Power In Belmont

“Go in, Nerissa: Give order to my servants that they take No note  at all of our being absent – Nor you Lorenzo, Jessica nor you” (V.i.118-121)

Portia’s demand of secrecy from Lorenzo and Jessica, and their compliance, display her authoritative character.  Lorenzo, speaking for him and Jessica, exclaim “we are no telltales” (V.i.123). Although Portia has relinquished her house, servants, money and ownership of all other material things to Bassanio, she still retains impenetrable power over her peers.  First, Portia’s allies, Lorenzo and Jessica, stay true to their oath of silence and do not reveal Portia’s whereabouts during the trial.  Bassanio clearly does not have the same influence over his friends as Gratiano discloses that “Bassanio gave his ring away” in the face of Portia’s inquiring about Gratiano and Nerissa’s quarrel (V.i.179).  The dominance Portia has in the last scene exemplifies that the dominance she was able to express dressed up as a man in Venice still holds true in her role as wife of Belmont. 

Portia Tricks Shylock Into Having His Bond, And Only His Bond

“This bond doth give thee here no jot of blood. The words expressly are ‘a pound of flesh’. Take then thy bond, take thou thy pound of flesh, But in the cutting it, if thou doth shed One drop of Christian blood, thy lands and goods Are by the laws of Venice confiscate Unto the state of Venice.” (IV.i.302-308)

Shylock continuously refers to his bond and what it precisely stipulates: a pound of Antonio’s flesh.  When Portia asks whether or not a doctor will be present in case Antonio sheds too much blood, Shylock replies “I cannot find it, ‘tis not in the bond.” Portia utilizes Shylock’s strict interpretation of the bond when she decrees he can have nothing more than a pound of Antonio’s flesh as “the words expressly are ‘a pound of flesh.’” Portia’s employment of an extremely literal interpretation of the bond serves to give Shylock exactly what he has demanded all along: one pound of Antonio’s flesh, but no more nor no less.  Portia’s specificity essentially binds Shylock to his own bond as she is merely granting him exactly what the bond “expressly” says and exactly what Shylock himself has been demanding all along; however, her stipulation that not “one drop of Christian blood” can be drawn imprisons Shylock in this bond as it is impossible to retrieve a pound of Antonio’s flesh without yielding blood. 

Obtainment of Antonio's Flesh Grants Shylock an Emotional Triumph That Cannot be Attained By Money

“If every ducat in six thousand ducats Were in six parts, and every part a ducat, I would not draw them; I would have my bond” (IV.i.85-87).

Not only is Shylock’s desire for revenge fueling his refusal for money as compensation instead of Antonio’s flesh, but he also is driven to “have [his] bond” by his fear of losing something as tangible as money.  Yes, the pound of flesh is tangible; however, it represents the hatred Shylock has for Antonio. Shylock’s obtainment of that pound of flesh would symbolize Shylock’s ultimate triumph over Antonio and the Christians in general.  While money is clearly of some value to Shylock as he is a usurer, it is also a tangible object that can be taken away.  His fear of losing money stems from the Christians’ trickery that enables Jessica to escape and steal his jewels.  This fear supports the notion that money will not grant Shylock triumph over the Christians as it is something that be taken away.  A pound of Antonio’s flesh and the emotional victory that comes with it cannot be taken away. While revenge is the overriding reason for Shylock’s determination to “have [his] bond,” the fear of losing money and not perpetually triumphing over Antonio underscores his desire to “have [his] bond.”

A Costume: Revealing Not Concealing

“When we are both accoutred like young men I’ll prove the prettier fellow of the two, And wear my dagger with the braver grace, And speak between the change of man and boy With a reed voice, and turn two mincing steps Into a manly stride;” (III.v.63-68).

Portia’s plan, clearly premeditated, illustrates her desire to tap into her veiled, true character.  Usually, when people assume another identity, the identity serves as a costume, as something other than the truth.  However, Portia’s assuming the role of her cousin, Doctor Bellario, is the identity that enables her to express her authentic persona, which is otherwise suppressed throughout The Merchant of Venice.  Her use of juxtaposition, “braver grace” and “manly strides” instead of “mincing steps,” contrasts the feminine character she routinely assumes in order to conceal her true more masculine identity, which is one that desires to be outspoken, clever, brave, and in control. 

Shylock's Hatred is Innate Not Instigated

 “I would my daughter were dead at my foot, and the jewels in her ear: would she were hearsed at my foot, and the ducats in her coffin” (III.i.69-71)

Shylock’s desire for revenge is prevalent in that “he would rather have Antonio’s flesh than twenty times the value of the sum That he did owe him” (III.ii.285-287); however, the true cruelty of his character emerges not because of the bond and revenge he desires, but because he wishes death upon his own daughter, his own “flesh and blood.” His desire to see her “hearsed at [his] foot” exemplifies the hatred that anchors his character.  Earlier in the play, this hatred is attributed to the treatment he endures from the Christians; however, after Jessica has escaped, his desire to see her dead illustrates that the hatred of his disposition is not something instigated by others, but rather this hatred is a part of his innate character. 

Portia's Concealed Power

“Thus hath the candle singed the moth.  O, these deliberate fools! When they do choose They have the wisdom by their wit to lose” (II.ix.78-80).

Portia’s metaphor, in which she equates her suitors to moths, alludes to the powerful influence she has and attempts to conceal.  Portia describes her suitors as moths drawn to, and “singed,” by a candle. The candle symbolizes the caskets they must choose from, but, more so, symbolizes Portia herself as a powerful enough subject to draw in all of these men.  Although Portia is supposedly powerless in the process by which she is to attain a husband, her description of men as moths that are naturally drawn to her suggests an influence she has over these men.  This suggestion is significant as while Portia outwardly claims she is uneducated, unpracticed, and unskilled, her metaphor hints to the concealed influence she has over others. Shakespeare’s instillation of this metaphor hints at this secret aspect of Portia’s character that enables her to have a drastic affect on Antonio’s trial. 

Venice Bassanio and Belmont Bassanio

“But Hear thee, Gratiano: Thou art too wild, too rude, and bold of voice… And in such eyes as ours appears not faults; But where thou art not known, why there they show Something too liberal. Pray thee take… some cold drops of modesty Thy skipping spirit, lest through thy wild behaviour I be misconstered in the place I go to, And lose my hopes” (II.ii.151-160)

Bassanio’s response to Gratiano’s request to accompany him to Belmont reveals his shallow character. Bassanio’s shallow character is exemplified when it is prevalent that his reasons for editing Gratiano’s behavior is not to forestall Gratiano from embarrassment, but to ensure that he himself is not “misconserted” by Portia.  Bassanio also reveals that he is very much a two sided character: presenting one Bassanio to Venice and one Bassanio to Belmont.  The Venice Bassanio is in debt and enjoys Gratiano’s outlandish character; however, the Belmont Bassanio is a wealthy Venetian who doesn’t want to be associated with Gratiano’s rudeness.  Bassanio not only jeopardizes Antonio’s life, but installs stipulations on his friend’s behavior in order to impress Portia and secure her fortunes. 

Revenge fuels the Bond

“But ships are but boars, sailors but men; there be land rats, and water rats, water thieves and land thieves – I mean pirates – and then there is the peril of waters, winds and rocks” (I.iii.18-21)

During Shylock’s initial conversation with Bassanio to negotiate the loan, his speech about Antonio’s credibility ominously foreshadows Antonio’s maritime ventures. While insuring to Bassanio that Antonio is “sufficient” to guarantee the loan, Shylock also speaks of the dangers his ships could potentially face.  Even after mentioning these perils, Shylock insists that Antonio is sufficient.  Shylock’s insistence, while mentioning the maritime hazards, suggests that his conscience is hypothesizing what could happen if Antonio was sealed to a bond with Shylock that he could not repay.  Throughout their conversation, Shylock is becoming cognizant of the revenge that could be fulfilled if Antonio were to seal a bond with Shylock that he could not repay; this recognition drives him into making a bond with these Christians. 

Portia: a Racist as Well as an Anti-Semitic?

“If he [Prince of Morocco] have the condition of a saint, and the complexion of a devil, I had rather he should shrive me than wive me” (I.ii.106-108)

After Portia dismisses every suitor Nerissa names with a scornful, pithy response, she is informed that the Prince of Morocco is arriving as the next suitor.  Portia’s response to the servingman’s announcement is revealing to her racist character as she acknowledges that even if this forthcoming suitor, the Prince of Morocco, were to “have the condition of saint,” she would still not marry him because of his race.  Portia's racist nature, revealed by her response to the Prince of Morocco, suggests that she will likely hold the same anti-Semitic view of Shylock as most of Christian, sixteenth century Venice society.  Shakespeare’s immediate introduction of both racism and anti-Semitism as themes of the play suggests that these will prove to be continual forces in shaping the interactions between characters, which, in turn, will mold the course of the play.  

Introduction to Ambiguity

The staging of the play reveals much about the deep emotions of Antonio.  The first conversation between Antonio and Bassanio that the audience observes is in a bedroom; this intimate setting suggests the characters' love for one another.  Whether this romantic love is mutually understood or if Bassanio merely views Antonio as the “the dearest friend to [him], the kindest man” is left up to question.  Bassanio’s enthusiastic announcement of his plan to go to Belmont and his continual mention of Portia’s fairness suggest his view of Antonio just as a “true friend” rather than a lover.  The staging of this conversation about Bassanio’s plan, involving Belmont and Portia, for financial redemption in a bedroom introduces the theme of ambiguity, which Shakespeare will continue to utilize throughout the play.