n<a href=\"#_ednref33\" id=\"_edn33\">[33]<\/a> The line is from R.E.M.\u2019s 1991 song \u201cShiny Happy People Holding Hands\u201d from the album Out of Time.<\/em><\/p>\n\n\n\n<a href=\"#_ednref34\" id=\"_edn34\">[34]<\/a> A ducat consisted of 3.5 or so grams of gold. The sum of 36,000 ducats amounts to 281 lbs. of gold. In rough terms, that\u2019s worth perhaps 5 or 6 million dollars in 2024.<\/p>\n\n\n\n<a href=\"#_ednref35\" id=\"_edn35\">[35]<\/a> As the Norton editors\u2019 note points out, this utterance sounds a good deal like what the crowd of Jews at Jesus\u2019s trial supposedly said: in the Geneva Bible, the passage runs: \u201cHis blood be on us, and on our children.\u201d <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Matthew%2027&version=GNV\">Matthew <\/em>27:25<\/a>. Biblegateway.com. Accessed 3\/22\/2024.<\/p>\n\n\n\n<a href=\"#_ednref36\" id=\"_edn36\">[36]<\/a> See <a href=\"https:\/\/www.biblegateway.com\/passage\/?search=Daniel%2013&version=RSVCE;KJV\">Daniel <\/em>13<\/a>, which is placed among the apocryphal texts. Biblegateway.com. Accessed 3\/22\/2024. The import of this identification, for Shylock, may be that he has been unjustly condemned for his profession of moneylending by the very Christian \u201celders\u201d who constrain him to follow that profession: they are hypocrites seeking to cover up their own sinful dealing.<\/p>\n\n\n\n<a href=\"#_ednref37\" id=\"_edn37\">[37]<\/a> This is a very serious matter, the spreading of the \u201cblood libel\u201d: it has for centuries been used as a precursor of and justification for violence against Jews. It has been used not only in relatively modern times in Nazi Germany but elsewhere in Europe and other parts of the world where antisemitism is present. See, for example, the Jewish Virtual Library\u2019s entry \u201d<a href=\"https:\/\/www.jewishvirtuallibrary.org\/blood-libel\">Blood Libel.<\/a>\u201c jewishvirtuallibrary.com. Accessed 3\/18\/2024.<\/p>\n\n\n\n<a href=\"#_ednref38\" id=\"_edn38\">[38]<\/a> The phrase \u201cio son contento,<\/em>\u201d or \u201cI am content,\u201d approaches the status of a refrain in Shakespeare\u2019s main source for his play, the fourteenth-century novella <a href=\"https:\/\/books.google.com\/books?id=63kZAQAAMAAJ&printsec=frontcover#v=onepage&q=Giannetto&f=false\" target=\"_blank\" rel=\"noreferrer noopener\">il Pecorone<\/em><\/a> <\/em>(Italian original) by Ser Giovanni Fiorentino (See Novella I, Giornata Quarta, pp. 41ff.; see also the <a href=\"https:\/\/catalog.hathitrust.org\/Record\/012142198\" target=\"_blank\" rel=\"noreferrer noopener\">English translation by W. G. Waters, 1897<\/a>). Accessed 3\/08\/2024. In the Italian\u2019s text, this phrase is uttered a number of times by the rich merchant Ansaldo (Antonio\u2019s literary precursor) upon finding out that his godson (the precursor of our graceful spendthrift, Bassanio) has survived a presumed catastrophe at sea or elsewhere.<\/p>\n\n\n\nWe can\u2019t know what Shakespeare and\/or his audiences thought about Shylock\u2019s prospects for a happy ending, but there may be an extra charge of bitterness in the utterance \u201cI am content\u201d that he takes up, as it were, from the rather easily satisfied Christian Messer Ansaldo. Fiorentino\u2019s story is in brief as follows: Giannetto, Ansaldo\u2019s godson, twice loses a costly wager to a fabulously wealthy and beautiful lady in Belmonte\u2014when he fails to bed her within the time period prescribed, she takes all the goods on his ship\u2014only to gain her hand in marriage on his third try.<\/p>\n\n\n\nAfter this triumph, Giannetto scandalously forgets that thanks to his two losses to the Lady, his godfather Ansaldo had to take out a loan for him of 10,000 ducats from a Jew, the terms of the bond being nearly identical to the one that Shakespeare\u2019s Antonio agrees to. As in The Merchant of Venice, <\/em>forfeit of the bond almost costs the merchant his life, but in the end the Jew must tear up his bond. In Fiorentino\u2019s Il Pecorino, <\/em>however, he is not <\/em>forced to abandon his religion as he is in The Merchant of Venice.<\/em> He simply rips the bond to pieces in frustration, and we hear no more about him.<\/p>\n\n\n\n<a href=\"#_ednref39\" id=\"_edn39\">[39]<\/a> While Shakespeare follows Fiorentino\u2019s plot from Il Pecorone <\/em>very closely (aside from Shylock not being forced to convert to Christianity in the precursor text), neither Bassanio nor Antonio shows quite the same degree of regard as Fiorentino\u2019s Giannetto for the ring that the younger man had pledged to hold dear: Giannetto had said of his lady, \u201cSo great are the love and the trust I have for her, that there is not a lady in the world for whom I would exchange her, so consummately fair is she in every sense\u2026\u201d (<a href=\"https:\/\/catalog.hathitrust.org\/Record\/012142198\">Il Pecorone<\/em><\/a>, <\/em>trans. W. G. Waters. London: Lawrence and Bullen, LTD, 1897. pg. 58.) In comparison to this, Bassanio\u2019s protestation seems like weak tea, while Antonio considers it simple reason that a woman\u2019s wishes should give way to the entreaties of a learned doctor.<\/p>\n\n\n\n<a href=\"#_ednref40\" id=\"_edn40\">[40]<\/a> See \u201c<a href=\"https:\/\/www.sensorystudies.org\/picture-gallery\/spheres_image\/\">The Music of the Spheres.<\/a>\u201d SensoryStudies.org. Accessed 3\/23\/2024. See also Andrew Brown\u2019s Nov. 5, 2009 article \u201c<a href=\"https:\/\/www.theguardian.com\/commentisfree\/andrewbrown\/2009\/nov\/05\/astronomy-copernicus-kepler-religion\">The music of the spheres<\/a>\u201d in The Guardian. <\/em>Accessed 3\/23\/2024.<\/p>\n\n\n\n<a href=\"#_ednref41\" id=\"_edn41\">[41]<\/a> Director Michael Radford\u2019s 2005 film version of The Merchant of Venice <\/em>stars (among others) Lynn Collins as Portia, Al Pacino as Shylock, Joseph Fiennes as Bassanio, and Jeremy Irons as Antonio.<\/p>\n\n\n\n<a href=\"#_ednref42\" id=\"_edn42\">[42]<\/a> See, for example, Theoharis C. Theoharis, \u201c\u2019For with God all Things are Possible\u2019: Philip Roth\u2019s \u2018The Conversion of the Jews.\u2019\u201d Journal of the Short Story in English<\/em> [online], 32. Spring 1999, posted online 01 July 2008, accessed 08 February 2024. URL: <a href=\"http:\/\/journals.openedition.org\/jsse\/173\">http:\/\/journals.openedition.org\/jsse\/173<\/a>. Theoharis points to Andrew Marvell\u2019s witty poem \u201cTo His Coy Mistress\u201d for its inclusion of the stock phrase \u201ctill the Jews be converted\u201d as a way of saying \u201cnever.\u201d Theoharis writes, \u201cFor centuries the phrase \u2018conversion of the Jews\u2019 has been a trope for the pragmatically unlikely, the tragically impossible, the heroically resisted, the idealistically sought for event.\u201d<\/p>\n\n\n\n<a href=\"#_ednref43\" id=\"_edn43\">[43]<\/a> Bloom, ibid. <\/em>See the essay \u201cThe Merchant of Venice,<\/em>\u201d pp. 171-91.The well-known critic views Shylock as a character whose intelligence, studied malice, and deep cruelty catapult him beyond the immediate context of the play in which he is embedded. Shylock, in Bloom\u2019s view, has come to seem lamentably archetypal of \u201cJewishness\u201d\u2014more so than Marlowe\u2019s Barabas, the patently villainous Jew of Malta. As he describes the dynamic: \u201c\u2018I\u2019ll show you the Jew,\u2019 Shakespeare says in reply to Marlowe, and so, alas, he has, to the everlasting harm of the actual Jewish people\u201d (181). Bloom is not, of course, validating Shakespeare\u2019s portrait of Shylock; he is instead testifying to its affective<\/em> power through the centuries.<\/p>\n\n\n\n<a href=\"#_ednref44\" id=\"_edn44\">[44]<\/a> Shakespeare, William. King Lear.<\/em> Folio with additions from the Quarto. In The Norton Shakespeare: Tragedies,<\/em> 3rd ed. Combined text 764-840. Lear\u2019s utterance \u201cI am a man \/ More sinned against than sinning\u201d occurs at 801, 3.2.59-60.<\/p>\n\n\n\n<a href=\"#_ednref45\" id=\"_edn45\">[45]<\/a> Homer. The Odyssey. <\/em>Trans. Robert Fagles. New York: Penguin, 1999. Book 1, line 12.<\/p>\n","protected":false},"excerpt":{"rendered":"Shakespeare\u2019s Merchant of Venice Commentary by A. J. Drake Shakespeare, William. 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{"id":203,"date":"2024-04-13T21:29:05","date_gmt":"2024-04-14T04:29:05","guid":{"rendered":"https:\/\/www.ajdrake.com\/shakespeare\/?page_id=203"},"modified":"2025-08-06T06:51:30","modified_gmt":"2025-08-06T13:51:30","slug":"the-merchant-of-venice-2","status":"publish","type":"page","link":"https:\/\/www.ajdrake.com\/shakespeare\/the-merchant-of-venice-2\/","title":{"rendered":"The Merchant of Venice"},"content":{"rendered":"