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.

Shakespeare's reoccurring "Debbie Downer"

After reading Act I scene 1 of The Merchant of Venice my first thought was “Oh wow, another one of Shakespeare’s male character sulking…what a surprise.”  Antonio’s sour mood immediately reminded me of Romeo’s lovesick depression in Act I, scene 2 of Romeo and Juliet, as well as Orsino’s glum demeanor in the opening scene of Twelfth Night.  Though the reason for Antonio’s depression differs from Romeo and Orsino’s, the readers are still introduced to an unsatisfied male character at the start of the play.  In fact, the first line of the play immediately informs us of this dissatisfaction: “In sooth, I know not why I an so sad.” (1).  

I find this reoccurrence of depressed, unsatisfied, or sulking men at the beginning of Shakespeare’s plays a very interesting topic of discussion.  And what’s unique about Antonio is that he doesn’t even know why he’s feeling the way he is.  It immediately introduces his character as whiny, indecisive, and a bit of a crybaby.  However, it seems that Shakespeare creates these characters just so he can later make fun of them through the mouths of his other characters.  And I think that this is brilliant and hysterical.  Shakespeare writes these heart wrenching and soul quivering poetic passages that describe his characters’ depressed and dejected dispositions and then immediately mocks it.  For example, in lines 77-79, Antonio says to Graziano: “I hold the world but as the world, Graziano—A stage where everyman must play a part, And mine a sad one.”  Graziano, in lines 79-104 , then proceeds to mock Antonio’s serious and over-analytical attitude.  My favorite part of this passage is when Graziano proclaims, “With mirth and laughter let old wrinkles come.  And let my liver rather heat with wine than my heart cool with mortifying groans” (lines 80-82).  Shakespeare is poking fun at Antonio and, more over, is poking fun at his own writing.  

Graziano’s aforementioned passage is definitely my favorite part of Act I.  He basically took the words right out of my mouth and said exactly what I wanted to say to Antonio (yet in a much more eloquent way, obviously).  I think that Graziano’s advice for Antonio is still so prevalent in today’s world.  A lot of people, like Antonio, need a friend to sit them down and give them the “take a chill pill” speech every now and then.  Nobody wants to be around the “Debbie downer.”  It was very refreshing to have the Shakespearean version of the “Debbie downer” put in his place.  Examples such as this really solidify my enjoyment of Shakespeare’s sense of humor in his writing.  He can create a beautiful character with depth and poetic solemnity…followed by another character that makes fun of him and his somber poetry.                                                    

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.

Tendencies in Relationships: The Uncertainties and the Advisors

This is the first time I have read The Merchant of Venice, and in the first act, I am noticing similarities in character tendencies and relationships. The relationship between Antonio and Bassanio is similar to the relationship between Portia and Nerissa; both Antonio and Portia seem to be uncertain characters, while Bassanio and Nerissa act as the advisors to Antonio and Bassanio.

Antonio is unsure of the reasoning for his recent feelings, while Portia is unsure of her best action and decisions—specifically regarding marriage. Antonio actually opens the play with the line “In sooth, I know not why I am so sad” (1.1 1). He cannot find the cause of his sadness, or at least is unwilling to admit the reasoning (perhaps even to himself). Portia, on the other hand, describes the difficulties of choosing the best option—she is uncertain of not only what is the best choice for her personally, but also uncertain of how people are able to label one thing better than another. She says to Nerissa: “If to do were as easy to know what were good to do,/chapels had been churches, and poor men’s cottages princes’/palaces. It is a good divine that follows his own instructions./I can easier teach twenty what were good to be done than to/be one of the twenty to follow my own teaching” (1.3 11-15). Here, Portia explains that it is always best to do what one feels best for him/herself, but also that it is always easier to see the supposedly best decision for another. She is torn between deciding for herself and following the advice of “wiser” people. As for her husband, she is uncertain of whom she would like, yet is faced with difficulties: “I may neither choose who I would nor refuse who I/dislike” (1.3 20-21). She has no choice, and is confused at her father’s reasoning. How can wisdom or reasoning overpower the feelings of the bride-to-be when selecting a husband?

Bassanio believes he pinpoints the cause of Antonio’s sadness, and then takes action to attempt to help him. Nerissa listens to Portia and attempts to ease and comfort Portia. Bassanio and Nerissa both counsel and advise the other characters, striving for them to accept their position and work with it in the best way possible. Bassanio accompanies Antonio to Shylock, to take action in case there is a business problem. He tells Antonio, “In my schooldays, when I had lost one shaft,/I shot his fellow of the selfsame flight/The selfsame way, with more advised watch, To find the other forth; and by adventuring both,/I oft found both” (1.1 140-144). He understands Antonio’s situation, and helps Antonio realize it is better to prepare for every outcome to ease his mind. Nerissa speaks to Portia to help her understand her father’s decision, as he is not present to make it clear. Although she may not support the decision either, Nerissa listens and tries to bring to focus various aspects of the marriage suitor process. She does this by simply asking, “But warmth is there in your affection towards any/of these princely suitors that are already come?” (1.2 29-30). She then recommends to Portia the man she thinks would make the best husband—Bassanio.

Antonio and Bassanio’s relationship is similar to Portia and Nerissa’s, as Antonio and Portia are both distressed and uncertain, and Bassanio and Nerissa both work to first sympathize with Antonio and Portia, then offer advice and plans of action.

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.

Initial Thoughts on The Merchant of Venice

This being the first time I’ve ever read The Merchant of Venice, the opening act has obviously left me with a few questions and plot devises I’d like to speculate on. I’m trying my hardest not to read ahead or otherwise spoil the plot for myself in some other way as to keep my blog entries at least somewhat entertaining, so here’s what I have so far:

Like most of the other Shakespearean comedies I have read, The Merchant of Venice introduces us to the major, defining plot point almost immediately. We are given the characters of Antonio, a wealthy merchant who attributes his fortune to sea-faring investments, and Bassanio, his longtime friend who has not only squandered his own fortune, but has relied on Antonio to help him out financially on a number of occasions. Nevertheless, Antonio loves and respects his friend, and barely hesitates to offer a solution for Bassanio’s most recent exploit (winning the hand of the wealthy and much sought-after Portia). However, Antonio’s investments are currently out at sea, and he does not have the means to aid Bassanio without a loan from a money-lender, in this case, Shylock the Jew. This relationship between Antonio and Bassanio, the wealthy and responsible character constantly bailing out his more compulsive though economically challenged best friend, is absolutely classic. I’m not completely sure where the concept began (maybe with Shakespeare), but it has since been repeated in countless low-budget romantic comedies in the last few years. It definitely caught my interest, at least. It also makes me wonder whether Antonio might have some stronger feelings for his erratic friend than he's letting on? Or maybe that's just implied? When Skylock proposes his condition of a pound of Antonio's flesh should the merchant's loan "break," Antonio is oddly determined to go through with the agreement, regardless of Bassanio's pleading. However, that might have more to do with Antonio's arrogance and dislike in regard to Shylock than his desire to help his friend. Like I said, this play is very new to me.

One last smaller comment I’d like to make is on the minor character, Graziano. Shakespeare made it a point to emphasize Graziano’s personality and manner of speech as very long-winded and sort of foolish. I feel like he would not have wasted as many lines focusing on this character flaw if it is not somehow involved in the plot a little later on. Right now, my guess is that his verbosity is either going to get him or his friends into some kind of trouble, or will be a continual source of comic relief (and frustration) in later acts. Thoughts?

The Ambiguous Merchant

I love the Merchant of Venice. I love its characters (or rather, I love to hate them), I love its conflicts, and I love its setting. But, most importantly, I love its great ambiguity dealing with Antonio and Bassanio. Most people in today's literary world tend to focus on the obvious anti-semitism displayed in the character of Shylock. The fact that this play was (and still is) considered a comedy seems to almost be a crime against morality. Lancelot was not the only fool in this play; Shylock is mocked for his desire to destroy Antonio the Christian and his struggles being a Jew in Europe. However, I am even more interested in that other bane of comedy: an unnatural relationship.

I read this play last spring in my English Literature class and found the ambiguous relationship between Antonio and Bassanio absolutely fascinating. Its mystery can be compared to the friendship of Helena and Hermia in A Midsummer Night's Dream. The way Helena speaks of her past with Hermia suggests that they could have been more than friends, with sensual images of cherries and cushions popping out of her monologue. Of course, in order for there to be a happy ending, unnatural relationships such as this must be disposed of and, sure enough, Helena and Hermia snag their men and are married in the most heterosexual way.

In The Merchant of Venice, the deeper meanings are a bit more hidden, although they can be found as early as the very first scene. Antonio is very sad but cannot say why. His affairs are in order and he is making money, but still he is troubled. When his friend Solanio suggests he is in love, Antonio quickly brushes the notion away and it is not brought up again. So far, nothing too mysterious, but it is when his best friend Bassanio appears that the pieces begin to come together. Bassanio needs money to travel to try to win Portia, a rich woman, and Antonio quickly agrees to help him, declaring, "My purse, my person, my extremest means / Lie all unlocked to your occasions." (1.1.138-139). This is more than a simple offer of assistance. Not only does Antonio offer his money and his time to Bassanio, but he offers his "extremest means," which is a rather extreme way of agreeing to help someone, even if that someone is a good friend. Consider this statement with the fact that Antonio already knew that Bassanio was going to court a lady and everything comes together. Why is Antonio so melancholy at the play's start? Because he knows that Bassanio will soon be marrying a woman and that the chances that their friendship will ever be anything more are all but gone.

Why, then, does Antonio immediately discourage Solanio's suggestion of love? He may not want to lie because he knows that Solanio means in love with a woman. He may also not want to think about the situation he is in because that would pain him even more. Or, perhaps he has already abandoned his love at this point, knowing it is hopeless, only to have it slightly reinvigorated when Bassanio asks for help. Having read this play before, I know for a fact that this little love triangle just gets more entertaining and even more of those pesky elements that hinder a happy ending rear their ugly heads. But, is it all truly ugly? Would it not be nice to see a happy ending that for once is not traditional. Well, I suppose we can all dream.

-Sarah Bras

Anti-Semitic Stereotypes in The Merchant of Venice

Shakespeare’s The Merchant of Venice really puts into perspective how Elizabethan England viewed the Jewish people. The very presence of a Jew within the play is clearly meant to be distinctive, made obvious by the fact that the alternate title for the play is The Jew of Venice. The character of Shylock is immediately introduced in clear, uncompromising terms that obviously adhere to a pre-set stereotype commonly associated with Jews at the time. He is presented as a miser, a surly and suspicious money-pinching man obsessed with material goods and wealth—a damning view on the part of Christians, who view this as being tied down to the sins of the material world, forsaking spiritual well-being and heavenly redemption in favor of the vices of sinful, worldly pleasures. Shylock is also represented as being eternally sullen and resentful of all the Christians he comes across, regardless of history or demeanor, accusing them of judging him as a filthy, un-Godly man due to his success in trade and personal interest in maintaining his security and wealth; he maintains that they are continually looking down upon his people unless they require money, at which point they fall upon him and his like wolves. All the while, however, his arguments and resentment directed towards the Christian characters only serve to present them as those in the right and moral end of the arrangement, being accused of ill-manners and depravity despite their utmost efforts at good manners and polite behavior, thus reducing Shylock’s complaints to rank hypocrisy. All this serves to present a striking contrast between those in the “right”—the Christian people of Venice and, by extension, the audience as well—and those in the “wrong”—the Jewish people as seen around the world, thus further ingraining the impressions of the English people.

The all-around character of Shylock is obviously exaggerated, feeding into widely-held stereotypes and prejudices to create a character purely designed to be the play’s ‘fool.’ His hugely exaggerated and apparently typical reactions and behaviors are a clear invitation to comedy, a wide-scale parody inviting the mockery of the audience at large; and his greedy, materialistic values are foreshadowed as being threatening towards Antonio, the main sympathetic character of the play. This makes him an exceedingly easy and satisfying character for the audience to rail against, free of any redeeming qualities that might otherwise provoke some kind of sympathy on behalf of the spectators. In short, he is a true caricature that Shakespeare utilizes in full, to add an element of prejudiced comedy as well as a villain who, rather being presented as dangerous and dastardly, is far too easy to mock.