Act 4.1: Mercy VS Justice

Act 4.1 revolved around the court trial in which basically everyone in the court was  begging Shylock to show mercy towards Antonio. However , similar to previous acts, the Christians continued to insult him while asking for his mercy which reveals further hypocrisy in their behavior.
The Duke pleads Shylock to be "touched with humane gentleness and love" by "glancing an eye of pity on [Antonio's] losses" while simultaneously referring to him as barbaric as "stubborn Turks and Tartars never trained". The word "gentleness" connotes Christianity and it's paired with the word "love" because he equates Christianity with love. However, Shylock is not a Christian and he does not pity Antonio because did break his bond and failed to repay three thousand ducats in time. The word "gentle" is also repeated when the Duke tells Shylock "We all expect a gentle answer, Jew".  (4.1.26-35) Once again, he expects Shylock to show Christian behavior while at the same time calling him a Jew.

Even Antonio, who should be the one begging for Shylock's mercy, describes Shylock's "Jewish heart" as unchangeable and as hard as stone: "You may as well do anything most hard/As seek to soften that than which what's harder?--/His Jewish heart" (4.1.49) If his Jewish heart is hard, then Christian hearts must be the same because they never seem to show any compassion whatsoever to evoke empathy from Shylock. 

Gratiano interprets Shylocks determination to uphold justice as a "desire": "for thy desires/Are wolfish, bloody, starved, and ravenous." (4.1.139-140) I think it's true that Shylock's vengeance does make him deserving of being called as a ravenous, bloodthirsty wolf but in this quote it seems like Gratiano is attributing justice as a bloodthirsty desire instead of a rational societal belief. Justice is usually associated with reasoning and upholding equality, but in the Christian's view mercy overcomes justice. 

Portia who is disguised as Balthazar depicts that mercy is not something that is restrained, but rather falling like rain from heaven. "The quality of mercy is not strained/It droppeth as the gentle rain from heaven" (4.1.190-191) She describes mercy as being "gentle" which also emphasizes mercy as being a Christian value. The repetition of the word "gentle" undoubtedly conveys the Christian mindset of how mercy is above all things, even justice. Thus not expressing mercy would be considered as a wrongdoing in the Christian view.

What particularly interested me was how Portia undermined justice by saying that justice does not give salvation, only mercy will.. "Therefore, Jew,/Though justice by thy plea, consider this:/That in the course of justice none of us/Should see salvation. We do pray for mercy" (4.1.203-206) Portia used the word "us" which made it seem like it included Shylock in Christian salvation when they clearly point out how Shylock is a Jew. Maybe it served to prepare for Shylock's conversion to Christianity....perhaps that's why there were multiple uses of  the word "gentle".

In the end, Shylock was forced be for mercy himself, indicating that mercy was the only solution to injustice: "Down, therefore, and beg mercy of the Duke.' (4.1.378) At the end of the Act 4.1, it was also interesting how Portia requested for Antonio's ring when Bassanio insisted that he should repay her. Portia referred to the process as begging, which I think draws connection with the act of begging for mercy. In between the Christians, begging involved objects and monetary value whereas in with Shylock's trial it involved begging for mercy. I wonder if this is significant to the Christian hypocrisy or maybe I'm just reading a little too deep  into it.

"I see, sir, you are liberal in offers/You taught me first to beg, and now methinks/You teach me how a beggar should be answered." (4.1.456-458)

MoV: Act 3.3-3.5: Vengeance and Praise

Shylock

Not surprisingly, Shylock is thirsty for revenge and he does not show any mercy when Antonio pleads for a lesser punishment. It's evident that Shylock is turning the Christian merchants' words against them. They insulted and mocked him by calling him a dog, devil and other degrading words and he uses the same words to express his vengeance.

"Thou call'dst me a dog before thou hadst a cause,
But since I'm a dog, beware my fangs."  (3.3.7-8)

Saying "beware my fangs" certainly does not make him a sympathetic character and it further perpetuates the idea of Jewish people being barbaric creatures. However., he strongly abides the law and rightly punishes Antonio for not being able to repay his interest-free bond with Shylock. I also noticed that Shylock's dialogue has been largely repetitive. I'm wondering if it's simply for emphasis on his stubbornness and determination to gain vengeance or is Shakespeare in a way trying to further mock him and dehumanize him.

"I'll have my bond. I will not hear thee speak.
I'll have my bond, and therefore speak no more.
I'll not be made a soft and dull-eyed fool,
To shake the head, relent, and sigh, and yield
To Christian intercessors. Follow not!
I'll have no speaking. I will have my bond." (3.3.13-18)

He is definitely fighting against all of the discrimination he's faced and refuses to become a "dull-eyed fool" and to "yield to Christian intercessors". I think his willingness to stand up for himself does make him a more respected character because there is truth in his words. However the Christian merchants interpret his determination to impose the law as  their common enemy who is inherently evil.

Portia

Literally everyone in the play thinks of Portia as a heavenly saint/angel  with her fair beauty and wealth. It was overwhelming to say the least to have every single person praise her in such an exaggerated manner. I wonder if their praises for her are truly genuine or do they just feel the need to praise her because of her high status, beauty, and wealth? Portia does seem like the heroine of the play. She does not hesitate to "save" Antonio from his ill fate and it was interesting how she feels this deep connection towards Antonio simply because Bassanio is like his "bosom lover". The book annotated "lover" as friend or "well-wisher" or a romantic lover and "bosom" meaning confidential. Does Bassanio feel a closer tie with Portia or are homosocial bonds stronger than heterosexual relationships?

"Which makes me think that this Antonio,
Being the bosom lover of my lord,
Must needs be like my lord. If it be so,
How little is the cost I have bestowed
In purchasing the semblance of my soul
From out the state of hellish cruelty!"  (3.4.16-21)

Portia's use of "purchasing" to describe the act of saving Antonio definitely makes her seem money-oriented and possessive. Describing Antonio as the "semblance" of Bassanio's soul really creeps me out because she sort of regards Antonio and Bassanio as one entity and for the soul to resemble each other must indicate a highly interpersonal relation.

Jessica

Speaking of praises, I also noticed that Jessica felt the need to flood Bassanio with compliments.
"Nay let me praise you while I have a stomach!". Why is this act of praising taken so seriously? Does this tie into how Christians are at times hypocritical on how they emphasize the inner over outer appearances but in reality they take every chance they get to elevate their appearances to seek societal approval??

MoV: 3.1-3.2: Happily Ever After?

The beginning of Act three was action-packed filled with new events and new interactions between characters. I thought the plot moved incredibly fast because three months have passed and Antonio finds out of his shipwrecks and that he is unable to repay Shylock three thousand ducats, Jessica elopes with Lorenzo to Genoa, Bassanio chooses the right casket and is Portia gives him her ring indicating that his is to be the new lord of Belmont. Portia and Bassanio celebrate their happiness and union of love but the terrible news from Antonio casts a shadow upon their newly found happiness. Gratiano, who accompanied Bassanio to Belmont is also engaged to Nerrisa and he says, 

"We are the Jasons, we have won the Fleece" (3.2.250)

This line also draws reference to the previous lines in Act one when Bassanio describes Portia in Act One. "Renowned suitors, and her sunny locks/ Hang on her temples like a golden fleece, /Which makes her seat of Belmont Colchos' strond,/And many Jasons come in quest of her." (1.1.176-179)

Portia and Nerissa are the golden fleece that they have won and this further emphasizes the monetary nature of marriages. Marriages are described as an economic transaction where the women are the idealized trophy to be won by the man who fights for her. Bassanio and Gratiano are the ones who hold victory and they appear almost as the heroes who have been rewarded with beautiful, fair women. This certainly objectifies the two women and it reminded me of Jessica gilding herself for Lorenzo. Come to think of it, the two main women are both rich due to their father's wealth. Does this indicate that they are wealthy because of men and not for their own credit? When they grow up, they become bait for men to catch because of all the wealth they have and they are more than willing to be objectified and to fulfill men's desires. I just find the whole golden fleece reference disturbing and I hate how the women are being objectified even they have many other qualities to offer, for example Portia's wisdom and wittiness and Jessica doesn't seem like such a terrible person but she does betray her father, trades her father's turquoise ring for monkeys and converts to Christianity to leave her Jewish heritage and pursue love (okay maybe she does pale in comparison to Portia, but let's not forget Portia's racist views!)

One particular line that caught my attention was when Portia declares all of herself and all of what she owns to be "converted" to his possession.

"Myself, and what is mine, to you and yours/Is now converted" (3.2.170-171)

This line rang a bell for me because of the use of the word "converted" and once again it mimics the scene where Jessica expresses her desire to convert to Christianity and become Lorenzo's loving wife. Instead of the subject of love, Portia's conversion consisted of economic diction. Portia herself becomes Bassanio's property along with her wealth.

There's definitely parallels in Portia and Jessica's wealth-driven pursuit of marriage but will their romantic endeavors both end in a happily ever after?

Source

MoV: 2.7-2.9

Prince of Morroco and Arragon attempt to choose the casket to win Portia as their new wife and the portrayal of Shylock as the "villain Jew" is further emphasized through the dialogue between Salarino and Salanio. 

"My daughter, O my ducats, O my daughter! Fled with a Christian! O my Christian ducats" (2.8.15)

Salarino and Salanio are recounting Shylock's shocking discovery of Jessica's departure and there is no surprise at their deliberate insult at Shylock. However since it's a second-hand account of the event, there are also issues with the reliability of their statement and they could be exaggerating on how he was more worried about his ducats and jewels than the disappearance of Jessica. Perhaps Shylock is genuinely shocked at how how not only does Jessica elope with Lorenzo, but she also brought along all of his precious ducats. 

The dialogue between Salarino and Salanio in Act 2.8 was similar to the Act 1.1 where the Venetian brotherhood all came to visit Antonio and comfort his worries. They used similar poetic language and intertwined commercial diction with dramatic emotions.  In particular I found these lines regarding Bassanio departing from Antonia very emotional and dramatic.

"And even there, his eye being big with tears,

Turning his face, he put his hand behind him,

And with affection wondrous sensible

He wrung Bassanio's hand-and so they parted." 

When I read the above lines it almost felt like they were Romeo and Juliet forcibly pulled away from each other as they depart with heartbreak and tears running down their face.The words "tears", "face", "hand", "affection", "sensible" also seem more feminine words because they seem to revolve around the theme of love. What was interesting is that the parting between Antonio and Bassanio was more dramatic than Jessica running away with Lorenzo. It makes me question whether love really is genuine. Maybe Antonio and Bassanio have closer Christian brotherly ties with each other.....maybe because Bassanio has been borrowing money on Antonio's credit.....and Antonio's business is now experiencing troubles.....and Antonio soon will be in huge trouble.

The Merchant of Venice (2.1-2.3)

The first three scenes of Act Two were filled with latent assumptions of different characters. I think that there was a great contrast between the portrayal of the Prince of Morocco and the second-hand portrayal of Shylock.

In the first scene, I found that the Prince of Morocco blatantly perceived his race and dark complexion to be a disadvantage among Portia's other suitors. He always felt the need to defend himself by arrogantly emphasizing his valor and accomplishments, which I think would make Portia dislike him even more. It demonstrates the Prince of Morroco's insecurities and indirectly shows how he perceives Portia (probably being judgmental and racist as supported by Act One). Although the Prince doesn't call her a racist and neither does Portia herself, both characters subtly convey their latent assumptions of each other through dialogue an

On the other hand, Shylock is outwardly referred to as a "devil' multiple times in the play. In the second scene, Lancelot Gobbo, Shylock's servant, debates on whether or not to leave his master.
There is the typical argument between the angel and the devil hovering on one's shoulders, trying to distinguish between what is right and what is wrong.

"To be ruled by my conscience I should stay with the Jew my master, who (God bless the mark) is a kind of devil; and to run away from the Jew, I should be ruled by the fiend, who (saving your reverence) is the devil himself. Certainly the Jew is the very devil incarnation..." (2.2.22)

His conscience, representing the metaphorical angel who tells people to choose the "good" path, tells him that he should stay with Shylock but the "devil" is telling him to run away. He then makes a logical fallacy by coming to a conclusion that Shylock must be the devil himself because no matter what option he takes, he's supposedly ruled by the devil. The only given reason for associating Shylock with the devil is because he's Jewish.

"My master's a very Jew. Give him a present! Give him a halter. I am famished in his service. You may tell every finger I have with my ribs.....To him [Bassanio], father, for I am a Jew if I serve the Jew any longer." (2.2.104)

Although Shylock claims to be famished in his service, which could indicate Shylock's brutal treatment towards Lancelot by not feeding him enough, in the end he emphasizes that if he continues to be his servant, he will become a Jew, which seems to be the worst thing a person can become according to the Christian merchants in the previous act. Lancelot perpetuates the prejudiced assumptions expressed by Antonio and Bassanio, revealing that Christians don't only hate Jewish people for their usury but mainly for their Jewish identity.

Even Shylock's daughter appears to despise Shylock and no longer wishes to be be associated with her Jewish father. Jessica acknowledges her guilt for being ashamed of being his daughter, but also justifies her hatred because he is in disagreement with his "manners". She didn't explicitly state as to what "manners" she disagreed with and she may be exaggerating her hatred because she wants to marry Lorenzo and convert to Christianity.

"Alack, what heinous sin is it in me To be ashamed to be my father's child? But though I am a daughter to his blood, I am not to his manners....I shall end this strife, Become a Christian and thy loving wife." (2.3.17)

I noticed how being a Christian is also tied in with being a "loving wife". I wonder if Jessica also shares the same perception of how being Jewish automatically makes you more hostile and somehow unloving.

A devilish image of Shylock

http://upload.wikimedia.org/wikipedia/en/8/81/Shylock_film.jpg

The Merchant of Venice Act 1.3: Shylock

Act 1.3 was very entertaining to read because Shylock was introduced and it also portrayed the interaction between a Jewish usurer and a Christian merchant. I think there were clear tensions between both groups of men and Shakespeare highlighted their differences. Shylock's dialogue was filled with money diction and he was portrayed as being calculative, cautious, but also disciplined and fair. The amount of three thousand ducats that Basannio is planning to borrow on behalf of Antonio's credit was emphasized multiple times. There were many words of measurement such as "a pound of flesh" and he describes Antonio as "sufficient". As Meghan pointed out in her blogpost, line 15-17:"My meaning in saying he is a good man is to have you understand me that he is sufficient"  shows that Shylock is focused on a person's financial condition. In contrast, Antonio called Shylock a "goodly apple rotten at heart" (line 10) which indicates that he judges people by their heart.

What I find ironic is that Antonio clearly does not treat Shylock with kindness even though he says at the end of the scene "The Hebrew will turn Christian: he grows kind." (line 191), meaning that he equates kindness with being a Christian. However earlier in the scene, Antonio displays his hatred for Shylock and insists that he will not treat Shylock with respect even if he should lend Basannio money with no interest: "I am as like to call thee so again, to spet on thee again, to spur thee, too." (line 152-153). Although Shylock is portrayed as a greedy, money-motivated villain, the only literal display of hate is how Christians will spit upon Jewish people and mock them with degrading names. Antonio does not show and kindness or compassion towards Shylock which I think exposes the hypocrisy of Christian values and sheds light upon Shylock's integrity.

The Merchant of Venice 1.1 -1.2

Having finished background reading before starting the play, I had a grasp on the context and possible themes in the play which made it easier for me to understand Act 1.1-1.2.  Scene one was filled with commercial diction as Antonio engages in conversations with his friends and kinsman on his sadness. I think that the abundance of commercial diction emphasizes the role of trade in Venetian society. Words such as argosies, venture, ports, piers, the wealthy Andrew, vessels, fortune, merchandise, and business were used in scene one as Antonio and his friends discuss commerce matters. However, I noticed that the men in the scene actually try to avoid appearing overly concerned with their business matters because Antonio denies that he is worried about his business. His friends also bring up the discussion of commerce mostly in an indirect manner because they intermix Antonio's state of mind with his trading matters as seen in lines 8-9: "Your mind is tossing on the ocean, There where your argosies with portly sail".

 I remember in the background essay we read for The Merchant of Venice that in Christianity, mercy and compassion was emphasized over literal matters such as wealth and appearances. So I think Shakespeare portrayed the men seemingly not having their business matters as a priority because they Christian men wouldn't want to appear as too focused on their wealth or being portrayed as greedy. However when Bassanio enters scene one, he certainly does seem concerned with wealth because he needs money in order to become a potential suitor for Portia. He talks to great lengths on his debts and his desperate need to borrow money. Antonio, displaying his generosity and understanding of his situation, agrees that he will help Bassanio as best as he can. Antonio's willingness to help Bassanio despite his own business troubles reflects Christian values of always helping people who ask for your help. However Bassanio's desire to marry Portia is also closely tied with economic concerns, which parallels with Antonio's sadness and the troubles he faces with his trading business. Personal matters are inevitably related to economic matters.