After the reader hears Portia’s plight over her inability to choose a husband she proclaims, "Whiles we shut the gate upon one wooer,/ Another knocks at the door" (1.2.112-113). Not to point out the obvious but perhaps this statement has as much to do with our hero Bassanio as it does with the Prince of Morocco. Although both feign noble intentions both are seeking Portia for her famed beauty and her fortune. Doesn’t this make Bassanio just as dastardly as Portia’s other suitors? Even though I am sure that Bassanio does in fact love Portia from their past meetings, he presents his wooing her as a business proposition and a way of clearing his debts. Such a romantic gesture leads the reader to believe that Bassanio has vastly different priorities then he claims.
In truth, some readers may be persuaded that Bassanio’s love lies more with Antonio then his would be fiancé. With a full heart Bassanio declares, “To you, Antonio, I owe the most, in money and in love, And from your love I have a warranty To unburden all my plots and purposes How to get clear of all the debts I owe.” (1.1. 130-134). Bassanio uses the love between himself and Antonio to procure what he needs to woo Portia and regain his fortune. Antonio of course is more than happy to help his friend as he reciprocates all the love and affection that Bassanio places upon him. This is though, only after Bassanio refers to Portia in terms of a commodity and compares her to Jason’s Golden Fleece. In this instance Portia is nothing more than a prize to be won and a means of getting Bassanio out of debt.
As I continue to ask myself the question of whether or not Bassanio has true feelings for Portia; I am drawn to how Bassanio and Antonio refer to the other people that surround them. When looking back both characters are guilty of referring to people with monetary language. Antonio tells Salario that, “Your worth is very dear to my regards,” and later Bassanio discusses Portia in terms of her value (1.1. 61-164). Even in the beginning of the play readers see Salario and Salonio trying desperately (but still with jest) to find what is making Antonio so sad. The only rational explanation that they can come to is either money or love. The two are almost interlocked together. At the same time however, the world of money and Antonio’s finances are given a higher respect and a more thought out explanation, instead of the “Fie, fie,” response he gives about his love life (1.1. 45). It is possible that in the language of a merchant, speaking of people in terms of money, value, and worth is the same as showing affection. Shakespeare’s use of this language could be to point out a particular “sphere of discourse” in the community. The alternative theory that some readers may be persuaded to would be that Shakespeare is using subtle twists on words and double meanings to show the more cynical side of this love story and comedy.
3 comments:
I completely agree with your points concerning Bassiano's relationships with Antonio and Portia. From only reading the first act, it seems that this love triangle may be most crucial in the play regarding what is more important: love or financial gain.
I, too, noticed the constant use of monetary terms in place of terms of endearment (it seems that every character uses them in one way or another). I think that your final line of your post - "... Shakespeare is using subtle twists on words and double meanings to show the more cynical side of this love story and comedy" - is very appropriate from this first glance of the play.
While it is definitely true that Shakespeare is playing with "spheres of discourse", I think that he is doing it as a means to an end, suggesting that perhaps merchants can only love if they describe what they love in terms of monetary value.
I also agree with what you said about the use of monetary language. Even in other contexts, the notion of "thriftiness" or financial success is elevated and played with on many levels; for example, Antonio's fiscal bond with Shylock stipulates the harsh penalty of a pound of flesh.
With that said, I think Portia and Bassanio's relationship is quite tricky. As you said, he talks about Portia in monetary terms, but I don’t think he necessarily feels about her the way he feels about money. It could be that, as a product of his culture, he uses the language of finance and mythology to express his feelings toward a person--not because they accurately represent his feelings, but because that is the only way he knows how to talk about them. It’s dangerous to read this play through the lens of our culture and language. That doesn’t mean I think you’re wrong in saying that Bassanio and Portia’s love interest seems unfounded and superficial--Portia’s interest in Bassanio is also very immature. I’m curious to see whether or not any character becomes aware of the illusory veil of language and subverts the culture in any way.
This is an insightful post, and Elaine and Cliff offer nice responses. Without giving too much away, it is interesting that the casket test consists of three metals (gold, silver, and lead), two of which are used as currency (gold and silver) and one that has no value as money. The relationship between money, risk, venturing, and love is something that we'll be exploring in our reading of the play, as well as the symbolism of this choice.
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