Shylock and Bassanio

                What stood out to me most in Act IV of Shakespeare’s The Merchant of Venice, other than all of the incredibly confusing discussion between the characters about the different deals being upheld and broken, was many of the passages in scene one, around lines sixty to seventy on page 1160. After Shylock’s long speech, we hear Bassanio determine that his response “is no answer” (4.1.62) to which Shylock replies “I am not bound to please thee with my answers” (4.1.64). This interchange to begin with was really interesting because despite how Shylock already seemed, he just keeps getting worse and worse as it goes on. His speech from lines thirty-four to sixty-one completely circles around how he simply refuses to give an answer, and it seems like he’s just trying to waste time and frustrate Bassanio enough so that he will just agree to anything as long as he can be away from Shylock.

                While all of this was intriguing, the quote that really caught my eye in this portion was what came next, when Bassanio asks “Do all men kill the things they do not love?” and Shylock responds, “Hates any man the thing he would not kill?” and then finally Bassanio says, “Every offense is not a hate at first” (4.1.65-67). It just seems so much like this interchange shows so vividly what types of people these two are. While I am not the biggest Bassanio fan either, it just shows how much more human he seems to be than Shylock. He is so incredulous that this man just wants to take the life out of anything and everything that ever could possibly irritate him, as most people probably would be, and Shylock feels like this is such normal behavior that it is chilling. Plus, to make it all even more of a moment, Bassanio is trying to make Shylock understand through simple terms what he is getting at and Shylock not only contradicts him but uses his own words to do so, which just really makes him seem awful. Finally, Bassanio’s final sentence almost seems like it could have been the end of the argument, with Shylock coming out on top, had it not been delivered powerfully, but the two do continue discussion in the story. Again, Bassanio just seems so overwhelmed by Shylock’s mere personality; it is as though just for a moment Bassanio and the reader have the same emotions.

                The rest of Act IV had many other good moments and plenty of sections which I simply could not wrap my head around, but this page in particular really stood out to me just because of that last interchange between the two men. I really loved the first line Bassanio said which I mentioned about all men killing the “things they do not love,” which was what made me stop and really analyze the passage, and I just felt like what I found offered such a glaring view of Shylock’s true character.  The fact that he does not immediately realize that not everything warrants death, that he needs to be told this is just so indicative of so many things about him.

The Good and the Bad

For the sake of this post, I am going to focus mainly on the beginning of the first scene of act four, where the viewer sees Shylock preparing to take the pound of flesh from Antonio, despite the fact that Bassanio has double what Antonio owes him for Shylock. It seems that the principle is the thing here for Shylock, and it also makes it appear as if the man wanted to take a pound of flesh from Antonio all along. It makes Shylock out to be the villain, being that he refuses to shake the bond and grant any form of mercy to Antonio despite the fact that he had lost everything before. Graziano says of Shylock after watching him sharpen his blade on his shoe: “Not on thy sole but on thy soul, harsh Jew,/Thou mak’st thy knife keen. But no metal can…/half the keenness/Of thy sharp envy [malice]” 4.1.123-135. The contrast to Shylock’s soul and his malice is interesting, because isn’t the soul what is equated to religion? It is possible that here they are equating his wickedness to the fact that he is a Jew.

Shylock’s wickedness continues as the scene goes on and a disguised Portia enters the scene, pretending to be a judge in attempts to get Antonio free of this bond he is currently caught up in. She speaks to him, trying to convince him to cut the bond, but he does not give in to her reasoning, which is often quite clever indeed. Portia asks whether or not he has a surgeon to stop Antonio’s bleeding, and he says he does not which leads Portia to ask him if he do it for charity, Shylock answers: “I cannot find it. ‘Tis not in the bond.” 4.1.257. This shows Shylock as a person who cares only for the bond and the deals that he makes, rather than focusing on the actual person before him who has lost everything due to his ships sinking.

Meanwhile, Antonio manages to, though Shylock was about to kill him by taking a pound of his flesh, get the fine he would have suffered reduced and get half of it in a trust for Jessica and Lorenzo for after Shylock’s death. This paints out Antonio to be the hero. Shylock must basically get rid of all of his fortune—which the viewer  has seen to be very important to him—due to the fact that the bond has been broken after he was seeking to take Antonio’s life. Antonio, though he was nearly killed moments ago by Shylock before Portia’s reasoning saves him, is the kind and caring man who only wants to help reduce the fine, because that is what he must do, even if there is a bit of a second motive in it being that he helps get half of it secured for his friend who has married Jessica.

Though earlier in this play, Shylock seems to be the victim to Antonio, it appears as if Shakespeare has turned the tables on this sympathy that the viewer might have been gaining for Shylock. In the beginning, Shylock accuses Antonio of calling him a dog and spitting on him, to which Antonio does not deny and in fact states he would do again, and yet now he is reducing a fine on Shylock’s welfare even after Shylock attempted to take his life. Shakespeare seems to really want to kill any feelings the viewer may have garnered for Shylock in order to paint  Antonio as the hero here, and really get the point across that, as discussed in class on Friday, the Christians in this play are the generous ones, that would give up all for another man.

Unlocking Shylock

The Merchant of Venice is best known for its arguable antagonist, Shylock. In the shadows of the romantic babbling of the elite Antonio and his friends partake in the opening scene, Shylock works to make reality of their imaginings. Two scenes later, Shylock states, “Three thousand ducats. Well.” (1. 3. 1), establishing his identity through the loan request of Bassanio and Antonio. In the greater conversation between Jews and Christians, the perjury of the Jews through a long existing history of European religious reformations created a public character for society to use as a scapegoat. In establishing business interest with loans, Jews were demonized in their “unchristian” character in seeking economic benefits through the misfortunes of others.

The tension and explicate hate Shylock and Antonio have for each other seem to villainies both men versus creating a “good vs. evil” troupe. In detesting Antonio, Shylock says, “Cursed be my tribe if I forgive him” (I. 3. 46-47), alluding to the Christian ideal of redemption and how it’s beyond his Old testament vicinity. In contrast to the first scene, where Antonio friends try to soothe him with compassion and reasoning, this scene depicts a less empathetic side of Antonio. “I am like to call thee so again, to spit on thee again, to spurn thee too” (1. 3. 125-126), are not the words of your loving neighbor. In developing the character of these two men, it is impossible to separate their religious prejudices. In out right calling Shylock’s usage of the ram allegory as the working of the devil (1.3. 94-96), it seems exemplar knowledge of the Old Testament works against Shylock’s humanization.

In their compromise to give a loan, free of interest, under the promise that if not paid back in time will cost Bassanio one pound of his flesh reads as a violent and dated agreement. Like the hammurabi code and laws of the Old World, Shylocks “kindness” operates according to an economic exchange based off of mortality. Already we can see within the first scene that these men live in a material world distant from such realities, where their focus is on their emotions than on their physicalities. Living in the illusion of ports and transitions, Anotino lives in an international intersection of worldly goods, which may contribute to his stated unknown grievance. The introduction of such a fatal contract positions Shylock with a certain knowingness outside of Antonio and his men.

Of course under the humanizing lens of the 21^st century, we cannot help but attempt to pull Shylock away from his villainous characterture and shift him towards a sociological light, a man who acts according to circumstance. I’m excited to see how his character develops in accord to the stage.

Portia and Bassanio: A complicated love affair?

The character of Portia in Shakespeare’s The Merchant of Venice, is one that is particularly interesting. She is described as being a beautiful and wealthy individual, characteristics that are commonly seen in the female characters of William Shakespeare’s pieces. Once of Portia’s most entertaining qualities seems to be her witty nature. This can be seen when Portia is engaged in conversation with her waiting-woman, Nerissa.

In the beginning of the play, Portia is describing the conditions in her father’s will which are controlling her decision to find a suitor. Portia describes her inability to choose a husband when she states: “I may neither choose who I would nor refuse who I dislike; so is the will of a living daughter curbed by the will of a dead father” (1.2 20-22). According to her father’s will, in order for Portia to marry, the men must choose from three chests, each being made of gold, silver, or lead.  In only one of the chests lies a portrait of Portia. The man who choses the chest which includes the portrait is the individual who will be honored in marrying Portia. In order to pay respect to her father, Portia agrees to adhere to the condition of her late father’s will, despite the slightly frustrating and tiresome process that she must endure. 

When conversing with her waiting-woman, Nerissa, Portia is discussing the reasons why she will not marry a various amount of men. Portia provides several flaws that these men have, some being entirely shallow and humorous. These reasons include men who seem to be too consumed with themselves, men who are too serious and men who indulge in alcohol too frequently. Although the readers are given no reason to not believe Portia, it is fair to question if these reasons for not accepting the various suitors are entirely truthful, or if they are simply excuses made by Portia. 

Regardless, Portia is fearful that she will never find a respectable man to marry. It is then, when Nerissa suggests that Portia consider Bassanio to be one of her suitors. Bassanio is one of the only men who Portia considered to be a respectable candidate for marriage, which can be seen when she says “I remember him well, and I remember him worth of thy praise” (1.2 100-01). This line serves in great contrast to Portia’s reaction to the other men. 

At this point, it can be assumed that Portia is unaware of the fact that Bassanio is in the process of attempting to obtain a loan in order to woo Portia. Because of the wealthy status that the other suitors possess, Bassanio feels the need to borrow three thousand ducats in order to be considered as a suitor for Portia. In order to do this, he must obtain a loan from Shylock. The audience later learns that this agreement is more complicated than it first appears, as Shylock has a great hatred towards Antonio, whom is supporting the loan. This can be seen when Shylock says “I hate him for he is a Christian; But more, for that in low simplicity He lends out money gratis, and brings down the rate of usance her with us in Venice” (1.3 37-40). It is clear at this point in the play, that the relationship between Antonio and Shylock may have a great impact on Bassanio’s relationship with Portia. 

Characters

Sam Montagna

Professor Mulready

Shakespeare II

30 January 2012

Characters

Antonio is saddened, yet he does not know why. His friends suppose that he is in love or his “merchandise” is making him upset (Shakespeare 40.1122). Antonio denies all of this. Antonio reminds me of a person who has everything going for them but is still depressed. He has friends who support him and he is not living in poverty. If I had to guess what was wrong with him, it would be that life has gotten him down. I think he is a little lost. He states that he does not know where the misery has come from and that he has a lot of learning to do inside himself (5-6.1121). Graziano's advice seems the best suited for Antonio's situation. He basically tells him to relax. “Why should a man whose blood is warm within sit like his grandsire cut in alabaster” (83-84.11230). Why should a man filled with passions and dreams sit still like a tombstone? Graziano, although there is little to no description about him, seems very wise and sensible. After Graziano leaves, Bassanio has a talk with Antonio. Antonio is a great friend. Bassanio owes him money and love and Antonio still agrees to help Bassanio out in winning the heart of the fair Portia. Bassanio wants to be in the same league as the other men that chase Portia, who is so beautiful and good, she is compared to Brutus' wife. Portia, on the other hand, is tired of the losers that want to marry her. I do not understand Portia's father's conditions for her marriage. Nerissa speaks of a lottery in which men choose their “meaning” (27.1126). According to Nerissa, the one who chooses correctly will be the one that Portia falls for. Portia also hears of Bassanio and knows that out of all, he “was the best deserving a fair lady” (99.1127). The fact that Portia mentions Bassanio is foreshadowing. It is clear, the two will eventually meet later in the play. Bassanio and Antonio meet Shylock to borrow three thousand ducats. I feel so terrible for Shylock. Shylock dislikes Antonio because he is Christian and he loans money for free. Also, Antonio has called him names and spit on Shylock because he is Jewish. Shylock agrees to loan Antonio money after all of the abuse. Shylock even offers friendship to Antonio. Shylock is a bigger person than Antonio. Although Shylock is the “jew,” the very thing that many people despise, he overlooks the hatred even after Antonio admits that he would spit on him again. It is fair of Shylock to impose such a harsh consequence on Antonio if he cannot pay him back. Antonio agrees wholeheartedly to the bond because he is certain that he will be able to pay the loan back without any problem. I believe this is foreshadowing as well. It is obvious that Antonio's ships will not come back in time and Shylock will have to take a pound of his flesh. Antonio's arrogance when it comes to paying back all the money will backfire on him.

Quibbling over Shakespeare's Characters - Portia & Shylock

Something I found interesting about the first act of The Merchant of Venice is Portia’s characterization, which is demonstrated in the predicament regarding her marriage.  It is very evident that Portia isn't exactly content with her father’s method of choosing a husband for her, and yet she is willing to go along with it, despite the fact that her father is deceased and no longer holds authority over her.  Nerissa tells her that her father was a virtuous man and that “holy men at their death have good inspirations,” referring to the lottery idea he devised to choose the proper husband for her (1.2.24-25).  The method behind it seems rather simple - her suitors will choose one of three caskets, one being made of gold, one made of silver, and the third made of lead.  One of them contains a portrait of her, and whoever chooses the casket with her picture within it (most likely the lead one) will marry her.  Her father’s assumption when he makes this arrangement is that the man who chooses the correct casket will be the one who truly loves his daughter, not seeking the wealth, but rather her love (which would suggest the lead casket contains her photograph).  However, this grand scheme leaves no choice up to Portia, who can neither choose who she likes or dislikes.  She says to Nerissa with much disdain, “So this is the will [wish] of a living daughter curbed by the will [testament] of a dead father” desiring to be in control of her life, but revealing her lack of strength and ambition to challenge her father's will (1.2.21-22).  I know the time period for this play definitely reflects the idea of the husband of the household being in charge of family matters, especially their daughters’ futures, but I do wonder why Portia doesn't try to take hold of her life when she is given the opportunity to do so, especially since she finds each suitor (excluding Bassanio) detestable in one way or another - the Neopolitan prince who talks too much of his horse, the brooding County Palatine, and the French lord, Monsieur le Bon, who she describes as being “every man in no man” and even going so far as to say that if she were to marry him she should marry twenty husbands (1.2.35-36, 40, 50, 52-53).  Her unhappiness with her father’s arranged method of having her wed must not be as strong as her compulsion to remain loyal to him.  I have my hopes that Portia will break away from the mold of the societal expectations of females for her time era, but only time will tell.  

As for Shylock, he seems to be have been crafted from the old stereotypes surrounding people of the Jewish faith, especially in their emphasis on monetary importance.  When Shylock says that Antonio is a “good man” Bassanio interprets him as meaning a person with a good head on his shoulders.  Shylock mocks Bassanio and answers “My meaning in saying he is a good man is to have you understand me that he is sufficient [of adequate wealth]” (1.3.13-14).  When Antonio first enters the scene we learn that Shylock hates him for being a Christian, but mostly because he lends out money for free, which brings down the rate of interest for the people of Venice (1.3.37-40).  It makes me wonder if Shakespeare was anti-Semitic or if he just wanted to depict the beliefs and prejudices of that time period as realistically as possible.  It seems a bit overdone in my opinion, but I want to know what someone else thinks about it.

The Merchant of Venice -Tragedy or Comedy?

I have thought about what the ending of this play really meant to the character of Shylock before, and I believe I posted a blog about my thoughts. While I do agree that the others in the courtroom may have been harsh to him, I don't think that they completely drove him to the point of rage as the actor and maker of this video suggest. I think Shylock is supposed to be the Jewish stereotype of the day regardless of how he was treated. The main question plays like this raise is what was the original intents? This also draws attention to how the meaning of the genre of comedy has changed over the years as this contains dark themes when you really think about it.

Final Part III

I chose this clip because I think this scene is the beginning of the most pivotal interaction in all of Merchant of Venice. Portia and Shylock only interact this one time, and yet their encounter has the most damaging ramifications. Also, when they meet Portia is in disguise while Shylock is being scrutinized by an audience (both Shakespeare's reading audience and those at the trial, which I think this film interpretation illustrates nicely,) so one is hiding herself and is able to exert power while the other is exposed and can only react to that exercise of power.

1. What do you think about the decision to have so many extras in the scene? Does the trial being so explicitly public affect how you experience it?

2. To whom is Portia speaking? Is she giving the speech to only Shylock, or to another audience?

3. If Portia is speaking to Shylock, do you think he is listening to her (as Pacino plays him)? If you do not think he is listening to her, do you think he is justified in doing so (is this just a case of a failure to communicate, or do you think that Shakespeare creates two worlds - the Jewish one and the Christian one - that are so different that there simply cannot be any real communication between the two)?

Portia vs. Shylock

Portia vs. Shylock
Portia and Shylock are the two characters who interest me the most in the play because they both find themselves within a hierarchy that marks them as subordinate to the Christian men; Portia because she is a woman and Shylock because he is a Jew. The Christian men are the “norm” against whom everyone else is judged and Portia and Shylock are recognized as “the other.” However, because she is Christian and rich, Portia, in a sense, outranks Shylock, as can be seen in her dismissal of all her former suitors based on stereotypes. This makes Shylock’s “otherness” even more pronounced. This hierarchy pits the two against each other, and I think this is most clearly illustrated when Portia initially tries to persuade Shylock to “consider this, that, in the course of justice, none of us should see salvation: we do pray for mercy; and that same prayer doth teach us all to render the deeds of mercy.” She is essentially asking Shylock to adhere to the status quo and become a Christian, which made her judgment that he should immediately convert less of a surprise. It reminded me of when Antonio said “Hie thee, gentle Jew. The Hebrew will turn Christian; he grows kind,” which makes it clear that the entire momentum of the play has been aimed at ridding Shylock of his Judaism. Her speech also made me wonder who she is referring to when she says “we” and “us all.” Is she talking about the Christians, or is she including Shylock in this collective “we”? In the treatment of the two characters I see a powerplay not just between religions, but also between genders. While Shylock is forced to convert to Christianity, all the women in the play have to dress up and act like men in order to exercise some semblance of agency. In Portia’s case, however, her “conversion” only serves to strengthen the tenants of the social order, because although she manages to get her ring from Bassanio (thereby gaining some sort of autonomy and independence, I assume) she is able to turn back into a woman, while Shylock’s transformation is permanent. It basically robs him of his identity. His being Jewish is how he differentiated himself from the other characters and also how the other characters addressed him, as opposed to using his actual name, and now that categorization no longer applies to him.

Finally, what I find most interesting about the play so far is that that while Venetian law is upheld and therefore Jews and Christians are supposedly allowed to live together and conduct business with one another, the only two prominent Jews in the play both convert to Christianity, either willingly (Jessica, and even so she is still considered a Jew by Lancelot,) or through blatant coercion and duress (Shylock.) Both are co-opted into the dominating Christian social system and Judaism is effectively eradicated (neutralized?) removing the threat Shylock’s Judaism posed to the community – the Christian community, not the overall Venetian trading community – so that the remaining characters in the play can go on to live happily ever after, which I suppose is what makes it a comedy. I also find myself wondering if Shylock, now a Christian, will still be in the same societal position as before, and if not, where it will be in comparison to Portia. I’m tempted to think that Shylock’s real crime wasn’t in trying to kill Antonio, but in refusing to properly fulfill his role as a Jew – meaning he didn’t show the deference to his Christian counterparts that his society demanded.

Cash Rules Everything Around the Merchant of Venice

The first Act of the Merchant of Venice quickly introduces us to the main characters and gives us an idea of the plot, although we’re still pretty much in the dark. The details of Portia’s test still aren’t too clear, so we’re made to focus more on the characters. The two most interesting characters, Antonio and Shylock, appear to be the main focus of the story overall.

Antonio’s a remarkable character simply because we don’t know all too much about him. The opening scene has his friends speaking for him, and through this, we learn of his wealth, his virtue and his dedication to his friends. Antonio and Bassanio have a distinct bond, one that appears to be deeper than that of Antonio and Graziano, for example. Bassanio has no issue asking for money from Antonio to fund his scheme, and Antonio has no issue giving it to him: “I pray you, good Bassanio, let me know it,/And if it stand as you yourself still do,/Within the eye of honour, be assured/My purse, my person, my extremest means/Lie all unlocked to your occasions” (1.1.135-139). Their friendship is one that is rarely seen outside of literature, and it appears that Antonio hasn’t heard that you shouldn’t loan money to your friends. I’m anxious to see how this will turn out for the two, and if their friendship will stand against the troubles that are about to arise.

Shylock’s character is undeniably tied directly to money. His speech is calculated and professional, and he seems to always be verifying the tenets of some unseen deal, as if he’s constantly wary of being caught in a bind and getting screwed. Shylock’s infatuation with money, as well as the presence and importance of money in the lives of all the characters in the play, become a central theme of the story. I couldn’t help but recall the opening lines to the Kurt Vonnegut novel, God Bless You, Mr. Rosewater: “A sum of money is a leading character in this tale about people, just as a sum of honey might properly be a leading character in a tale about bees.” The money acts as a separate entity that influences characters on its own. No one character truly has a control over it, despite what Antonio says about not being concerned with his finances. I haven’t read Merchant of Venice before, but it’s pretty obvious that the money is going to complicate matters extraordinarily.

Aside from his infatuation with money, Shylock was particularly interesting to me for another reason: After some research (read: Wikipedia), I learned that typical portrayals of Shylock have changed drastically over the years. Initially, he would be played by a clown, to be seen as a greedy fool. This image evolved to a more devilish figure, tempting and damning the other characters by dangling the money over their head, like a dog reaching for scraps. It was only fairly recently that Shylock has been viewed as a more sympathetic character. Could this be tied to the fact that the Jewish faith has become less demonized as the world has grown more secular? As tolerance has become more important in our global society, the image of the Jewish people has typically moved from one of wicked outcasts in a Christian world to a mostly peaceful religion that has really gotten the short end of the stick over the years. My view might be influenced by the fact that I myself am a Jew, but regardless of personal beliefs, it’s very interesting to examine not only how Shylock has evolved over the years, but why he has gone through these changes. Hopefully we will explore this further in class.

Why In The World Would Antonio Lend Bassanio Money?

After having read the first act of The Merchant of Venice I have become very interested in the characters in this play and the relationships that they have with one another, and overall how these relationships will play out in the play’s dramatic action. The one relationship that interests me most is the relationship/friendship between Antonio and Bassanio. What interests me most about these two characters is why exactly did Antonio agree to take out a loan for Bassanio? It is made clear that Bassanio already owes Antonio a significant amount of money, which he has yet to pay back, so why then would Antonio agree to lend him more? Also, more striking to me was the fact that Antonio has no money to speak of right now because all of his money is wrapped up in risky business ventures. The shear thought that Antonio would even consider lending Bassanio money seems ludicrous to me because it could ruin Antonio (which I have a hunch will probably happen?). Therefore, based on the amount of risk that Antonio is taking on by agreeing to lend Bassanio money, it leads me to look for an ulterior motive on Antonio’s part. To me, Antonio just seems all too willing and quick to lend Bassanio the money, which leads me to question his motives. Is Antonio just trying to be a nice guy/ good friend? Does he have some secret or evil plan up his sleeve? Or maybe, and this may seem a little far stretched, does Antonio harbor some romantic feelings for Bassanio? All of these questions have been plaguing me throughout this first act and I hope that they will be answered.

The character of Portia also really caught my interest. What really interests me about Portia is how, at the time, she follows so rigidly the stipulations in her father’s will, even though he is already dead. It seems to me that this rigid following will not last long because as her scene progresses it is made clear that she is somewhat cunning when it comes to her inability to choose her suitor. When Portia makes the suggestion to I think get the drunkard German duke especially drunk so that he cannot choose the right chest. I think that Portia thinking this way maybe foreshadows her eventually finding a loophole in her father’s little task, so that she is able to choose her own husband (who will most likely be Bassanio?)

Finally the character of Shylock is really intriguing to me because I just can’t seem to decide if he is the villainous/evil character or not? I actually feel more sympathy towards the character of Shylock than hatred, and I would think that if he was indeed the villain that hatred or loathing would be the feeling that I should be experiencing? The character of Shylock, unlike some of Shakespeare’s other villainous characters, like Iago, doesn’t have any asides (so far), where he expresses his evil intentions to the audience etc. But maybe it’s just too early on in the play and maybe I will learn to hate Shylock as the play progresses? But I don’t really know… right now I just feel sorry for Shylock and the persecution that he has endured at the hands of Antonio and others.

Unanswered Questions From Act I of The Merchant of Venice

After reading Act I of The Merchant of Venice, there are a couple things I have been left to wonder about. First, I am curious to learn more about the relationship between Antonio and Bassanio, and if there is something major that has happened between them that would have made Antonio so devoted to helping out Bassanio. I wonder, like Lisa previously said, if there is something Antonio is expected in exchange for his help, or what he intends to get out of this deal.

I was a little confused about how the method of choosing a suitor for Portia with the three chests works, and hope that we see more about this in future acts. I also would like to find out more about how Portia feels about Bassanio, as she did not seem as disgusted and annoyed with him as she had felt about the other suitors discussed. I want to see if they will end up together, or if Bassanio will have to choose a chest and if so, will he choose correctly?

I also want to learn more about Shylock because he is an interesting character. He is extremely stereotyped and shown to us in a negative light. I would like to see how his character is going to be developed further, and if these stereotypes will change or not. I am also wondering if he is supposed to be the villain of the play or if he will somehow end up being someone for the reader to sympathize with in later acts. I want to see if and how the character of Shylock is going to be used to convey a larger message about anti-Semitism in the play.

One more thing I would like to find out would be what is going to happen to the money Shylock has lent to Antonio-- if it will be repaid on time, and if not, if Shylock will actually go through with what they agreed on and take a pound of Antonio’s flesh as the penalty for failing to repay the money.

The Merchant of Venice - Act I

One of the first things I noticed while reading The Merchant of Venice was that Antonio and Bassanio are immediately set up as being different from their other friends. The play opens with Antonio speaking with Solanio and Salerio, who leave when Bassanio arrives with Lorenzo and Graziano, saying that they leave him (Antonio) with “better company” and that the new arrivals are “worthier friends.” Lorenzo and Graziano also depart almost immediately after encountering Antonio. I’m left wondering why this is; is it simply because Shakespeare wanted to set up Antonio and Bassanio as the protagonists? Or are the others of a lower class? I also found it interesting that Bassanio pokes fun at Graziano after he leaves, much like friends would in a similar situation today. Bassanio tells Antonio that Graziano speaks constantly, but never says anything worthwhile. It is unclear to me whether he meant it as an insult or a joke though.

Although we’ve only read the first act of the play, my favorite scene so far was our introduction to Portia and Nerissa. I felt that the dialogue between the two women flowed very well, almost better than the dialogue between the other characters. I also felt that the dialogue in this scene (1.2) had more comedic aspects throughout it. Even though I felt bad that Portia was being forced to choose a husband from a select group as opposed to being able to choose on her own, I also found it amusing that she couldn’t find any redeeming qualities in any of the suitors. Another thing that I noticed in this scene was that Portia seems to speak more than almost anyone else in the play so far, except for possibly Shylock. Is there a reason for this, or is it just because of the questions she is answering?

We are asked, in our reading questions, to consider the character of Shylock and even in the introduction to the play in the Norton we are asked to consider whether or not the portrayal is anti-Semitic in any way. The character is obviously educated and he speaks well and at length, throughout scene 1.3. At this point in the play, however, I’m unclear as to whether his portrayal is anti-Semitic or not. Based on what took place during the scene, it seems that Shakespeare may just be portraying anti-Semitism as it is at the time, as opposed to taking a side about it. We learn that Antonio has, in the past, insulted and spit on Shylock, presumably only because he is Jewish. On the other hand, Shylock tells the audience outright that he “hate[s] him for he is a Christian” (1.3.38). This makes it hard to tell what the intended portrayal of ant-Semitism is in the play because both characters dislike each other based on their religions. I also noticed that Shylock is one of the more comedic characters we’ve met in the play so far and I wonder if his sarcasm is meant to make him more or less desirable. Personally, I seem to like his character more when he is mocking Antonio and Bassanio (around 1.3.110) because of the humor, but I’m unsure if this is intended or not.