Merchant of Venice

Merchant of Venice Notes
KEY LITERARY ELEMENTS
SETTING
The play, as the title suggests, is set in Italy. Venice, in the popular imagination of Elizabethan society, was a place of fabulous wealth, royal merchants, richly attired gentlemen, and refined culture. Antonio is very much a part of this society. But this is not the only part of the Venetian picture that is portrayed in the play; another less romantic view is also given. It is the cruel commercial and legal side of Venice, where ships are sunk at sea, fortunes are won and lost, moneylenders haggle for increased interest on the loans needed by businessmen, and the law is interpreted literally without mercy.
In contrast to this business-like picture of Venice, Belmont is the ideal romantic world, filled with music, happiness, harmony, and love. It is here that Portia lives, and where Bassanio and Gratanio come to find happiness.
LIST OF CHARACTERS / CAST
Major Characters
Antonio
A merchant of Venice. He is a model Christian gentleman. He is esteemed and loved by his many friends, though his outward appearance is sad. His dignity and generosity have earned him many admirers. A philosophical man, he is tired of frivolous activities and tends to be reflective. His early cruelty towards Shylock is partly evened out by the mercy he later shows the man. He has every desired virtue of nobility. | |
Shylock
A Jewish moneylender in Venice. He is shown as being oppressed by his private torments. The times have him constantly humiliated and scorned. He hates all Christians, and the feeling is mutual. His vengeful temperament leads him to seek the life of Antonio. He is ultimately trapped by the law, which is used against him. In the end, he is a betrayed father and a despised citizen.
Bassanio
A beloved friend of Antonio. He is a member of the nobility, who is about to give up his bachelorhood. His high- spirited and debt-ridden youth is giving way to a more serious and chaste life as a responsible man. He is not shown as being remarkably intelligent or imaginative. However, his basic goodness and his good nature win him the love of Portia and of Antonio.
Portia
A noble woman of Belmont. She is an intelligent and witty young woman with all the traits of a Christian noblewoman of her times. Her generosity and chastity are a shining part of her character. She combines thoughtfulness and a reflective nature with a playful love of life and nature.
Lorenzo
A friend of Antonio and Bassanio. He starts off as being an ordinary young nobleman. His quiet and gentle nature is not given to wit or brilliant conversation. He is overshadowed by the spirited and garrulous natures of his friends, Bassanio and Gratiano. His love for and elopement with Jessica, a Jew, brings him into the foreground of the play. He has a reflective and sensitive nature, which is given to the study of poetry and music.
Jessica
The daughter of Shylock. Though a Jew by birth, she is more at home with Venetian Christians. Her inclination is towards music and poetry as opposed to her father's hate for revelry of any sort. She elopes with a Christian and betrays her father. Fascinated with the idea of an afterlife, she sees her marriage to a Christian as her one route to salvation.
Gratiano
A friend of Bassanio. A nobleman by birth, he is not quite on the level of Antonio in nobility. He acts as a background for Bassanio's personality. Although he has a certain sense of ribald humor, he is limited to punning on words and situations. His clownish spirit and lack of intelligence leads him to be a pale imitation of Bassanio.
Minor Characters
Nerissa
Portia's maid. She acts as a cameo for Portia. She is intelligent enough to use her wit in her conversations. She is a loyal servant who throws in her lot with that of her mistress.
Launcelot
Shylock's servant, who leaves his service to join that of Bassanio. He is a clown. While working for Shylock, he is a bumpkin. His talk is transformed into smoother, pun-filled eloquence after he takes up service with Bassanio.
Salarino and Salanio
Ttwo friends of Antonio and Bassanio. They are typical of Venetian society and represent the average men of the times. They do not differ from each other. They act as observers of the events that take place.
Duke of Venice
The ruler of the state of Venice. He is concerned about the trade and the well-being of the citizens and is a merciful man.
Prince of Morocco
A suitor for Portia's hand.
Prince of Arragon
A suitor for Portia's hand.
Tubal
A friend of Shylock. He is also Jewish and willing to help his friend. He also mocks Shylock for Jessica's elopement with a Christian.
Old Gobbo
Launcelot's father.
CONFLICT
The play is dominated by the revenge that Shylock feels is his due. Shakespeare contrasts Shylock's hatred to the basic goodness of Antonio.
Protagonist
Antonio, who stands for the commercial world of Venice, is a successful businessman and owner of several merchant ships. He feels quite comfortable taking a loan from Shylock, the Jewish moneylender, for the benefit of Bassanio. Antonio knows that when his ships return from sea, he will be able to repay the loan. As a result, he agrees that the vengeful Shylock can have a pound of his flesh if Antonio fails to meet the terms of their agreement. | |
Antagonist
Shylock plays the anti-Semitic stereotype of the Elizabethan Jew. He is a miserly and mean character, who is alienated from the happy, fun-loving society of Venice. Both his profession and his Jewish heritage set him apart in the very world in which he makes his living. His hatred for all things Christian probably stems from the injustice and cruelty with which he is treated. It is this hatred that leads him to make a cruel bargain with Antonio for a pound of his flesh if he does not repay a loan. When Antonio is unable to make the repayment, Shylock tries unsuccessfully to carry through with the exact agreement.
Climax
The climax occurs when the wise and good Portia dresses as a lawyer and appears anonymously in court to plead the cause of Antonio. She cunningly succeeds in saving Antonio from the evil intentions of Shylock. In addition, she turns the law on the moneylender and gains a monetary settlement for Antonio, stripping the Jew of all his wealth. It is not until the end of the play, when Antonio and Bassanio return to Belmont, that Portia reveals that she is the lawyer who saves Antonio.
Outcome
The play ends in comedy. With the help of Portia, Shylock is defeated, reviled, and rejected. At the same time, all the good characters in the play receive their just rewards. Antonio receives a cash settlement from Shylock and finds that all his ships have not been lost at sea. Portia and Bassanio are rewarded with love and happiness with one another. Lorenzo and Jessica and Gratiano and Nerissa also find happiness in their love.
SHORT PLOT/SCENE SUMMARY (Synopsis)
Bassanio, a young Venetian from a good family, has squandered his inherited fortune. Eager to restore his wealth and to woo and win the wealthy Portia of Belmont, he seeks a loan from Antonio, who is a merchant of Venice and his dearest friend. Antonio has no ready cash, for all his fortune is invested in his ships at sea. He offers his young friend his good name as credit to raise the funds wherever he can in Venice. Shylock is a miserly Jewish moneylender whom Antonio has often insulted. Antonio and Bassanio now go to him for a loan. Shylock refuses to charge interest on this loan, but jokingly draws up a bond by which he shall be entitled to one pound of Antonio's flesh if the debt is not paid on time. Antonio agrees to the bond, feeling sure that with so many merchant ships abroad, he will have many times the sum in three months. While Shylock arranges this agreement, his daughter Jessica elopes with Lorenzo, a Christian youth, taking much of Shylock's fortune with her. | |
At Belmont, Portia discusses with her maid the plight she is in. She is wooed by many suitors who do not impress her. She is not free to choose her own husband, but must follow the procedure decreed by her father in his will. Every suitor must choose between three caskets of gold, silver, and lead in an attempt to discover which casket contains Portia's portrait. If the suitors fail to choose correctly, they must leave Belmont immediately and vow never to marry. Portia discovers with despair that a new suitor, the Prince of Morocco, has just arrived to try his hand. He incorrectly chooses the gold, while the Prince of Arragon is equally unlucky with the silver. Bassanio correctly selects the lead casket and wins Portia, who has fallen in love with him. Portia gives Bassanio a ring that he promises he will never take off. Gratiano and Nerissa also announce their engagement.
Disturbing news arrives. Antonio's ships have been lost at sea; as a result, he cannot repay Shylock's loan. Bassanio hears the news first. Shylock insists on an adherence to their agreement and wants a pound of Antonio's flesh. Portia urges Bassanio to proceed to Venice with money to free his friend. She pretends to retire to a monastery for prayer before her wedding night. She dresses as a lawyer, and goes to Venice herself. At court in Venice, Shylock refuses all pleas of mercy from Antonio and the Duke. He even refuses Bassanio's offer to repay the loan many times over. He is determined on revenge. Portia arrives disguised as a doctor of law and asks Shylock to be merciful. At his refusal, she agrees that he is within his legal rights. Antonio prepares to lose his life. Bassanio and Antonio embrace in sad farewell as Shylock sharpens his knife. Portia now reminds him that there is no clause in the bond that will permit the shedding of blood. Shylock cannot take his pound of Antonio's flesh without shedding blood, so he asks instead for repayment of money. However, Portia reminds the court of another law, by which any alien who plots against the life of a Venetian will lose his life and property. Shylock, as an alien Jew, is guilty of plotting against the life of Antonio, a native Venetian. The Duke pardons Shylock. He also rules that Shylock must give up half his fortune to Antonio and leave all his property in his will to Jessica. Shylock agrees and leaves the court a broken man.
Bassanio thanks the young lawyer profusely. All the lawyer asks in reward is the ring which Portia has given to Bassanio for their engagement. A reluctant Bassanio, at the entreaties of Antonio, gives the lawyer the ring. Antonio and Bassanio now return to Belmont to the waiting Portia. She pretends to be very angry when she discovers that Bassanio has given away her ring. She threatens to leave him and go off with the lawyer. Bassanio promises never to break his word to her again. Portia accepts his promise and offers him a ring--the same ring that he has given to the lawyer. She explains that she was the doctor of law who saved Antonio at Venice. She also tells them that three of Antonio's ships have returned safely, laden with wealth. Everyone looks forward to the coming wedding for Portia and Bassanio with great joy.
THEMES
Major Theme
The qualities of mercy and justice usually receive their just rewards. Shylock's thirst for vengeance and his determined refusal to allow even an iota of compassion to mark his character are contrasted with the constant and open generosity that the Christians live by and propound. However, justice is not shown to be served in totality either, since a loophole in the law is used to prevent the foreign Jew from equating himself with a Christian. | |
Minor Theme
Friendship and love are idealized as the values worth sacrificing one's all for, as developed in the relationships of Antonio, Bassanio, and Portia.
MOOD
The play is set at two levels: one is the commercial world of Venice, where trade and profits rule; the second is the idealized setting of Belmont where the heart rules over the head.
In the opening scene, Antonio is projected as being a sad, melancholy man. Despite this opening, The Merchant of Venice, being a romantic comedy, is full of life, vigor, and courtship. This mood of savoring the full joy of life continues until the scene of the trial in Act IV.
The trial of Antonio in the court of Venice creates a mood of apprehension and suspense. Shakespeare has deliberately created the character of Shylock to be despicable to pander to the anti-Semitism of his audience. Cast as his opposite in gentility, benevolence, religion, and nobility of character is Portia, who is the "queen" of Belmont.
The final act of the play is set in Belmont where love, lyricism, and music abound and create a joyful and romantic mood. Shakespeare masterfully alternates the two settings and the two moods, using each to highlight the other.
BACKGROUND INFORMATION - BIOGRAPHY
WILLIAM SHAKESPEARE
William Shakespeare is usually considered the greatest dramatist and finest poet the world has ever known. No other writer's plays and poetry have been produced so many times or in so many countries or translated into so many languages. One of the major reasons for Shakespeare's popularity is the variety of rich characters that he successfully creates, from drunkards and paid murderers to princes and kings and from inane fools and court jesters to wise and noble generals. Each character springs vividly to life upon the stage and, as they speak their beautiful verse or prose, the characters remind the viewers of their own personalities, traits, and flaws. Shakespeare also made his characters very realistic. The dramatist had an amazing knowledge of a wide variety of subjects, and his well-developed characters reflect this knowledge, whether it be about military science, the graces of royalty, seamanship, history, the Bible, music, or sports.
In Shakespeare's time, few biographies were written, and none of the literary men of the Elizabethan Age was considered important enough to merit a book about his life. The first portfolio of his works, collected as a memorial to Shakespeare by members of his own acting company, was not published until 1623, seven years after his death. His first biography was written one hundred years later. As a result, many of the facts of Shakespeare's life are unknown.
It is known that he was born in Stratford-on-Avon in England, sometime in early 1564, for his Baptism is recorded on April 26 of that year. His mother Mary had eight children, with William being the third. His father, John Shakespeare, was a fairly prosperous glovemaker and trader who owned several houses in Stratford and became the town's mayor when Shakespeare was a boy. The young Shakespeare probably studied in the local grammar school and hunted and played sports in the open fields behind his home. | |
The next definite information about William Shakespeare is that the young man, at age 18, married Anne Hathaway, who was 26, on November 28, 1582. In 1583, it is recorded that Anne gave birth to their oldest child, Susanna, and that twins, Hamnet and Judith, were born to the couple in 1585. By 1592, the family was living in London, where Shakespeare was busy acting in plays and writing his own dramas. From 1592 to 1594, the plague kept most London theaters closed, so the dramatist turned to writing poetry during this period, and his poems, which were actually published unlike his plays, became popular with the masses and contributed to his good reputation as a writer. From 1594 to the end of his career, Shakespeare belonged to the same theatrical company, known first as Lord Chamberlain's Men and then as the King's Company. It is also known that he was both a leader and stockholder in this acting organization, which became the most prosperous group in London, and that he was meeting with both financial success and critical acclaim.
In 1954, Shakespeare was popular enough as an actor to perform before Queen Elizabeth. By 1596, he owned considerable property in London and bought one of the finest houses in Stratford, known as New Place, in 1597. A year later, in 1598, he bought ten percent of the stock in the Globe Theatre, where his plays were produced. In 1608, he and his colleagues also purchased The Blackfriars Theatre, where they began to hold productions during the winter, returning to the Globe during the summer months. Throughout the rest of his life, Shakespeare continued to purchase land, homes, and businesses. He obviously was a busy man between handling his business ventures, performing on the stage, and writing or collaborating on the thirty-seven plays that are credited to him.
Shakespeare's most productive years were from 1594 to 1608, the period in which he wrote all of his great tragedies, such as Macbeth, Hamlet, Othello, King Lear, and Romeo and Juliet. During these fourteen years, he furnished his acting company with approximately two plays annually. After 1608, it appears he went into semi-retirement, spending more time in Stratford and creating only five plays before his death on April 23, 1616. He was buried before the altar in the Stratford Church, where his body still lies today. Many literary students and visitors make a pilgrimage to this shrine each year in order to honor William Shakespeare, still recognized after 400 years as the world's greatest poet and dramatist.
LITERARY/HISTORICAL INFORMATION
Drama was the prime means of public entertainment during Shakespeare's time. Traveling actors went around the countryside and could be hired by those who wanted their services. London was growing as a trade center and merchants arrived from many lands. Also, the Tudor monarchy preferred to stay in the capital. These twin factors helped the companies of actors to prosper. They acted regularly before audiences at places that became established as centers for actors. Theater-houses like the Globe, the Curtain, and the Fortune were built. Shakespeare's company owned the Globe, which was patronized by the Lord Chamberlain and hence, was successful.
The Globe was an open-air theater. Plays were staged in the afternoons because there was no artificial lighting. The stage jutted out into the audience, the majority of whom stood on the ground around the stage. They were called the groundlings. Other spectators paid higher prices to sit in the galleries round about. There were three openings at the back of the stage--one in the center and one on each side--hidden by a thick curtain. The stage- floor often had one or more trap doors, useful for the speedy disappearance or re-appearance of characters, especially ghosts. Above the stage was a balcony, usually used for love scenes. There was no stage scenery though props were widely used. Black stage hangings were used for tragic plays and colorful curtains were used for comedies or light plays.
The Society Reflected in the Play, The Merchant of Venice reflects the prejudices of a society which honored the religious persecution of Jews and the happy, sometimes extravagant, life of the Christian nobility. The play opens with the description of adventurous merchants who have obtained a high social status due to their wealth. The era was one of expanding trade and trade routes with corresponding commercial expansion through navigation and shipping.
During the time of the play, the nobility of any undertaking was based upon the level of danger and commitment involved. Thus, in The Merchant of Venice, many of the characters risk their all in the service of love and friendship. The motto of the play (and of Elizabethan society as well) is "Who chooseth me must give and hazard all he hath," a motto that symbolizes Bassanio, Antonio and Portia.
The medieval society of the play reflects a sense of order and propriety called the "Chain of Being," which is formed by a strictly defined hierarchy. Nobility and gentility follow the accepted behavior of living lavishly and spending generously. Wealth is crucial to support the lives of the glamorous aristocrats. They spend fortunes on servants and on entertainment, often borrowing huge amounts of money.
Money lending had earlier been deemed a sin by the Christian church. Usury, the lending of money at exorbitant rates, was one of the important issues of the times. Though it had been legalized in England in 1571, it was held in strong disapproval. Shakespeare's contemporaries considered usury to be bad for the economy and an immoral activity. Many books and pamphlets were published on this controversial subject, this debate was reflected in the drama of the period.
During the period of the play, Jews were persecuted because they were a religious minority. Part of their persecution was economic. They were banned from all respectable professions and many trades. However, they were allowed to manage money, a task considered beneath the dignity of Christian nobles and merchants. Stereotypes were developed and perpetuated about Jews, who were considered to be the worst usurers. Anti-Semitism flourished, and Jews were subject to a great deal of racial hatred. At the coronation of Richard I, for instance, Jewish massacres and tortures formed part of the planned celebration. The word "Jew" was synonymous with money-lender, and Jews were portrayed in dramas without a single redeeming feature. Jews were inevitably cast as miserly, vile, and vicious, without a single redeeming feature. In the play, this general condemnation is echoed through Antonio, and the presentation of Shylock is a reflection of this atmosphere.
The Merchant of Venice was officially entered into the Stationer's register in 1598, although it may have been composed a few years earlier around 1595. It was cited in the same year by Francis Meres in Palladais Tamia. It was formally published in a quarto in 1600. A second quarto appeared in 1619 and the "First Folio" in 1623. The earliest recorded performance of The Merchant of Venice was in 1605, when the King's men put it on before James I, with a repeat performance a few days later.
The two main stories in The Merchant of Venice are (a) Portia and the caskets, and (b) the pound of flesh. The "pound of flesh" tale has been found in ancient religious stories from Persia and India and has appeared in varying forms throughout western literature. Another play called The Jew, known to have existence in the 1570s, is speculated to be the direct source of this play. Another surviving Italian tale, Il Pecorone, written in 1378 by Ser Giovanni and printed in Italian in 1558, also bears a close resemblance to The Merchant of Venice.
SCENE SUMMARIES WITH NOTES
ACT I, SCENE 1
Summary
The play opens in Venice. Antonio, a successful merchant of the city, is melancholy and weary for reasons that he cannot explain to his friends Salarino and Salanio. They think that the sadness arises from all the worries he has in his shipping business. Antonio is neither worried about his ships, nor is he in love.
The three friends are then joined by Bassanio, Lorenzo, and Gratiano, and greetings are exchanged. Salarino and Salanio depart, leaving the task to Bassanio, Lorenzo and Gratiano of cheering Antonio. Gratiano accuses Antonio of cultivating a pose of sadness to win a reputation of great wisdom. Lorenzo scolds Gratiano for talking too much, and the two leave. Antonio asks Bassanio about his plans to woo a lady. Bassanio owes Antonio a debt in money and love, but he hopes to be in a position to pay all his debts if he can win the rich and beautiful Portia of Belmont in marriage. He, however, requires money to finance his trip to Belmont in order to seek Portia's hand. Antonio apologizes that his wealth is invested wholly in his ships, which are away at sea. Since his credit in Venice is good, he promises to borrow the necessary money for his friend. | |
Notes
The scene opens with Antonio displaying his melancholy, which cannot be linked to business or love. Instead, Antonio's vague discontent is a foreshadowing of the threat that Shylock presents. It is also a contrast to the predominant mood of Venice, which is portrayed as a glamorous world of elegance and gaiety.
Antonio is a true Renaissance gentleman, characterized by goodness and faithfulness. His weariness demonstrates his concern for his inner life. His spiritual idealism moves away from the pleasures offered by a material world. He holds "The world but as the world," thus showing his belief that the material world is only a testing ground for a person's soul. His conversation with his friends, Salarino and Salanio, expresses that he is vulnerable.
His friends believe that Antonio's sadness results from the fact that all his wealth is at sea. His ships are described as "Signiores and rich burghers on the flood." According to Salarino, other ships seem to "curtsy to them." Salanio, however, talks about the risks that the ships face. Salarino agrees, and says the ships are at the mercy of the wind and the rocks. The sea and the tempest are used as symbols of forces over which humanity has no control. His ships with their "gentle" sides are symbolic of Antonio's gentle character; the treacherous sea is symbolic of the trouble that the gentle Antonio will experience at the hands of Shylock. If his ships are able to master the seas, they will return with spices and silk, which are eagerly sought in the rich, exotic Venetian state. In return, Antonio will gather more wealth. In a like manner, Antonio must master Shylock in order to retain his wealth and his position in Venice.
Antonio points out that all his wealth is not at risk. He says that his poor spirit is not the result of any anxiety about his cargo. He also mocks the suggestion that he might be in love. Throughout the play, Antonio remains somewhat isolated. He seems rather at odds with the light, happy mood of those around him. The language of the characters reflects the difference. Salarino's and Salanio's rich poetry is elegant and colorful to match their moods. In contrast, Antonio's replies are very plain.
Antonio is joined by more friends -- Bassanio, Lorenzo, and Gratiano. Gratiano playfully mocks Antonio for acting melancholy in order to appear to be wise and deep. Despite his scolding Antonio for his bad mood, Gratiano is a sort of a clown. Antonio compares the world to "a stage where every man must play a part," to which Gratiano replies, "Let me play the fool." Antonio and Bassanio agree that Gratiano speaks too much and usually about nothing. Gratiano's merry mood does not, however, cheer Antonio.
Gratiano and Lorenzo leave Bassanio and Antonio alone to talk. Bassanio, having squandered his fortune, is deeply in debt to Antonio. Furthermore, his lifestyle cannot be supported by his present insufficient funds. Antonio responds to Bassanio's worries by promising to help however he can. His generosity is shown when he says to Bassanio, "My purse, my person, my extremest means lie all unlocked to your occasions." Antonio, thus, follows his heart rather than his head, for he himself has no money currently. But because of his goodness and his loyalty to friendship, Antonio is prepared to borrow the money that Bassanio needs to woo the rich and beautiful Portia.
Bassanio describes Portia as fair, beautiful, and virtuous. For all these reasons, he loves her. However, he admits that her wealth is an added attraction. He hopes to win her hand in marriage, which will allow him to restore his own fortunes. Bassanio's desire to marry and settle down reveals that he is now ready to move into a respectable and responsible manhood.
The exchange between Antonio and Bassanio establishes their characters and outlines their devotion to each other. Therefore, in this very first scene of the play, the Themes of generosity, love, and friendship are developed. In contrast, Antonio's melancholy and the symbols of the tempest and the treacherous sea foreshadow the trouble that lies ahead for the kind and generous Antonio.
SCENE SUMMARIES WITH NOTES
ACT I, SCENE 2
Summary
The second scene is set in Portia's room in Belmont. She confides to her maid, Nerissa, that she is tired and unhappy with the world. Nerissa attributes this mood to Portia's having too many worldly goods. Portia explains that it is because her dead father in his will denied her the right to choose her own husband. Instead, he left in his will the instructions that Portia's husband must be chosen by lottery. Each of her suitors must choose between one of the three caskets, one of gold, one of silver, and one of lead. Two of them have cryptic instructions, and one contains a picture of Portia. The man who finds the picture of Portia wins the right to marry her. Nerissa reassures Portia that her father probably did the right thing by leaving such instructions.
The two discuss the latest arrivals for Portia's hand. Portia is unimpressed by all her suitors. She jeers at the horse-loving and gloomy Count Palantine, the Prince of Naples. She mocks the unmanly Monsieur Le Bon of France. Nor does she spare the silent Falcon Bridge of England or the drunken Duke of Saxon. All these men have lost hopes of winning Portia. They have decided to return home without guessing. Nerissa mentions a Venetian who has visited when Portia's father was alive. Portia remembers him with favor and agrees that he is worthy of praise. They are interrupted by the news of the arrival of the Prince of Morocco. Portia hopes that this Prince will not be successful with the caskets. | |
Notes
Belmont, Portia's home, is a privileged and idealized world. It is a place where life seems charmed with a minimum of unpleasant elements. Beauty, fun, and romantic episodes are found in this setting. In spite of it all, Portia complains about weariness to Nerissa, her maid, who says that it is due to having too much wealth, which can be as bad as having no wealth. The suggestion is that Portia has been too self-indulgent. Portia agrees, but takes refuge in the acknowledged saying that it is easier to advise than to live by example. Her lack of any active interest in the routine of her life shows the power of her emotion over reason. She follows the dictates of her heart.
The terms of her father's will prevent Portia from choosing her own husband. Her virtue ensures that she will remain true to her dead father's wishes even though she is confident enough to choose her own mate. Portia explains how her father had devised a test involving three caskets of gold, silver, and lead. Whoever chooses the right casket will win Portia's hand in marriage. Nerissa is confident of the wisdom of the father's will and says that "holy men at their death have good inspirations." The will also states that those who choose incorrectly must promise to never woo another woman. The suitors who are currently wooing Portia decide that they will not take a risk and leave Belmont.
Portia casts off her weariness and engages Nerissa in witty conversation. She proves she is not a passive object of desire. She shows a mental agility and a cutting sense of humor. As Nerissa mentions the name of each of her new batch of suitors, Portia describes them mockingly. She says that she knows "it is a sin to be a mocker," but she cannot resist. Each of Portia's suitors fits into the English stereotype of various nationalities. She says that Count Palantine "doth nothing but frown," and "I had rather be married to a death's-head with a bone in his mouth." "The Frenchman is flighty; the Englishman speaks neither Italian nor any other language but English, and dresses badly; the Scot is a miser who will not even repay a "box of the ear"; while the German is too fond of drink, and she finds him "very vilely in the morning when he is sober, and most vilely in the afternoon, when he is drunk." To describe her suitors, Portia uses puns and witty descriptions. Nerissa reminds Portia of her meeting with the young and handsome Bassanio, who has visited Belmont while her father was alive. They both admired him as "a scholar and a soldier. . .worthy of praise." Their conversation is interrupted by a messenger who announces the arrival of another suitor, the Prince of Morocco
SCENE SUMMARIES WITH NOTES
ACT I, SCENE 3
Summary
In Venice, Bassanio meets Shylock and wants to borrow three thousand ducats for three months. Antonio guarantees the bond, even though it is against his principles to borrow or lend money for profit. Shylock at first is reticent, saying that Antonio, although a good man, has all his money tied up in ships; and one can never predict what happens at sea. Shylock finally decides to grant the loan but not until he speaks to Antonio in person. Bassanio invites Shylock to dinner with Antonio. Shylock refuses, since it is against his religious principles to eat pork. Antonio joins them and Shylock, in an aside to the audience, describes his hatred for Antonio. He abhors Antonio for being a Christian and also because he gives free loans to the needy. The rates of interest that Shylock can obtain on loans given in Venice, is thus reduced. In addition, Antonio has humiliated and mocked Shylock in public for his miserliness. Shylock vows that he will revenge himself on Antonio. | Your browser does not support the IFRAME tag. |
Shylock refers to the Biblical story of Jacob and Laban to justify his practice of taking interest on loans, and explains how usury is different from theft. Antonio derides his explanation. Antonio urges Shylock to make a decision about the loan. In a derogatory speech, Shylock names the injustices that Antonio has done to him in the past. It seems ironic to Shylock that Antonio, who has spat on him, should now seek his favor. Antonio replies that he would very likely repeat his past actions since they reflect his true thoughts. Antonio then explains that what he is seeking is a businessman's loan and not a friendly favor; therefore, Shylock should lend him the money since he is a good credit risk. In an apparently conciliatory manner, Shylock says that he will grant the loan with the somewhat humorous provision that if Antonio fails to repay the loan, Shylock will exact a pound of Antonio's flesh as compensation. Antonio, confident that his ships will return with a fortune long before the three month bond date arrives, agrees to the condition. Bassanio, suspecting foul intent, is alarmed with the terms, but Antonio reassures him that he will not fail to repay the loan.
Notes
In this scene, the animosity between Jew and Christian is presented. Shylock is developed as the accepted stereotype of a Jew in the seventeenth century; he is crafty, mercenary, and cruel. He also has a deep hatred of Antonio, and for good reason. Shylock is amused that a man who has spit on him, called him "cut-throat dog," and even kicked him should now approach him for a loan without any show of shame. These humiliations of Shylock and the Jew's bitterness over being treated so badly are the reflections of the Jewish-Christian relationship of the times.
Shylock replies in a mechanical manner, which underlines Shakespeare's dehumanization of his character. It also implies cruelty and moral degeneration. Shylock reflects that Antonio is a "good" man. For him, good refers to wealth and not to kindness or humanity. He stresses the fact that Antonio's wealth is all at sea. He observes that "ships are but boards, sailors but men," suggesting that Antonio's ventures may well be at risk. It is clear that he has kept himself abreast of the details of Venetian mercantile activity, since he can itemize all of Antonio's various ventures. Shylock embodies all that is inhuman and cold.
After demurring for some time, Shylock agrees to the loan. Despite his feelings, he will do business with Christians, for it is profitable for him; but he will not eat, drink, or pray with them. Shylock, therefore, is portrayed as an intruder in a gentile world and an outsider in many senses. Shylock's aside reveals a deep hatred of Antonio and a lust for revenge. He also resents Antonio because he lends money free, reducing the rate of interest, which he as a moneylender, can charge. Antonio claims to despise usury, but he is not above using it according to his need. Shylock reminds him of his professed superiority by saying, "Methoughts you said you neither lend nor borrow upon advantage." Shylock then uses Antonio's past insults to taunt him and now asks him how a dog could lend him three thousand ducats. Antonio suggests that Shylock should lend the money as he would "to thine enemy," imposing the usual terms of a loan. If the money is not repaid on time, Shylock can exact the penalty.
Shylock, using the situation to his fullest advantage, pretends to agree with this idea of business and suggests that no interest will be demanded out of "kindness." Pretending that it is a joke, "a merry sport," he suggests that if the loan is not repaid, he will cut off a pound of Antonio's flesh. Bassanio bridles at this bargain and says, "I like not fair terms and a villain's mind." Antonio reassures his friend about the improbability of losing all his ships. Antonio accepts Shylock's false act of open kindness.
SCENE SUMMARIES WITH NOTES
ACT II, SCENE 1
Summary
Back at Belmont, the Prince of Morocco woos Portia. The Moor brags about his past amorous adventures. He also says that she should not reject him because of his black skin; he swears that beneath his skin is red blood and a brave heart. Portia assures him that her choice is governed by her father's will. The Moor continues to brag about his many conquests and enumerates the feats he will perform on her behalf. He is apprehensive that luck will award the prize to someone less worthy than himself. The Prince finally agrees to the conditions of the lottery and promises that he will never woo another woman if he selects the wrong casket. | Your browser does not support the IFRAME tag. |
Notes
The Prince of Morocco is about to take his chances with the caskets. He is in flowing robes and his attendants are brilliantly dressed, which gives the setting a very colorful and exotic air. He is described as "A tawny Moor, all in white," and he assures Portia that beneath his dark skin, his blood is redder than "the fairest northward born." He boasts that brave men have feared him and "virgins" have loved him."
For the Elizabethan society, the Moor and the African were both thought of as barbarians. A marriage between a well-born Christian lady and a Moor, even though a Prince, would have been derided. Portia, though, is bound to marry Morochus by the terms of the will if his choice of caskets is right. The correct choice, therefore, becomes a measure of a man's inner worth. The Moor's arrogant and boastful nature precludes any thought of his ability to choose wisely.
Portia's tact is evident in her reply that the choice is not in her hands. She assures him that if she had free choice, she would not discriminate against the color of his skin. The Moor thanks Portia and continues to brag, while listing the brave and daring feats he will perform for Portia. His language is rich and rhetorical, but he is arrogant. He is apprehensive about the test of the caskets since his bravery and strength will be of little use to him. He thinks it is a question of pure luck and laments that "blind fortune" may lead him to the wrong casket; then the prize would be awarded to one less deserving.
Portia reminds the Moor of the conditions that must be followed if he wants to guess a casket. She tells him, "If you choose wrong, never speak to a lady afterward, in way of marriage." Morochus agrees and promises to swear in the temple to these conditions. Portia then plays the perfect hostess. Morochus will not make his choice until they have dined together.
SCENE SUMMARIES WITH NOTES
ACT II, SCENE 2
Summary
In a Venetian street, Launcelot Gobbo, the clown, is about to desert his master, Shylock. He wrestles with his conscience between loyalty and running away. He meets his old blind father, whom he has not seen for many years. Launcelot decides to have some fun with the old man and gives him crazy instructions for how to reach Shylock's house. Launcelot also insists that the old man's son, meaning himself, is now a gentleman. He finally relents and tells his father that he is the real Launcelot. He then tells his father that he plans to escape from Shylock's service and become Bassanio's servant.
Bassanio enters and agrees to take Launcelot on. When father and son leave, Gratiano meets Bassanio and asks to travel with him to Belmont. Bassanio fears that Gratiano's wild manner will damage his chances with Portia. He agrees to Gratiano's company on the condition that he will behave well. Gratiano swears he will behave, but requests that he enjoy himself at the party that Bassanio is giving for his good friends. They part looking forward to the party. | Your browser does not support the IFRAME tag. |
Notes
Launcelot is the clown of this play. He uses puns frequently and in a bawdy manner; he also uses parody and misuses words to make comedy. He is seen debating with himself about whether he should remain loyal to Shylock or leave his service. He declares that "a fiend" is tempting him to leave his master, but his conscience urges him to remain.
Launcelot provides a comic perspective of Shylock in which he calls him a devil, a common Elizabethan joke. He reflects that if he obeys the fiend and leaves Shylock, he would be following the devil; but to stay and continue in the service of Shylock means that he would live with "an incarnation" of the devil. He concludes, "I will run, fiend; my heels are at your commandment," humorously misusing words.
His father, Old Gobbo, enters. His eyesight is so poor that he does not recognize his son. He is at first convinced by Launcelot that his son is dead, and the conversation that follows is humorous. Old Gobbo, like his son, humorously confuses words, saying "infection" for "affection," "defect" for "effect," while Launcelot confuses "fruitify" with "certify" and "impertinent" with "pertinent." The conversation is a flashback to the one between Antonio and Shylock, in which Shylock distorted the meanings of the word "good" and "kindness." This encounter is also a parody of a traditional dramatic scene in which long lost relatives are united under unlikely circumstances.
Launcelot acts as another witness to Shylock's miserliness. He claims to have been starved in his service. He highlights the contrast between the characters of Bassanio and Shylock. While Shylock has wealth, Bassanio has "the grace of God." Bassanio agrees to take on Launcelot when the servant reveals that Shylock has constantly berated him for being an "unthrifty knave." Launcelot's appreciation of the difference between wealth and love has endeared him to Bassanio. Bassanio is also prepared to "rescue" Launcelot from Shylock so that the clown will have a Christian master.
SCENE SUMMARIES WITH NOTES
ACT II, SCENE 3
Summary
Launcelot goes to bid farewell to Shylock. When he arrives at the Jew's home, Launcelot finds that Shylock's daughter Jessica is alone. Jessica is sorry to see Launcelot go. She gives him a ducat and asks him to deliver a letter to Lorenzo, who is to be a guest of Bassanio for dinner. Jessica hopes to marry Lorenzo and become a Christian. She is ashamed to be her father's child and feels she has nothing but blood in common with him.
Notes
Jessica is portrayed as an unlikely daughter of Shylock. She is a warm, gentle woman, who is soft-spoken and attracted to joviality and wit. Being a Christian in spirit, she longs to become one by faith. She intends to elope with Lorenzo, who is a Christian and who has promised to marry her.
Jessica is unhappy with her present circumstances. She claims, "Our house is hell." She resents her father, which she knows is a " heinous sin;" but she feels she has nothing in common with him and wants to leave home. She is well aware that, by moral code, she should not desert her father; but to become a Christian, she must leave home. In Elizabethan time, being a Christian overrode all other obligations. Even though Jessica is committing an act of filial ingratitude by leaving home, it would be deemed the right thing since it would lead to her conversion to Christianity. Therefore, deception of her parent is depicted as a virtue under the circumstance. | Your browser does not support the IFRAME tag. |
When Launcelot comes to bid farewell to Shylock, Jessica is sorry to see him go. With his merry humor and clownish wit, Launcelot is the only one who has relieved the somber atmosphere of the house for Jessica. Launcelot acts as a ready catalyst to Jessica's Christian conversion.
ACT II, SCENE 4
Summary
Gratiano, Lorenzo, Salarino, and Salanio, make plans for the evening. Lorenzo suggests that they meet at his house to put on their disguises. Between four and six o'clock, they will find torchbearers to accompany them. Launcelot arrives with Jessica's letter to Lorenzo. Lorenzo recognizes the handwriting. She has asked him to take her from her father's house the same night. She will have with her much of Shylock's gold and jewels. Launcelot is in a hurry to leave, for he has to invite Shylock to dine with Bassanio. Lorenzo gives Launcelot some money to tell Jessica that he will meet her. As Salarino and Salanio leave, Lorenzo tells Gratiano of his plans to elope with Jessica. Jessica will disguise herself as a pageboy and pose as Lorenzo's torchbearer during the masked parade later in the evening.
Notes
The masked parade to be held later in the evening is a typical scene of the festive atmosphere of Venice. The participants dress up in various costumes, forming a procession that weaves its way through the streets of the city. The festivities proceed to a hall, where an elaborate performance of song, dance, and pantomime is enjoyed. Salarino and Salanio, in keeping with their earlier elegant speech and turn of phrase, are concerned with the fact that they have no torchbearers to accompany them. They feel that they should attend the masque properly accompanied or not attend at all. It is agreed that torchbearers will be found.
As Launcelot arrives with Jessica's letter, Lorenzo recognizes the handwriting and says, "a fair hand, and whiter than the paper it writ on, is the fair hand that writ." He commends Jessica further by saying, " If e'er the Jew her father come to heaven, it will be for his gentle daughter's sake." Lorenzo believes that Jessica is so virtuous that even a loathsome person may be given admittance to heaven by the sole fact of being her father.
Launcelot is in a hurry to leave for he must "bid my old master, the Jew, to sup tonight with my new master, the Christian." Before departing, he does accept some money to deliver Lorenzo's message to Jessica.
SCENE SUMMARIES WITH NOTES
ACT II, SCENE 5
Summary
Launcelot gives Shylock Bassanio's invitation and tells him about his new service with Bassanio. Shylock warns Launcelot that he will no longer be able to while away his time by not working as he had done while in Shylock's service.
Shylock calls for Jessica, who finally appears. He tells her that he fears some misfortune may befall his home. Jessica is to be in charge of keeping the house closed and locked. Hearing about the masked parade, Shylock warns Jessica to stay in the house and keep away from the revelry. Launcelot manages to pass on Lorenzo's message to Jessica. As Launcelot leaves, Shylock says that he is glad to see Launcelot go since he is a poor worker. Then Shylock leaves. | Your browser does not support the IFRAME tag. |
Notes
Launcelot has already begun to change due to his employment with Bassanio. He is becoming more serious and concerned. In Elizabethan time, it was the opinion that servants, fools, and morally weak people followed the examples set by their masters or mentors; therefore, the servant of an evil man became a negative person, while one of a righteous man learned goodness.
Shylock is not eager to attend the dinner at Bassanio's house, but he accepts the invitation out of malice, saying that "I'll go in hate, to feed upon the Prodigal Christian." It is strange that Shylock should even contemplate the invitation, considering his earlier vehemence that he would not eat, drink, or pray with Christians. Shylock is so full of hatred that it is almost believable that he is ready to literally to feed on Bassanio.
Shylock is reluctant to leave the house since he has had a dream about moneybags the previous night. Now he is worried about his property. He warns Jessica to stay inside and keep the doors locked. He also warns her not to "gaze on Christians with varnish'd faces," a reference to the painted masks that the participants of the processions use for disguise.
It is apparent that Jessica leads a cloistered life. She is forbidden by her father to join in any merry-making and must not even look out into the street at a procession passing by. Shylock's hatred for any form of revelry makes him a further outsider to the merry life of Venice.
Shylock asks Jessica to guard the house securely and leaves. Since Jessica has made her plans to elope with Lorenzo this same night, she is delighted that her father is going out. It will make it easier for her to take with her a large portion of Shylock's wealth. It is also ironic that Shylock has such faith in Jessica, who is planning on betraying and deserting her father.
SCENE SUMMARIES WITH NOTES
ACT II, SCENE 6
Summary
Outside Shylock's house, Gratiano and Salarino wait for Lorenzo in their disguises. Lorenzo is late. When he finally arrives, he apologizes, saying that business has kept him. He calls up to Jessica's window, and she appears dressed in boy's clothes. She throws down a casket filled with jewels and money. She is ashamed of her thievery but reasons that love is blind. Lorenzo urges Jessica to come down quickly for they are expected at Bassanio's house. Jessica replies that she will join them with more ducats as soon as she locks all the doors. Lorenzo describes her as beautiful and faithful and vows his love for her. Jessica joins them and hurries off with Lorenzo and Salarino. Left behind, Gratiano meets Antonio, who arrives with the news that the masque is to be canceled. Bassanio must sail at once for Belmont since the winds are favorable.
Notes
Lorenzo's friends are surprised at his lateness since lovers are usually impatient to meet. Salarino draws an elegant comparison between the eagerness of new lovers and the weariness of the routine of married life. Gratiano compares the joys of novelty to the indifference caused by experience. He likens this analogy to a new ship setting off jauntily on a voyage only to return home a prodigal, in a weather-beaten condition. Lorenzo finally arrives and finds Jessica to be "wise, true, and fair." The charming and simple dialogues between the couple show their love to be pure and sincere. Ashamed of her boy's clothes and of the imminent betrayal of her father, she is not yet ready to "hold a candle" to her shames. | Your browser does not support the IFRAME tag. |
When Gratiano see Jessica in disguise, he exclaims, "Now, by my hood, a gentle, and no Jew." While calling Jessica gentle, he is also punning on the word "gentile," referring to Jessica's intention and longing to become a Christian. Ironically, by her action, Jessica has broken two of the Ten Commandments honored by both Jewish and Christian religions: to honor one's parents and to never steal.
Time becomes a factor in the scene. There is a discrepancy between the times of the evening's schedule as outlined earlier by Lorenzo and the actual time of the events taking place. It is really much later than earlier planned, and no reasons are given for the discrepancy. But all the plans have to be canceled because of time. Antonio arrives with news that the masked parade must be canceled. Bassanio must sail at once to Belmont or miss the winds.
ACT II, SCENE 7
Summary
In Belmont, Portia and the Moroccan have dined, and he has sworn in the temple to the conditions of pursuing Portia. It is now time for the Prince to face the caskets, each of which has an inscription on the outside to be read. The prince pauses over each casket to guess which contains Portia's portrait. The first casket made of lead reads, "Who chooseth me must give and hazard all he hath." He thinks that lead, being a base metal, is surely worthless and deserves nothing. The next casket, made of silver, says, "Who chooseth me shall get as much as he deserves."
Over this, the prince hesitates. He concludes that his birth, breeding, fortune, and grace make him deserving of Portia, not the silver. He passes on to the last casket, made of gold, which tells the suitor, "Who chooseth me shall gain what many men desire." He believes that this is the casket that contains the portrait of Portia since the lady is sought by all the world. He concludes that gold is the only metal worthy of being associated with the portrait of Portia. As he opens the casket, he finds a skeleton's head with a message in its eye socket. It reads, "All that glistens is not gold." The Moor is saddened that his mission has failed and bids Portia a hasty farewell.
Notes
In this scene, the Moor's egoistic sense of his own value comes to the fore as he looks at the silver casket. For all his royalty, he is a man of commerce. He exaggerates his own value, and his manner, bearing, and worth make him unworthy of Portia. He is concerned with outer appearances and so makes a superficial choice. He opens the gold casket and finds the skeleton's head. The death's head and its message underline the impermanence of earthly wealth. The play revolves around friendship and celebrates things of the heart and soul, which endure, while things of the flesh perish. It is ironic that he makes his choice solely by appearance while he has earlier asked Portia not to make the same mistake. Portia is delighted at his failure.
As the dejected Prince leaves, Portia remarks, "Let all of his complexion choose me so." Here, "complexion" can mean disposition or temperament, as well as color of skin. What her father wanted for Portia is a husband with a gentle and humble temperament and inner nobility.
SCENE SUMMARIES WITH NOTES
ACT II, SCENE 8
Summary
This scene opens with Salarino and Salanio in conversation on a street in Venice. They discuss how Gratiano and Bassanio have sailed to Belmont on the same night of Jessica's elopement. They also tell how Shylock is outraged by the flight of his daughter and the loss of his ducats and jewels. Suspecting that his daughter and Lorenzo were on the ship with Bassanio, he woke the Duke of Venice to help him search the boat; but they arrived after the boat had sailed. Antonio, who was at the dock, assured them that the couple was not on the ship.
Shylock is crazed with anger and hatred and in a state of confused passion. Antonio's friends fear that in his current state of mind, Shylock will definitely want revenge from Antonio if his debt is unpaid on the due date. They worry about Antonio's fate, for they have heard reports that his ships may be lost at sea. In fact, Salanio has heard from a Frenchman that a Venetian boat, laden with goods, has sunk. The two then discuss Antonio's loving nature, and Salarino gives an account of Antonio's kind farewell to Bassanio. Both men leave to search for Antonio in order to cheer him up. | Your browser does not support the IFRAME tag. |
Notes
Salarino and Salanio are used in this scene to describe Bassanio's departure and Shylock's reaction to Jessica's elopement. The pair is scornfully amused at Shylock's outrage and portrays him as a raving fool. They claim he cannot decide which to mourn more-- the loss of his daughter or that of his ducats.
The men then discuss reports of ships lost at sea. Salarino hopes that the richly laden ship that has been wrecked in the English Channel does not belong to Antonio. This mention of the doomed ship casts a somber mood on the scene and foreshadows future events in the play. Antonio's character is again developed in the scene. His gentility of nature is defined by his farewell to Bassanio. It is obvious that he cares deeply for his friend and is willing to do much for him. His standing in society is brought out as the Duke accepts his word that Lorenzo is not on Bassanio's ship. Antonio is also contrasted once again with Shylock. Antonio, with no ounce of jealousy, takes pleasure in Bassanio's love for Portia; but Shylock cannot take any pleasure at his daughter's romance. Antonio does not worry about money, freely borrowing from Shylock to help Bassanio in his pursuit of Portia; Shylock is driven crazy by the fact that Jessica has stolen his wealth, and he seems to mourn its loss as much, if not more, than the loss of his daughter. Antonio is truly as selfless a man as Shylock is selfish.
ACT II, SCENE 9
Summary
In Belmont, the Prince of Arragon has arrived to court Portia. He is about to try his luck with the caskets. Portia reaffirms the rules with him. If he chooses wrongly, he must leave immediately without complaint and never woo another woman. The Prince agrees to the conditions and begins the selection process. He passes over the lead casket because it is a common metal. He spurns the golden one because he will not choose what is desired by many, not wanting to associate himself with the common desires of the crowd. At the silver casket, the Prince decides that since he himself is full of merit, he is the one deserving of Portia's hand. He smugly opens the silver casket and discovers a portrait of a fool. The Prince of Arragon is greatly offended and departs immediately.
A servant enters with the news of the arrival of a young Venetian. Portia and Nerissa go forward to greet the visitor.
Notes
The Prince of Arragon disdains to group himself with "the barbarous multitude." He refuses to choose by appearances "what many men desire." He, therefore, rejects the gold casket since most of humanity hankers after gold and judges by the outward appearance without seeing the inner worth. He is, however, blinded by the sense of his own worth, which he believes is great enough to deserve Portia. As a result, he fails the test of humility. The silver casket that he opens reveals a fool's head, which is a moral symbol. It is what his pride and vanity deserves. The Prince feels foolish and quickly leaves.
A messenger arrives bearing valuable gifts that create a favorable impression. He announces that a young Venetian gentleman has come to see Portia.
SCENE SUMMARIES WITH NOTES
ACT III, SCENE 1
Summary
In Venice, it is rumored that Antonio's cargo-laden ship is sunk in the English Channel. Salanio and Salarino are currently bemoaning this misfortune for their friend. Shylock comes upon the two of them in conversation. He accuses them of helping Jessica to escape. Shylock also warns that Antonio should be careful since he has mocked him publicly for being a moneylender. Finally, Shylock claims that revenge is natural to all human beings, whether Christian or Jewish. At the end of the play, Antonio disproves this theory of Shylock. Tubal, another Jewish merchant, approaches the group just as Salarino and Salanio are about to leave for Antonio's house. Tubal has just returned from Genoa, and Shylock asks him if he has found Jessica. When Tubal answers negatively, Shylock raves about his lost fortune and the money he is spending in trying to locate her.
Tubal states that one of Antonio's ships has definitely been wrecked. When Shylock hears the news, he begins to make plans for arresting Antonio, when he cannot repay the debt. He asks Tubal to find a sheriff's man for him. | Your browser does not support the IFRAME tag. |
Notes
Once again, information is gained through the conversation of Salarino and Salanio. They report on the news of Antonio's wrecked ship and Shylock's state of mind. As Shylock himself enters, they call him devil and make fun of him. They tease him mercilessly about the loss of his daughter. Salarino tells him that Jessica, though his own flesh and blood, has very little in common with him; he claims, "There is more difference between thy flesh and hers, than between jet and ivory."
When the crazed Shylock hears about the loss of Antonio's ship, he determines to extract his pound of flesh from Antonio when he fails to repay his debt in a timely manner. He tells Salarino and Salanio that Antonio's flesh will "feed" his revenge. Shylock then lists the wrongs done to him by Antonio all because he is a Jew. In this famous speech of justification for seeking revenge, Shylock asks, "Hath not a Jew eyes?" He argues that there is no significant difference between his disposition and that of the Christians. Shylock claims that he is as human as they, with "hands, organs, dimensions, senses, affections, passions." It is significant that he makes no mention of having a heart in this diatribe. It is also intentional and ironic that he claims equality only at the lowest levels of human beings, the basic physical form and pure instinct.
Elizabethan Christians hated Jews, here embodied in Shylock. Although Shakespeare gives voice to the persecuted minority, who is allowed to claim equal humanity with gentiles, he undercuts this claim by having Shylock only claim bodily equality. Shylock shuns gentle ways and lacks humility, generosity and charity. Antonio, who characterizes Christians, proves he is gentle, generous, and loyal and has a nobler ideal of humanity. Shylock is more in a frenzy than ever because of the money he is spending in the search for his daughter. He openly states his bitterness when he says, "I would my daughter were dead at my foot, and the jewels in her ear." He is in despair at the news that Jessica is squandering his fortune and appears sorrowful that Jessica has even traded a ring given to him by her mother for a monkey. His harangue against Jessica competes with his delight in the news of Antonio's possible ruin.
Another Jew, Tubal, plays on Shylock's greed. He raises Shylock's spirits and deflates them skillfully, by alternating his references, first to Antonio, and then to Jessica. Shylock appears to be an outsider even amongst the Jews. It is no small wonder that he says he now feels the curse of the Jew.
SCENE SUMMARIES WITH NOTES
ACT III, SCENE 2
Summary
In Belmont, Bassanio has fallen in love with Portia, and she seems to also care about him. She pleads with Bassanio to wait for a few days before choosing from the casket, for she fears losing this man. The eager Bassanio, however, wants to take the test at once, for he cannot bear to wait for her any longer. Portia expresses her devotion to Bassanio and tries to prolong the moments before the choice. The two trade words charged with love. To ease the tension, Portia asks for music to be played.
Bassanio approaches the caskets. He recognizes that ugliness is often concealed by outer beauty and refuses to be deceived by outward appearances. He thinks aloud that cowards often have heroic facades, and women who appear beautiful are often gilded peacocks. As a result, he refuses the silver and gold caskets and opts for the lead one. Opening it, he finds a picture of Portia, which he thinks is far inferior to the original. He kisses Portia and praises his good luck. | Your browser does not support the IFRAME tag. |
The two pledge themselves to each other. Portia offers all that she owns to her future husband as a token of her love. She also gives him a ring, which Bassanio promises to wear forever. Nerissa and Gratiano announce that they too have fallen in love. As the two couples rejoice, Salarino, who arrives with Lorenzo and Jessica, interrupts them. There is a message for Bassanio from Antonio. In the letter, Antonio asks Bassanio to come to Venice at once, before Antonio loses his life. Portia, seeing Bassanio lose color, asks about the letter's contents. Bassanio tells her about his indebtedness to Antonio and the fact that Antonio's ships have been lost. Shylock has asked the Duke's permission to extract his pound of flesh from Antonio. Confirming that her father would rather have Antonio's flesh than twenty times the owed amount, Portia offers to pay the debt twenty times over. Portia also advises Bassanio to leave immediately for Venice. They will have a quick wedding and Bassanio can then depart.
Notes
Bassanio and Portia are clearly receptive to each other's feelings. They quickly learn to care deeply for one another. Portia worries about Bassanio choosing the right casket and wants to postpone the decision, but Bassanio is eager to proceed. To ease the tension of the moment, she asks for music to be played. The song that is heard begins with the words, "Tell me, where is fancy bred?" In fact, each line of the song ends in a word that rhymes with "lead." Perhaps, Portia is subconsciously trying to help Bassanio in his choice, since she cannot openly help him. It would break her oath to her father. In truth, Bassanio, with his noble nature, needs no help in making the right decision.
Bassanio rejects the gold casket, for he sees gold as deceitful and superficial; he rejects the silver casket for being symbolic of money. His preference for the lead casket shows that he knows that true worth is often found beneath false appearances. Bassanio's choice proves to be correct, which delights both Bassanio and Portia. She exclaims that her "ecstasy" is an "excess." Excess is another word used for interest or usury. This use of commercial language to express love shows that the romantic and idealized setting of Belmont is constantly under threat from the commercial and mercantile nature of Venice. For Portia, money's sole function is its use in the service of love. She wishes she were not only "a thousand times more fair," but also "ten thousand times more rich" so that she could serve Bassanio better. The lovers are perfectly matched in charm, virtue, nobility, generosity, and love.
The ring given by Portia to Bassanio is to symbolize the unending bond between them and the permanence of their love. In a later scene, this ring will act as an important link between the commercial world of Venice and the idealized one of Belmont.
In this scene, the affect of associating with better people is seen in Gratiano. His association with the noble Bassanio has taken him from foolish and garrulous behavior to the true joys of love. Nerissa too, through the time spent with Portia, is now worthy of a gentleman. The scene truly points out the value of friendship.
Bassanio's happiness has been made possible by Antonio's generosity. Portia has befriended and aided Nerissa; and Gratiano's friendship with Bassanio has made his love for Nerissa a possibility.
The happiness of the two couples is interrupted by Salanio's message that all of Antonio's ships have been lost, followed by the news that Shylock has been insisting on the cruel repayment of his bond. Shylock has told the Duke of Venice that unless the bond is paid, no future business or contract in Venice will have any value. The matter is set for court.
At this point in the scene, the value of friendship is again developed. In his letter to Bassanio, Antonio displays his willingness to die for his friend. Portia's generous spontaneity to repay the bond for Antonio shows that she values the importance of friendship over money. She welcomes the opportunity to give for love. It is also shown that she places a high value on friendship as she urges Bassanio to go to Antonio's aid as soon as they are married.
In this scene, each character lives up to their ideals. Antonio shows his courage and forgiveness; Bassanio is prepared to sacrifice his happiness and his life to save Antonio; Portia shows her generosity and her respect for friendship; Jessica, now a Christian, is wholly virtuous. By contrast to these Christians, Shylock the Jew is developed as a totally selfish and vindictive character.
SCENE SUMMARIES WITH NOTES
ACT III, SCENE 3
Summary
In a street in Venice, Antonio pleads with Shylock to forgo the terms of the bond. Shylock, however, closes his ears to all pleas. Antonio realizes that Shylock will have his revenge in payment for all his earlier humiliations.
Salanio expresses the hope that the Duke will intervene and prevent Shylock from claiming his bond; however, the realistic Antonio replies that the Duke has to uphold the law of Venice. He understands that the state relies on trade for its prosperity. Unless justice is strictly upheld, the commercial reputation of Venice will be tarnished, and trade will suffer. Antonio, therefore, abandons all hope. His only wish is that he will be able to bid Bassanio a loving farewell.
Notes
Shylock refuses to listen to Antonio's pleas for mercy. He states, "I'll have my bond. Thou call'dst me dog before thou hadst a cause, but since I am a dog, beware my fangs." Shylock insists on his pound of flesh. | Your browser does not support the IFRAME tag. |
Although Salarino tries to console Antonio by saying that the Duke will never allow the bond to be claimed, Antonio knows that the Duke cannot "deny the course of law." Antonio shows he is realistic about life and accepting of his fate. He can accept his death, but he hopes to see Bassanio before he dies. Friendship and loyalty are of utmost importance to this noble man.
ACT III, SCENE 4
Summary
Back in Belmont, Lorenzo assures Portia that Antonio truly deserves her generosity in allowing Bassanio to go back to Venice on their wedding day. Portia suddenly says that she and Nerissa have decided to stay in a monastery until Bassanio returns. Lorenzo and Jessica promise to look after her house in her absence.
In fact, Portia has different plans. She secretly instructs her servant Balthazar to deliver a letter to her cousin Dr. Bellario in Padua. He should bring her the robes and the answering note to the ferry bound for Venice. Portia confides in Nerissa that they will soon see their husbands. The two are to dress in borrowed clothes and impersonate the dashing manners of young noblemen.
Notes
The conversation between Portia, Lorenzo, and Jessica is in keeping with the nobility and elegance of the well bred. Portia is willing to help Antonio because she feels that she and Antonio are already united through their mutual love of Bassanio. She also feels that the money she has spent is a small price to save such a friend's life.
Portia's avowed intention to spend time in prayer in a monastery is a ruse. She dresses like a nobleman and plans to go to Venice and help Antonio. Portia is delighted at dressing up as a boy. She cleverly imitates a young man's swagger, boasting, and mannerisms. Nerissa, too, joins in this charade with puns and great merriment. In sharp contrast, Jessica is embarrassed and shamed when she assumes a boy's disguise.
ACT III, SCENE 5
Summary
Launcelot, the clown who is now Bassanio's servant, has remained in Belmont while his master journeys to Venice. He talks with Jessica in a garden and jests about her salvation, saying that she will be damned for being a Jew. She argues that her marriage to Lorenzo will make her a Christian, and she will be saved.
Lorenzo enters with the news that a Moorish girl is with child by Launcelot. The clown merely replies with a joke. An irritated Lorenzo orders him to see that dinner is ready. After more bantering, Launcelot leaves. Lorenzo asks Jessica what she thinks of Portia. Jessica asserts that Portia is without peer. She feels sure that Bassanio will lead a good life with such a wonderful companion. Lorenzo playfully replies that he is as wonderful a mate as Portia is. The two depart for dinner.
Notes
Launcelot teases Jessica about being a Jew and being damned. It, however, is no joking matter; Jessica's salvation is a serious concern to her and to the Elizabethan audience. Lorenzo gives the assurance that her marriage to a Christian and her conversion to Christianity will redeem her.
Launcelot's character has undergone a great change after he has joined Bassanio's service. From a clownish, foolish bumpkin, he is now wise and witty with an inclination to punning. The clown's conversation inspires Lorenzo to pun with Jessica at the end of the scene, although Lorenzo describes himself as a "plain man," who uses "plain words."
SCENE SUMMARIES WITH NOTES
ACT IV, SCENE 1
Summary
The court in Venice is in session. The Duke of Venice expresses sympathy for Antonio, who thanks the Duke for the efforts he has made in dissuading Shylock from claiming his bond. Antonio holds no grudges, for he recognizes that the law must be followed. The Duke thinks that Shylock may have brought events to this stage to torment Antonio and feels that Shylock does not really intend to have his pound of flesh. The Duke asks for Shylock to be brought in. In a final attempt to dissuade Shylock, the Duke tells him that everyone expects mercy to be shown Antonio at the last moment. He also says that Antonio has been tormented enough and should now be released. It is also hoped that Shylock will reduce the amount Antonio owes him, taking pity on his reduced circumstance. Shylock, however, has sworn to collect his due and nothing will dissuade him. He could have three thousand ducats instead of flesh, but he has refused this offer consistently. He maintains that his stubbornness is the result of the loathing that he bears for Antonio.
Bassanio and Shylock argue about killing Antonio. Antonio interrupts and says that there is no point in trying to dissuade Shylock. Bassanio offers more and more of Portia's money to the Jew without any result. The Duke again asks Shylock to show mercy, reminding him that sometime he may need some mercy himself. Shylock's reply is that he will not seek pity since he does nothing wrong. He reminds the Christians that they are not guiltless, especially since they keep slaves whom they abuse. When asked to free their slaves, the Christians always refuse, saying that they have purchased them legally. In a like manner, Shylock feels justified in asking for his bond. | Your browser does not support the IFRAME tag. |
As the Duke prepares the final judgment, Bassanio tries to cheer Antonio and offers to die in his place. Just then, Salarino announces the arrival of the messenger of the learned doctor of law, Bellario of Padua. Nerissa arrives, dressed as a lawyer's clerk, and delivers the message. In this letter, Bellario asks the court to accept a young lawyer in his stead, since he himself is unwell and cannot come to defend Antonio. The letter states that this young lawyer from Rome, named Balthazar, is acquainted with the details of the case. He also asks the Duke not to judge the lawyer by his youthful appearance, since he is in reality very wise.
Shylock sharpens the knife for Antonio's flesh. Gratiano likens him to an animal, but Shylock mocks such youthful passion and asserts that he is legally in his right. The Duke sends Nerissa out to fetch her master. Portia enters, disguised as a young doctor of law. She asks Shylock and Antonio to identify themselves. Upon being asked, Antonio confesses to the bond. She tells Shylock that he is within his legal rights, but that he should show mercy, for mercy blesses the one who gives it as well as the one who receives it. She then argues that mere justice without mercy is insufficient, for mercy pays homage to God, who is all merciful. When Shylock is not persuaded, the young lawyer (Portia) asks Antonio if the money to repay the bond is available. Bassanio again offers to repay the debt many times over. He also pleads with the lawyer to disregard the law and perform a great deed. Portia replies that interference with the law is not possible, for it will set a wrong example. Hearing this, Shylock is gleeful and refuses Portia's offer of three times the debt as compensation. Portia instructs Antonio to lay bare his chest to receive Shylock's knife, which will cut away the pound of flesh closest to his heart. She asks Shylock to have a surgeon at hand to prevent Antonio from bleeding to death. Shylock refuses even this concession, since it is not stated in the bond. Antonio bids farewell to Bassanio, saying that he prefers to die for his beloved friend rather than live to a wretched old age. A grieving and guilt-ridden Bassanio says that he would sacrifice his all if he could save Antonio. Gratiano wishes his wife were in heaven to plead with the power there to bring about a change in the Jew. Both Portia and Nerissa remark that it is fortunate that their two wives are not present to hear such statements. Shylock berates his absent daughter for having married a Christian, saying he would have preferred her to wed a thief.
Portia pronounces the judgment that a pound of Antonio's flesh legally belongs to Shylock. As Shylock prepares to cut, Portia warns him that only a pound of flesh is assigned to him, but not a single drop of blood is he entitled to. If he spills one drop of Christian blood then all his property will be confiscated by the state of Venice. Shylock is shocked. He knows that it is impossible to cut away flesh without the loss of blood. He reverses his stand and asks for three times the debt instead. Bassanio eagerly offers the money, but Portia intervenes and asserts that the bond must be executed. She insists that Shylock cut off a pound. If it is a little more or a little less, then Shylock shall die and all his goods be confiscated.
Shylock now pleads only for the principal. Again Portia stops Bassanio from giving Shylock the money. She states that he shall only have flesh and that at danger to himself. A defeated Shylock prepares to leave the court empty-handed when Portia stops him. She cites a law of Venice that says if an alien plots to take a Venetian life, half his goods will be given to the citizen while the other half will belong to the state. Moreover, the life of the offender is at the mercy of the Duke. Before he is asked, the Duke pardons Shylock his life, but Shylock is unmoved by this display of mercy. He maintains that taking his goods is equal to taking his life.
Antonio asks the Duke to allow Shylock to keep half of his goods. His own half of Shylock's property will pass on to Lorenzo upon Shylock's death. Antonio has two other conditions for pardon: that Shylock become a Christian and that he leave all goods to Lorenzo and Jessica in his will. Shylock, having accepted these conditions, leaves the court a broken man. Bassanio offers Portia as a fee the three thousand ducats that were due to Shylock. Portia declines the money. Bassanio insists that Portia should accept something for her services. Relenting, she asks Antonio for his gloves and Bassanio for the ring he is wearing given to him by herself. Bassanio tries to avoid giving the ring by giving various reasons. Portia claims that the ungrateful Bassanio does not really want to give her anything at all. Bassanio admits that it is the engagement ring given by his wife. He explains that he is under a vow never to part with the ring. Portia leaves with Nerissa. Antonio pleads with Bassanio to give the ring to the lawyer who saved his best friend's life. Bassanio is persuaded and sends Gratiano with the ring after the lawyer. They plan to leave for Belmont the following morning.
Notes
Antonio's trial celebrates the qualities of mercy, friendship, and love. All the main characters come together in the play for the first time, and the audience (or the reader) is taken through Shakespeare's interpretation of justice. It is important, however, to remember that Shylock is being judged by people who are less than perfect. The Duke, who presides over the court, is sympathetic to Antonio and begs for mercy for Antonio. Antonio, although thankful to the Duke for his efforts, recognizes that the law must be followed. His fiery hatred of Shylock with which he started the play has abated, and Antonio is prepared to suffer at Shylock's hand. When Shylock is brought into the court, the Duke appeals in vain to "human gentleness and love," which the Jew does not possess. He then tells Shylock that everyone expects him to relent, and that Antonio has suffered enough. The Duke ends his plea by stating, "We all expect a gentle answer, Jew."
Totally in character, Shylock makes no attempt to justify himself, and refuses the appeal made by the Duke. He has sworn "by our holy Sabbath" to collect his dues. Bassanio then pleas with Shylock to change his mind, but to no avail. Antonio interrupts Bassanio, saying that one might well ask the wolf why he eats lambs, as try to soften Shylock's hard heart. He compares Shylock's temperament with the images of destructive forces and says that it is useless to appeal to Shylock on the grounds of decency and kindness since his evil differentiates him from all.
Bassanio offers Shylock six thousand ducats now, but Shylock will not relent. The Duke makes a Christian appeal for mercy, reminding Shylock "How shalt thou hope for mercy, rendering none." Shylock, however, firmly believes that he is doing nothing wrong and answers in legal terms, stating "What judgment shall I dread, doing no wrong?" He then claims that the Christians are the ones who do wrong, treating their slaves abjectly. Significantly, no one answers Shylock's accusations. The Christians have appealed to Shylock's sense of humaneness, but they do not treat their slaves in a humane manner themselves.
Portia's audacious plan is put into action as Nerissa enters and gives the Duke a letter from Bellario. Then Portia enters as the young, learned lawyer, who is familiar with the details of the case and who brings grace and mercy into the courtroom. She is introduced as Balthazar to Antonio and to Shylock. As Antonio confesses to the bond, she tells Shylock that he is within his legal rights to reclaim his bond, but that he should be merciful. Portia extols the quality of mercy with now famous words, "The quality of mercy is not strain'd. It droppeth as the gentle rain from heaven upon the place beneath. It blesseth him that gives and him that takes." Since mercy is a quality attributed to God, the merciful ones, with their deeds of compassion, come closest to divinity. Portia's speech underlines a main theme of the play, which is the value of kindness and generosity. The quality most appreciated by Elizabethan audience is the ability to give freely without the hope of profit.
Shylock is not affected by the eloquence of Portia's speech. He rebuffs her every offer. He also rejects Bassanio's offer of even more ducats. As a result, Bassanio turns to Balthazar (Portia), and pleads with her to stretch the law in Antonio's favor. Her reply is that the law is unchangeable. Only Shylock can decide to set the law aside through his mercy. If the law itself is tampered with in this one instance, it will set a precedent, cause "many an error," and make Venice an unacceptable place to do business. An elated Shylock praises this wise, young judge as "a Daniel come to judgment--yea, a Daniel! O wise young judge, how I do honor thee!" The reference here is to the Biblical figure of Daniel who gave justice to Susannah.
Portia pretends to relent and says the Jew may claim his pound of flesh. She directs Antonio to prepare himself for Shylock's knife, which he has been sharpening in anticipation. Antonio bids Bassanio, his dearest friend, a tearful farewell. He asks Bassanio to "commend me to your honorable wife, say how I lov'd you." A guilt-ridden and grieving Bassanio answers that he would sacrifice his wife, his wealth, and "all the world" if it would save his friend from death. Portia interjects: "Your wife would give little thanks for that if she were by to hear you make the offer." Gratiano takes the irony further as he wishes his wife to already be in heaven and with the angels so that she could "entreat some power to change this currish Jew."
Antonio's courage, as he prepares to die, is exemplary. Just as the suspense and the tension reach their height, Portia produces a legality in the bond by stating, "This bond doth give thee here no jot of blood," only a pound of flesh. The wise Portia is now playing upon Shylock's literal interpretation of the law, for which Jews were well known. Shylock is dumbstruck, for he knows he cannot take a pound of flesh without drawing blood. He reverses his stand and is ready to accept the offer of triple the money due. Bassanio eagerly offers him the money, but it is now Portia's turn to insist that he must keep to the strict terms of the bond. She reminds him that "he hath refused it in open court," and may have only justice and the exact terms of the bond. Appropriately, Gratiano echoes the words with which Shylock has praised Portia. She is "an upright judge" and "a second Daniel." Gratiano then cries for his idea of justice, "an eye for an eye."
A defeated Shylock prepares to leave, but Portia stops him. She says "the law hath yet another hold on you." Any alien who plots against the life of a Venetian may be forced to give half his goods to the citizen, and the other half to the state. Moreover, the life of the alien "lies in the mercy of the Duke only." Portia's knowledge of the laws of Venice has left Shylock totally defenseless. Portia advises Shylock to get on his knees and "beg mercy of the Duke." Before he is asked to do so, the Duke pardons Shylock his life and offers to reduce his debt to the state to a mere fine. The Duke becomes the first picture of mercy in the play. The stingy Shylock, however, is unmoved by this display of mercy, and says, "You take my life when you do take the means whereby I live."
Antonio then steps in as the merciful one. He asks the court to pardon Shylock of his debt to the state. The half of Shylock's wealth that will go to Antonio will be passed on to Lorenzo at Shylock's death. The Jew must also leave all his possessions in his will to Lorenzo and Jessica. Antonio's final condition is that Shylock becomes a Christian. Antonio thus fulfills his role as a Christian by trying to save Shylock from damnation.
Although Shylock receives mercy, he pays a high price in his acceptance to become a Christian. His pain and humiliation are immense since he has such a deep hatred for Christianity. His torture increases at the knowledge that the Christian man who has eloped with his daughter will become his heir. A devastated Shylock accepts the conditions and asks permission to leave the court, saying that he is ill.
When the court is adjourned, Bassanio wants to give Portia the three thousand ducats intended for Shylock. The lawyer courteously refuses the offer. She says that Antonio's freedom is sufficient reward. Bassanio is insistent that Portia take some fee for her services, even if a token. Portia takes Antonio's gloves to wear, and then, noticing Bassanio's ring, she asks for it as a token of tribute. Bassanio explains that it is a ring given by his wife and emphasizes that he made a vow "Never sell nor give nor lose it." As Portia turns and leaves with Nerissa, Antonio pleads with Bassanio to give up the ring. Bassanio, devoted to Antonio and the friendship he has displayed, agrees to take off the ring. Bassanio sends Gratiano after her with the "payment".
This scene is one of the more masterful ones in all of Shakespeare. The explanation of justice and mercy, the irony that surrounds Shylock, the gentleness, kindness, and friendship of the Christians, in contrast to the stingy and unrelenting nature of the Jew are all perfect examples of why the writing of Shakespeare has lived through the age.
SCENE SUMMARIES WITH NOTES
ACT IV, SCENE 2
Summary
Portia asks Nerissa to hand over to Shylock the new will made according to the conditions set at court for his signature. Gratiano catches up with the ladies and gives Bassanio's ring to Portia. Nerissa also asks Gratiano for his ring as a token of tribute. Gratiano has little choice but to hand over the ring, which he has also promised his wife he would never part with. The ladies then plan to return to Belmont the same night.
Notes
Portia accepts the ring that Gratiano has brought. She and Nerissa successfully contrive to take his ring from him as well. The ladies then relish the thought of teasing their respective husbands when they return to Belmont. | Your browser does not support the IFRAME tag. |
ACT V, SCENE 1
Summary
In Belmont, Lorenzo and Jessica pass their time pleasantly. They talk of the beauty of the night and recount great lovers of history. Stephano, who is Portia's messenger, interrupts them. He tells that Portia is expected to return from the monastery before daybreak. Launcelot arrives with the news that Bassanio will also be in Belmont before morning. Lorenzo asks for music to be played by the house musicians to welcome Portia. He and Jessica rest in the garden on a grassy bank. He says that people, in their imperfection, cannot hear the heavenly music played by the planets in their harmony. He listens to the musicians play and marvels that music has the power to soothe the savageness of beasts.
Portia and Nerissa enter at a distance and enjoy the sound of music in silence. As they approach, Lorenzo recognizes Portia's voice and greets them. Portia warns Lorenzo and Jessica not to mention her absence from Belmont. She sends Nerissa to the house with the same warning for the servants. Soon Bassanio's trumpet is heard, and he arrives with Antonio, Gratiano, and their followers. Bassanio and Portia greet each other warmly. Portia is introduced to Antonio, and she makes him feel welcome.
A quarrel breaks out between Nerissa and Gratiano over his lost wedding ring. Gratiano explains that he has given the ring to the lawyer's clerk in Venice. He insists that it was done as thanks for the service done to Antonio. Nerissa pretends to believe that he must have given the ring to a pretty girl. Portia supports Nerissa and says that Gratiano's action was foolish. She teases Bassanio by stating that he would never part with the ring she has given him for any reason. Bassanio does not reply to her, but Gratiano tells that Bassanio has given away the ring to the young lawyer. Portia flies into a rage. She refuses to listen to Bassanio's apologies and threatens not share his bed until he has found it. Bassanio tries to reason with her that the lawyer has done them a great service. Portia accuses Bassanio of infidelity with another woman. Since the lawyer now has her wedding ring, she threatens to give the lawyer her body. Antonio, uneasy that he is the cause of this quarrel, intervenes. Bassanio swears that he will never break another promise made to Portia. Antonio pledges his soul to Bassanio's future fidelity.
Portia now gives Antonio a ring to give to Bassanio with the instruction that he guard it better than the one he had earlier. Bassanio recognizes the ring. She upsets Bassanio by saying that she has received this ring in return for sleeping with the lawyer. Nerissa produces her ring saying that she got it from the clerk last night. Gratiano is also horrified.
Portia now shows them the letter from her cousin Bellario and explains the whole story of how she was the lawyer and Nerissa the clerk at the court at Venice. Antonio, Bassanio, and Gratiano are amazed. Portia then tells Antonio that three of his ships have returned with their cargo. Antonio thanks her for giving him his life and livelihood. Nerissa gives Lorenzo Shylock's will, by which all of Shylock's property is transferred to Lorenzo and Jessica upon his death. The happiness of Antonio and the three couples is complete.
Notes
This scene opens in sharp contrast to the last scene filled with tension and difficulty. Lorenzo and Jessica relax and listen to music, which restores the mood of comedy and harmony to the play. The commercial world of Venice is left behind and the characters are transported to the romantic setting of Belmont. Appropriately, the conversation between Lorenzo and Jessica is richly poetic. Lorenzo describes the beauty of the night and says that each star is like a singing angel.
As Portia and Nerissa enter, they pause to savor the sights and sounds of Belmont. Portia reflects on her home and her recent success. They seem to be one in the same, " good deed in a naughty world." As she listens to the music, she says that music sounds more beautiful at night, since nothing is absolutely good in itself, but only relatively good. With maturity, Portia shows her awareness that standards of behavior and judgment vary with circumstances.
Almost immediately, Bassanio, Antonio, and Gratiano return to the peace of Belmont as well. All is joyous at the reunion. The harmony is broken, however, by Nerrisa and Portia teasing their husbands about the lost rings. Their conversation is filled with irony and wit. Bassanio's eloquent apologies are in vain as Portia feigns great anger. Since the mythical lawyer now has her wedding ring, Portia threatens to give him her body too. Bassanio promises that he will never again break an oath given to her. Antonio offers his soul as a bond against Bassanio's future fidelity, just as he had pledged his flesh earlier.
Portia hands Antonio a letter that explains the whole disguise. The identities of the young lawyer and his clerk are revealed. The three men are amazed and exhilarated. She adds the joyous news that Antonio's ships have arrived laden with goods. He joyfully exclaims, "Sweet lady, you have given me life and living." Antonio's material reward for his generosity and love is a just victory of good over evil. Nerissa then gives to Lorenzo the will by which all of Shylock's possessions are to be inherited by Lorenzo and Jessica. Lorenzo exclaims, "Fair ladies, you drop manna in the way of starved people." Since "it is almost morning," Portia suggests that everyone retire.
As always, the masterful Shakespeare has tied up all the loose ends of the play. The joy of the three couples and Antonio is complete. Romance and nobility have triumphed, greed and hatred have been banished.
OVERALL ANALYSES
CHARACTER ANALYSIS
Antonio
Antonio is the merchant of Venice, the titular protagonist of the play. He is about forty years of age and has lived his life to the fullest. He is a successful businessman, owning a fleet of trade ships. Surprisingly, Antonio appears in relatively few scenes of the play, but he is the driving force behind much of the action. Antonio is the model Christian, as defined by Elizabethan society. He represents, among other things, the ideal of nobility in friendship. He is also kind and generous, both to his friends and to the poor of Venice. Although he is now more philosophical, gentle, and quiet, he can still appreciate the frivolous nature of youth, as portrayed by his beloved friend, Bassanio. Aside from his love for Bassanio, he is unattached. Perhaps his lack of love is the reason for his melancholy.
Antonio's principles are against the borrowing or lending of money for profit. He reflects the medieval attitude that money should be lent for Christian charity. His noble generosity for his friend, however, leads him to cast aside these principles and to take a loan from the merchant, Shylock. He borrows money and pledges his flesh as the bond. When his ships are lost at sea, he cannot repay the loan and accepts the fact that he must pay Shylock with a pound of his flesh. | Your browser does not support the IFRAME tag. |
Antonio's warmth and generosity, however, save him. Portia, who has marrried Bassanio, comes to Antonio's aid. Even though she has never met Antonio, she loves him for his generosity to her husband. She appears in court as a young, intelligent lawyer and turns the law against Shylock, saving Bassanio's dear friend in the process. Antonio, with characteristic generosity and mercy, spares the life of Shylock and gives the Jew's wealth to Lorenzo and Jessica, the rightful heirs. Antonio's good fortune continues when he learns that his ships are not lost at sea, but have returned laden with goods. As the symbol of Christian warmth, kindness, generosity, and love, Antonio truly receives his just reward during the play when all turns out well for him.
Shylock
Shylock is a focal point of the play. A traditional stereotype of the Jew in Elizabethan times, he is comically caricatured as a greedy miser. He wears a traditional "Jewish gabardine." He is a middle- aged man between fifty and fifty-five, who has a keenness of observation, a memory for details, and a strong amount of energy. He is well versed in the Bible and is able to draw analogies from various Biblical sources and stories, which are relevant to the situations in which he finds himself. His manner of speaking reveals an authoritative tone with frequent references to the great and ancient names from Scriptures, which he uses to justify his own practices. His speech reveals a cold and calculating mind, reflective of his narrow thinking. He is also literal-minded and pragmatic and has quick and agile thought processes, which help him in his business dealings.
Shylock suffers from religious persecution, which plays an important part in the play. Antonio has reviled and despised this Jew, even humiliating him publicly because of his money lending and usury. Shylock believes that his profiteering is not a sin. This is contrary to the Christian belief, held by Antonio, that money should be lent for charity and not for profit. By his profession and his religion, Shylock is marked as the alien in a happy and fun- loving Venetian society. His alienation causes his bitterness and his humiliation makes him seek revenge. Antonio becomes the target of that revenge, and Shylock uses the letter of the law to try and exact a pound of flesh from his enemy. His strict interpretation of the law backfires on him, and he winds up losing his wealth and barely saving his life. Although he appears in only five scenes, Shylock is a very powerful personality, whose love of money has destroyed any natural human feelings.
Portia
Like Antonio, Portia is an example of nobility. She is a fair-haired beauty with an immense power to attract. Her goodness and virtue enhance her beauty. Unlike Antonio, she is not passive, but displays energy and determination. In many ways, hers is the more forceful figure in the play. Her authority and control with which she deals and manipulates the circumstances of the play are exemplary. In Belmont, the terms of her father's will leave her without any choice in her future husband, and she is saddened that she does not have an appropriate mate. As a dutiful daughter, however, she is compelled to accept her father's wishes. Despite her dissatisfaction with her circumstances, she has a cheerful and optimistic nature. She is clever with words and wit and enjoys the opportunity of performing, both in Belmont and Venice. She uses her wonderful ability with words and her keen sense of humor to enliven the scenes in which she appears. Her treatment of her money reflects Bassanio's belief that money is to be used only in the sense of helping loved ones. She proves she is unselfish and generous. Her happiness and Antonio's meet in Bassanio. Her ideal of mercy is unselfish generosity and she shows an understanding of Christian values.
As a Christian gentlewoman, she considers it her duty to show Shylock the foolishness of his exact interpretation of the law that has no mercy. She dresses as a young lawyer and goes to court to defend Antonio. Like Shylock has demanded, she strictly interprets the law and disallows the Jew from taking a drop of Antonio's blood when he takes his pound of flesh. Since this is impossible, Shylock begs to just be given money, but Portia is unrelenting. She cites another law that states any alien who tries to take the life of a Venetian is to lose all of his money, which will be split between the state and the person who was to be killed. As a result, Shylock loses all of his wealth. Portia has cleverly tricked Shylock at his own game.
Portia is the most multi-dimensional character in the play, alternating between a beautiful woman in the remote setting of Belmont and the authoritative lawyer in Venice, who orchestrates the victory of good over evil.
Bassanio
Bassanio is a young man who has just left behind the carefree days of his youth with a resolve to enter into the respectable life of being a good husband. In the past, he has squandered his wealth on pleasures of good living and extravagant expenditures. His lack of funds, however, does not stop him from generosity nor does it prevent him from enjoying a good life. As a result, he is deeply in debt, mostly to Antonio. To solve his financial problems, he seeks to marry into money, and Portia is the object of his desire. As her suitor, he is graceful with words and is presented as the model of a romantic hero.
Because of his kindness and generosity, especially in his relationship to Antonio, Portia is very attracted to him and delighted that he chooses the correct casket to win her hand in marriage. His and Portia's love, though born in the magic world of Belmont, is tested in Venice, which symbolizes the real world, and is proven to be true and strong.
Lorenzo
Lorenzo is a representative of the elegant Venetian society. He plays the dashing young lover, who rescues his love from the austerity and somberness of a restricted life. He too, believes that happiness arises from successful relationships. He has a great love for lyricism and poetry, as is shown in his vivid descriptions.
Lorenzo's love for Jessica is sincere and constant. It looks beneath the differences in religion, as he associates his lover with virtue and gentility. His love for her is eternal because he finds her to be wise and virtuous. He also realizes that perfect harmony is not possible on earth, since human beings are trapped in a mortal body. His love, optimism, and understanding make him deserving of the riches and love that he is rewarded with.
Jessica
As the daughter of Shylock, she is compelled to abandon him. The difference in their temperaments has made her circumstances intolerable. She is, although a Jew, as different from her father "as jet to ivory." She is more at home with Christian ways than with the austerity of her father's Jewish house. She likes Launcelot because of his capacity to introduce merriment to an otherwise gloomy household. She shows ingenuity in disguising as a pageboy to effect her elopement. Although guilty of theft and filial ingratitude in betraying her father, she shows an understanding of the moral sins that she has committed. Her drawbacks are mitigated by her loving and exuberant nature, which is similar to Portia's vivacity and wit.
Gratiano
Gratiano is the second fool in the play, next to Launcelot. He is given to unnecessary speech and garrulousness. He also drinks too much and behaves rudely and insensitively. He condemns silence as being a facade for those who wish to be thought of as thinkers and philosophers. The change in Gratiano is effected as he starts associating more with Bassanio. Almost all his actions are of an imitative nature. This is in keeping with the ideas of the times that people are ennobled by following their betters. Like Bassanio, Gratiano falls in love in Belmont and marries Nerissa, Portia's maid.
Nerissa
Nerissa is Portia's maid. She acts as a backdrop to the wit displayed by Portia. Her long association with her mistress has elevated her mannerisms and behavior to the point that she now acts as a witty and intelligent person. She, too, follows the examples set by Portia in many ways: she marries a gentleman from Venice, she follows Portia to Venice, she assumes the role of a lawyer's clerk and she takes her ring from her lover. She is to Portia what Gratiano is to Bassanio.
PLOT STRUCTURE ANALYSIS
The play revolves around one main plot and three sub-plots.
The main plot centers on the question of mercy and forgiveness as seen in the relationship between Antonio, the kind Christian, and Shylock, the unrelenting Jew.
The three subplots revolve around the romances of Portia and Bassanio (the most important couple in the play), of Lorenzo and Jessica, and of Gratiano and Nerissa (the least important couple of the play).
All four plots are bound by the threads of love, generosity, friendship, and the wise use of money, which are the ideals of the Elizabethan society.
The plots are also reflective of one another. Antonio's love for Bassanio is reflected in Bassanio's love for Portia. The love of Gratiano and Nerissa is modeled after the love of Portia and Bassanio. Jessica, like Antonio and Bassanio, recognizes the greed of her father and wants to replace it with Christian love, which she finds in Lorenzo. | Your browser does not support the IFRAME tag. |
The characters are, therefore, are tied together by friendship and Christianity. In the end, the play is a romantic comedy that emphasizes the rewards of love, generosity, and harmony.
THEMES - THEME ANALYSIS
The Merchant of Venice weaves many themes into its complex set of plots. One of the themes is that religious intolerance and usury are destructive forces. Antonio, as a true Christian, has often condemned the usury of moneylenders. He knows that since the early twelfth century, Christians are forbidden by the Church to lend money for profit. Shylock, as a Jew, does not consider his money-lending and exorbitant interest to be a sin in any manner. In fact, he considers his earnings through money lending as the gift of God. He appeals to and quotes the Scriptures in defense of his profession. Shylock and the other Jewish moneylenders are essential to the prosperity of the mercantile Venetian community, but they are also outcasts as human beings and as Jews. The Christians ridicule and hate the Jewish moneylenders and are known even to spit upon them. In fact, Antonio has spit upon Shylock and called him a dog. These acts of religious intolerance cause Antonio many problems, for Shylock wants revenge and almost gets it in the course of the play.
Money and its pursuit is not condemned in the play, for Antonio and Portia are wealthy characters with virtues that are praised. Instead, peoples' attitude about money is all important. Shylock is condemned because he loves money for money's sake and tries to grab more money from people by charging exorbitant interest rates on his loans. He is so obsessed by his wealth that he is as sad over losing it as he is over losing his daughter. In contrast, Antonio and Portia are generous with their money. Antonio lends to the poor without charging any interest and is always willing to financially aid a friend in need. In a like manner, Portia freely offers money to save the life of Antonio, when she has not even met the gentleman. The Christians in the play seems to have the right relationship to their wealth. They use it to enhance the quality of life.
The value of love, both platonic and romantic, is another theme of the play. Antonio cares so deeply for his friend Bassanio that he borrows money for him and pledges his own life if he fails to repay the loan. Bassanio risks his all for the love of Portia. Portia wishes that she were a thousand times richer solely so that she could serve Bassanio better. She also dresses up as a young lawyer and defends Antonio, who she cares about for the sake of Bassanio. Jessica gives up her family ties to marry Lorenzo. Even Gratiano and Nerissa are devoted to one another. The play is truly about the happiness that true love brings.
In the play, set in the mercantile and trade-governed atmosphere of Venice, the value of property is also important. Both Antonio and Shylock are devoted to the pursuit of commercial gains. Their approach to their property is quite different; Shylock's greed and avarice are given their just punishment, while Antonio's generosity and kindness are justly rewarded.
The difference between justice and mercy is an important part of the play. The society of Venice had a strict sense of hierarchy that allowed for its ordered existence. It also depended on outside trade for its prosperity; therefore, business relations had to be based on strict interpretations of the law that were closely followed and enforced. At Antonio's hearing, justice is the primary moving force. The risk of losing the confidence of the traders prevents the Duke from altering the strict interpretation of the law. The traders would be encouraged to conduct their transactions in Venice only if the law and a fair system of justice protected their business.
Portia, disguised as a wise lawyer, knows she cannot tamper with the law, for it would set a wrong precedent. Instead, she must find a law to strictly interpret and use for Antonio's benefit. She finds such a law and uses it against Shylock. The Jew has no defense, since he has called for absolute justice without mercy, and promoted the strict interpretation of the law against Antonio. Now he must accept the just interpretation of the law against him. He must give up his wealth and stand before the Duke who can use justice or mercy on him.
Both the Duke and Antonio are merciful to Shylock. His life is spared, not because of justice, but because of mercy, and even his wealth will not be totally lost, but go to his heirs. The trial, therefore, becomes a clear example of the difference between justice and mercy. The value of mercy is one of the important themes of the play.
STUDY QUESTIONS
1. Is Shylock justified in his hatred for Antonio?
2. Explain the test of the caskets.
3. What superior values does mercy have over justice?
4. What are the hypocrisies of the Christian society in the play?
5. Explain the significance of the trial scene. What are the comic interludes provided and how do they provide relief?
6. Discuss the characters of Antonio and Shylock, underlining their similarities and differences.
7. What is Portia's role in the play?
8. In Act IV, Scenes 7 & 8, how is the quarrel between King Henry and Williams settled? What principles of morality does it affirm?
9. Comment on Antonio’s motivation. Are his stated motives sufficient to account for his words and actions in the play? What hidden motives might we suspect?
10. What characters do you think are the most coveted roles in the play? Why?