THE MERCHANT OF VENICE
(WILLIAMS SHAKESPEARE)
INTRODUCTION
1.1 CASTS
The Duke of Venice
Suitors to Portia
The Prince of Morocco
Antonio, a merchant of Venice
Bassanio, his friend, and a suitor to Portia
Gratiano
Salerio friends of Antonio and Bassanio
Solanio
Lorenzo, in love with Jessica
Shylock, a Jew
Tubal, a Jew
Launcelot Gobbo, the clown of the play, Shylock servant
Old Gobbo, Launcelot’s father
Leonard, Bassanio’s servant
Balthazar
Portia’s servants
Stephano
Portia, an heiress, mistress of Belmont
Nerissa, her maid
Jessica, shylock’s daughter
1.2 SCOPE AND METHODOLOGY
This work covers the major event in the William’s Shakespeare, the Merchant of Venice. It however, narrates the tragic episodes in modern English, since the language used in the play is no longer in use in modern contemporary English.
1.3 ORGANIZATION OF THIS WORK
This work contains the introduction in chapter one which include the casts, the scope and methodology. Chapter two contains the general review of the William’s Shakespeare. Chapter three contains the essay, which is a tragic episode.
LITERATURE REVIEW
2.1 GENERAL REVIEW OF SHAKESPEARE
The play the merchant of Venice can be review as a dramatic scale by looking at the language forms and imagery of the play. It is important to note that the language used in the play is no longer in existence in today modern English.
The language employed in the play the merchant of Venice is different with the one used in prose and most of it is written not as prose but in lines of verse, that is, in poetic rhymes which include a fixed pattern of stressed and unstressed syllables. One will imagine what Williams Shakespeare; the author of this play is trying to pass across to the reader since in ordinary life people do not speak in poetry.
However, it is a well know fact in literal term that people who speaks in poetry are precise, quick and are straight to the point while speaks; for example, this can be seen in the way and manner the characters interact and expressed their feelings and this is also characterized by the use of imagery which adds to ordinary statement visions of something different but at the same time similar in some aspect.
The story of Jason is a good instance where Bassanio is successful in winning Portia’s hand in marriage and Gratiano succeeds in winning her maid Nerissa; where Gratiano stated that:
"I know Antonio will be Glad of Our success
we are the Jason, we have won the fleece".
The imagery binds the wooing and the success as they are bound up in the story of Bassanio’s venture. Imagery can also be seen in the play where Salerio and Solanio suggest that Antonio’s sadness might be due to worry over his merchant-ship. (See Acts 1 scene i).
It is important to bear in mind that the author of the merchant of Venice writes the book not to be read but to be acted in a theater of his days and for the entertainment of the people he saw around him, this is another reason why the merchant of Venice is a Drama and not Prose. Therefore, for the reader to understand and appreciate the work of the author he has to imagine when reading the book, how the actors must look on stage, the way and manner they behave and sees what they do.
Finally, in Acts 2 scene vii, where Jessica appears and called Lorenzo who is waiting and ready to take her away. She took some of her father’s treasure then hurries down to join her lover and so they make their escape with the treasures. This is another instance why the play Merchant of Venice is a Drama.
ESSAY
3.1 THE TRAGIC EPISODE
In Act 1 Scene I, Antonio, a Merchant of Venice, tells his friends Salerio and Solanio that he is sad at heart but cannot say why, he state that:
"In sooth, I know not why I am sad……" (1.i, 1)
They suggest he is worries about his merchant-ships now at sea, but he denies this. He assures them he is not worried about love-affairs either. They can say only that he is sad because he is not merry. His friend’s Bassanio and two others come by. They, too, speak of Antonio’s sadness, and at last Antonio and Bassanio are left together. With Bassanio, Antonio seems to be more at ease; they talk in a friendly way of Bassanio’s love for the beautiful heiress Portia, and of how Antonio can help Bassanio with money so that he can go and seek her hand in marriage.
In Act 1 Scene ii, Portia and her maid Nerissa are discussing the method which Portia’s father has willed for her to find a husband: her suitors must each chose one of three caskets, made of gold, silver and lead, and the wining casket has Portia’s picture inside. The women talk about the suitors who have so far come to Belmont from distance countries; Portia is not attracted to any of them, and is glad to know that none is willing to submit to the lack of the casket. But they remember with pleasure the visit of Bassanio. Nerissa says:
"Do you not remember, lady, in your father’s time, a Venetian, a scholar and a soldier that came hither in company of the Marquis of Montferrat?" (1.ii, 96-3)
and Portia then reply:
"Yes, yes, it was Bassanio, as I think so was he called" (1.i, 99)
However, the arrival of yet another suitor, the Prince of Morocco, is then announced.
In Act 1 Scene iii, Bassanio has already begun to discuss with Shylock. He wants to borrow 3,000 ducats, for three months, in the name of his friend Antonio. Shylock tells how he believes Antonio’s name is good security; even his fortune is largely in ship at sea. But he also reflects that he hates Antonio because Antonio lends money without charging interest, which is bad for business, and because Antonio has ill-treated him. When Antonio himself comes up to them, an agreement is soon made; Shylock will lend the money, but if it is not repaid within three months, Antonio must give a pound of his flesh to Shylock. Shylock jokingly says:
"……if you pay me not in such a day, in such a place, such sum or sums as are expressed in the condition, let the forfeit be nominated for an equal pound of your fair flesh, to be cut off and taken in what part of your body pleaseth me" (1.iii, 140-5)
In Act 2 Scene i, the Prince of morocco, visit to Belmont was announced at the end of Act 1 Scene ii, now comes to ask Portia for her hand in marriage. He makes much of his appearance and his bravery, but Portia tells him he must, like the others, submit to the lottery of the caskets, and promise not to ask for the hand of any other woman if he loses. He agrees to this condition.
In Act 2 Scene ii, Shylock’s manservant, Launcelot Gobbo, is trying to decide whether or not to leave his master’s service; he discusses the matter with himself by making a conversation between his conscience and devil. Old Gobbo, his father, almost blind, comes up to him but does not know him, and Launcelot tease him before he reveals himself. When Bassanio agrees to do so, and sends him off.
Gratiano, a friend of Bassanio’s then comes in and begs to be allowed to accompany Bassanio to Belmont, Portia’s house. Bassanio agrees, but on the condition that Gratiano behaves a little more soberly than the usually does.
In Acts 2 Scene iii, Shylock’s daughter, Jessica, says good-bye to Launcelot with real regret, but takes the opportunity of giving him a letter to pass on to Lorenzo, who is staying in Bassanio’s house. She is in love with Lorenzo, and regrets that she is a Jewess because this may make it difficult for her to marry him.
In Acts 2 Scene iv, Gratiano and the rest are here seen planning a masque, i.e. a short play for which the actors wore masks and later mixed with the guests for dancing. When the actors came in, torches before them, but in this instance these have not been arranged, and time is short. Launcelot brings in Jessica’s letter, and Lorenzo learns that, disguised as a page, she plans to run away with him.
In Act 2 Scene v, Launcelot gives Shylock Bassanio’s invitation to supper, and Shylock accepts with some hesitation. He wants Jessica to guard the house well while he is away. Launcelot also lets Jessica know secretly that her lover, Lorenzo, may come for her that night.
In Act 2 Scene vi, Gratiano and Salerio, ready for the masque, are waiting for Lorenzo at an agreed place near Shylock’s house. When Lorenzo comes, he calls out and Jessica appears above; she throws down some of his father’s treasure for him to take away and then comes down to him, ready to run away from her father’s house. They leave, but before Gratiano gets away, Antonio comes in and stops him; Antonio gives the news that the ship which is to take Bassanio to Belmont is ready to sail immediately.
In Acts 2 Scene vii, This is the first of three scene in which suitors for Portia’s hand make a choice from among the casket, in according with the her father at death. After considerable thought, the Prince of Morocco chooses the golden casket, and finds inside a skull and a scroll of paper. On the paper are verses warning the reader against being misled by outward appearances. The scroll reads:
"All that glitters is gold; often have you heard that told. Many a man his life hath sold but my outside to behold- gilded tombs do worms infold; had you been as wise as wise old, young in limbs, in judgment old, your answer had not been inscrolled-face you well; your suit is cold."(2.viii, 65-9)
The prince has lost his chance in the lottery, and sadly leaves Belmont; Portia is not sorry.
In Acts 2 Scene viii, Salerio and Solanio here exchange the latest news. Shylock is in a rage over the flight of his daughter and the loss of the property she took with her. A ship has been lost off the English coast, and some fear that it is one of Antonio’s. When Bassanio said good-bye to one another, Antonio was deeply moved and begged Bassanio not worry about the bond with Shylock.
In Acts 2 Scene ix, Portia’s second suitor, the Prince of Arragon, now comes to try his luck. He studies the writing on each of the caskets, and after some reasoning, chooses the one made of silver. In it he finds a disgusting portrait, and he is shown that he was too much attracted by outward appearances to be successful. As soon as he leaves, a message is brought by a young man who tells that his lord, yet another suitor, will soon be there. Portia hopes that this will be Bassanio.
In Act 3 Scene i, Salerio and Solanio (whose part in the plot is often to recount events taking place outside Venice) tell of the wreck of another of Antonio’s ships. Shylock comes up to them lamenting the loss of his daughter; and, when Antonio’s bad luck is mentioned. Shylock makes it clear that he will take the forfeit if Antonio fails to redeem his bond. In a passionate speech, Shylock shows how a Jew’s humanity is the same as a Christian’s. One of Antonio’s servants calls Salerio and Solanio away and Shylock’s friend Tubal enters, bringing news that Antonio has lost yet another ship and is likely to be ruined. This gives Shylock some pleasure, and he prepares to take immediate action against Antonio.
In Act 3 scene ii, in this scene Bassanio wins the hand of Portia in marriage. The wooing and the choosing of the caskets are an occasion for long speeches in a rather formal, courtly style which seems to be more concerned with balanced phrases and plays on words than with the expression of real feeling. But that was the custom of the time; and there are places where passion is clearly express, as when Portia hesitates during her first speech and when Bassanio, having won his suit, compares himself with a champion who has won a fight and is dizzily enjoying the applause of the audience.
Portia shows that Bassanio is the man she truly loves; she tries to persuade him to delay in choosing the caskets so that she will certainly have more company, but he wants to choose at once. To Portia’s delight he chooses the lead casket, and finds her picture inside, and a verse which shows that his reasoning was correct: he was not deceived by outward appearances. Gratiano tells how he, too, has fallen in love and intends to marry Portia’s maid Nerissa.
Lorenzo, Jessica, and Salerio break in on this happy scene to bring Bassanio a letter from Antonio. From the letter they learn that Antonio has had bad luck with his ships and will not be able to pay back his loan in time. He fears he will have to pay the forfeit, which means death, and asks only that Bassanio should see him before he die. Portia thinks the loan very small and offer to pay many times the amount. First, she say, Bassanio and she must marry, and then Bassanio go off to help his friend.
In Acts 3 Scene iii, Antonio has now been seized for dept, and walks through the streets of Venice with a gaoler. He has come from prison to plead once more with Shylock, but Shylock refuses to hear him,
Shylock insists that:
"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……"(3.iii, 12-5)
and Antonio resign himself to pay his penalty, which falls due the next day. He hopes only that he will be only to see Bassanio before he dies.
In Act 3 Scene iv, with her husband away, Portia tells Lorenzo and Jessica that she has made up her mind to retire to monastery until Bassanio’s returns. She asked Lorenzo and Jessica to look after her house for her. But when they have gone she gives her man letter to takes quickly as possible to her relative, Dr. Bellario, who is a lawyer in Padua. She then hints to Nerissa that, dressed as men, they will soon be seeing their husbands again in Venice.
In Act 3 Scene v, this scene marks the passing of the time during which Portia and Nerissa carry out their plan to disguise themselves as lawyers. Launcelot talks to Jessica with a great deal of word-play, and the same joking goes on when Lorenzo comes in. but in the end Lorenzo tires of having his words twisted, and when Launcelot leaves he is pleased to talk to Jessica about Portia. Jessica admires her greatly, and speaks too of Bassanio’s good fortune in winning her.
In Acts 4 Scene i, the court scene begins with the Duke, and Antonio and his friends, talking together about Shylock and the demands of the bond. When Shylock enters, the Duke questions him on his cruel desires, saying:
"……Shylock, the world thinks, and then I think so too, that thou but leadest this fashion of thy malice to the last hour of act, and then ‘t is thought thou ‘lt show thy mercy and remorse, more strange than is thy strange apparent cruelty; and where thou now exact’st the penalty, which is a pound of this poor merchant ‘s flesh, thou wilt not only loose the forfeiture, but, touched with human gentleness and love, forgive a moiety of the principal, glance an eye of pity on his losses that have of late so huddled on his back enow to press a royal merchant down, and pluck commiseration of his state from brassy bosoms and rough hearts of flint, from stubborn Turks, and Tartars never trained to offices of tender courtesy. We all expect a gentle answer, Jew" (4.i, 15-19)
but the talk proves useless because Shylock is determined to make Antonio suffer. The Duke will not decide the case, but tells how he has asked Bellario, a judge from Padua, to come to the court. Nerissa then enters, dressed as a lawyer’s clerk, and brings a letter from Bellario, as already arranged by Portia. Shylock is by now sharpening his knife in readiness for cutting Antonio’s flesh. The letter is read; in it Bellario says he is ill and is sending a young lawyer, Balthazar, in his place. "Balthazar" comes in; it is Portia, dressed as a doctor of laws, but no one recognizes her. She assumes the position of judge and begins to show any mercy, and Antonio says that he is quite resigned to his fate.
But suddenly things take a different turn when the learned Judge give this ruling:
"A pound of that same merchant’s flesh is thine; and the court awards it, and the law doth give it"
and states further that:
"And you must cut
Portia says that no blood may be spilt when the flesh is cut off, and if the flesh slightest amount more or less than one pound, Shylock will lose all his property. These conditions are impossible to fulfill, and it is Shylock’s turn to ask for help; he said he will accept the offer already made for three times the amount of the loan, but Portia will not allow it. Then he is told of another law which punishes anyone who seeks the life of another; under this law, half the offender’s property goes to the Duke and half to the person wronged. The court is merciful, and it is decided that the state fines him, that he must become a Christian, and that at his death all his property must go to his son-in-law and daughter, Lorenzo and Jessica.
When Shylock goes out, Portia says she is ready to leave at once for Padua. Bassanio tries to persuade the "judge" to accept a reward, but Portia asks for his gloves and the ring on his finger. He at first refuses to give the ring, saying it was given him by his wife. At this Portia leaves. But Antonio persuades him to change his mind, and Bassanio sends the ring after her.
The climax of this moving scene is when Portia begins to turn the case against Shylock. His evil purposes and Antonio’s melancholy make much of the scene tragic, but the sadness is lightened by the humour of the disguise; Bassanio, pleading in fiery words for his friend, does not know that he is talking to his wife, so that when the "judge" asks for his ring, and gets it, Portia makes him break his promise to her never to sell it, lose it, or give it away. This leads into a similar trick which Nerissa intends to play on Gratiano, as in the next scene.
In Act 4 Scene ii, Gratiano, whom Bassanio has sent with the ring, overtakes Portia and Nerissa. When the ring has been handed over, Nerissa tells Portia that she will try to get her ring from Gratiano.
In Act 5 Scene i, it is night at Belmont; Lorenzo and Jessica are in the garden enjoying the night air and the moonlight. News is brought that both and Bassanio are near by, and will soon be home. Lorenzo orders music to welcome them, and speaks, in words of great beauty, about the delights of music and the harmony of the universe as seen in the movement of the moon and stars. Soon Portia and Nerissa arrive, and, in a moment, Bassanio and Gratiano with Antonio enter from the other side of the stage. After greetings have been exchanged, the matter of the ring is mentioned. The two women pretend to be very angry that the rings have been given away, and are sure, they say, that the men have given them to other women. At last Portia tells the truth, but only after a good deal of teasing. She has also brought news that three of Antonio‘s ship have, have after all, returns safely. The play ends with Nerissa telling Lorenzo and Jessica that they will get Shylock’s property, and Gratiano promise to be faithful to the doctor’s clerk, his wife Nerissa.
This last act has no tragic implications and the rapid clearing-up of difficulties (the matter of rings; Antonio’s losses at sea) is in the style of pure comedy. So too is the opportunity for dramatic irony which the disguise of Portia and Nerissa as men in the court-room gives to the final explanations; this depends particularly on the confusion between men and women. But perhaps the best-loved passages here are the exchange between Lorenzo and Jessica as they look at the stars and listen to the music in the garden of Belmont.
CONCLUSION
Antonio’s sadness is a fore shadow of the sorrow which descended on all the major character of the play. This can be seen in Antonio who is known to be rich, generous and kind, and also helpful to those around him. The sorrow which descended on all was a result of the supposing losses which Antonio suffered at sea due to the ship wreck and as such he was not able to pay back the debt at the agreed time.
The sadness get to it climax when Shylock insist of getting his pound of flesh at all cost. Antonio plead with him for a little longer but he will not listen, the Duke questions Shylock on his cruel desires but the talk proves useless because Shylock is determined to make Antonio suffer. Antonio’s friends Bassanio and Gratiano plead with but to no avail. Bassanio however, insisted even promised to pay thrice the dept but Shylock insist to get the pound of flesh and the young lawyer pleaded also with Shylock to be merciful he refuses to show any mercy. This made Antonio to submit to his fate since his case seems to be hopeless.
Shylock is another character in the play; he is a money lender by profession. He is a Jew and he is faithful to his faith and he has suffered much insult, even from Antonio. Shylock was the person Bassanio went to when he needed to borrow money for his journey to Belmont and Antonio agrees to be responsible for the repayment of the loan.
At the beginning of the play Shylock seems to be the only person happy and without problem. He expresses his hatred of Antonio as a Christian and as a merchant who lends money without charging interest on it. Shylock agreed to lend Bassanio the money on the condition that, if the money is not paid back at the agreed date Antonio will have to forfeit a pound of his flesh, as stated in Act one scene iii
"Go with me to a notary; seal me there your single bond, and in a
merry sport, if you repay me not on such a day, in such a place,
such sum or sums as are expressed in the condition, let the forfeit
be nominated for an equal pound of your fair flesh, to be cut off
and taken in what part of your body pleaseth me".
Shylock sorrow started when he loses daughter Jessica to a Christian lover called Lorenzo. Shylock grieved more over the loss of his riches which Jessica took with her than over loss of his daughter.
However, all effort to persuade Shylock to collect his money in a later day after the due date of the agreement but he insisted on taken the pound of flesh which he demanded in court as his legal right by an agreement freely entered by Antonio and he demanded for justice.
At the beginning of the proceedings in court, the case was in the favour of Shylock but suddenly things went upside down for Shylock. His sorrow reached it apex when he was robbed of justice he demanded, not in real legal process but by a trick of words which could hardly have any place in a fair system of justice. Shylock could not believe what was going on in the court room he was forced to ask the young lawyer (that is Portia, who disguise herself) if that was the law, the young lawyer answered that it is contained in the act. The young lawyer told Shylock that justice will be done since he insisted of taken the pound of flesh than thrice the money he lend out to Bassanio but on the condition that Shylock will take exactly one pound of flesh no less nor more and that there shall be no blood from Antonio body. This condition seems to be impossible, immediately Shylock demanded to take the money which Bassanio offered to pay but the young lawyer refused based on the fact that right in the court Shylock has refused the money and he cannot turn round to collect the money after another verdict.
The young lawyer went further in her ruling that since Shylock who is an alien in Venice intended to kill Antonio who is a citizen and by law he will lose his life and property. But Shylock was pardon by the Duke of Venice and Antonio on the conditions that his property will be shared among Jessica his daughter and his son in-law Lorenzo and he must also become a Christian. All these he accepted to do at the end of the play all but Shylock became sorrowful.
Shakespeare, Williams (1988), The Merchant of Venice London: Longman
Lott, Bernard reprint.
Ajimuda O. S. (2001), Complete Work in Literature in English : Stecom.
PUBLISHED BY: OMOLUWA TEMITOPE AND
AGWANIHU EZINWANNE FABIAN
(WILLIAMS SHAKESPEARE)
chapter
INTRODUCTION
1.1 CASTS
The Duke of Venice
Suitors to Portia
The Prince of Morocco
Antonio, a merchant of Venice
Bassanio, his friend, and a suitor to Portia
Gratiano
Salerio friends of Antonio and Bassanio
Solanio
Lorenzo, in love with Jessica
Shylock, a Jew
Tubal, a Jew
Launcelot Gobbo, the clown of the play, Shylock servant
Old Gobbo, Launcelot’s father
Leonard, Bassanio’s servant
Balthazar
Portia’s servants
Stephano
Portia, an heiress, mistress of Belmont
Nerissa, her maid
Jessica, shylock’s daughter
1.2 SCOPE AND METHODOLOGY
This work covers the major event in the William’s Shakespeare, the Merchant of Venice. It however, narrates the tragic episodes in modern English, since the language used in the play is no longer in use in modern contemporary English.
1.3 ORGANIZATION OF THIS WORK
This work contains the introduction in chapter one which include the casts, the scope and methodology. Chapter two contains the general review of the William’s Shakespeare. Chapter three contains the essay, which is a tragic episode.
CHAPTER TWO
LITERATURE REVIEW
2.1 GENERAL REVIEW OF SHAKESPEARE
The play the merchant of Venice can be review as a dramatic scale by looking at the language forms and imagery of the play. It is important to note that the language used in the play is no longer in existence in today modern English.
The language employed in the play the merchant of Venice is different with the one used in prose and most of it is written not as prose but in lines of verse, that is, in poetic rhymes which include a fixed pattern of stressed and unstressed syllables. One will imagine what Williams Shakespeare; the author of this play is trying to pass across to the reader since in ordinary life people do not speak in poetry.
However, it is a well know fact in literal term that people who speaks in poetry are precise, quick and are straight to the point while speaks; for example, this can be seen in the way and manner the characters interact and expressed their feelings and this is also characterized by the use of imagery which adds to ordinary statement visions of something different but at the same time similar in some aspect.
The story of Jason is a good instance where Bassanio is successful in winning Portia’s hand in marriage and Gratiano succeeds in winning her maid Nerissa; where Gratiano stated that:
"I know Antonio will be Glad of Our success
we are the Jason, we have won the fleece".
The imagery binds the wooing and the success as they are bound up in the story of Bassanio’s venture. Imagery can also be seen in the play where Salerio and Solanio suggest that Antonio’s sadness might be due to worry over his merchant-ship. (See Acts 1 scene i).
It is important to bear in mind that the author of the merchant of Venice writes the book not to be read but to be acted in a theater of his days and for the entertainment of the people he saw around him, this is another reason why the merchant of Venice is a Drama and not Prose. Therefore, for the reader to understand and appreciate the work of the author he has to imagine when reading the book, how the actors must look on stage, the way and manner they behave and sees what they do.
Finally, in Acts 2 scene vii, where Jessica appears and called Lorenzo who is waiting and ready to take her away. She took some of her father’s treasure then hurries down to join her lover and so they make their escape with the treasures. This is another instance why the play Merchant of Venice is a Drama.
CHAPTER THREE
ESSAY
3.1 THE TRAGIC EPISODE
In Act 1 Scene I, Antonio, a Merchant of Venice, tells his friends Salerio and Solanio that he is sad at heart but cannot say why, he state that:
"In sooth, I know not why I am sad……" (1.i, 1)
They suggest he is worries about his merchant-ships now at sea, but he denies this. He assures them he is not worried about love-affairs either. They can say only that he is sad because he is not merry. His friend’s Bassanio and two others come by. They, too, speak of Antonio’s sadness, and at last Antonio and Bassanio are left together. With Bassanio, Antonio seems to be more at ease; they talk in a friendly way of Bassanio’s love for the beautiful heiress Portia, and of how Antonio can help Bassanio with money so that he can go and seek her hand in marriage.
In Act 1 Scene ii, Portia and her maid Nerissa are discussing the method which Portia’s father has willed for her to find a husband: her suitors must each chose one of three caskets, made of gold, silver and lead, and the wining casket has Portia’s picture inside. The women talk about the suitors who have so far come to Belmont from distance countries; Portia is not attracted to any of them, and is glad to know that none is willing to submit to the lack of the casket. But they remember with pleasure the visit of Bassanio. Nerissa says:
"Do you not remember, lady, in your father’s time, a Venetian, a scholar and a soldier that came hither in company of the Marquis of Montferrat?" (1.ii, 96-3)
and Portia then reply:
"Yes, yes, it was Bassanio, as I think so was he called" (1.i, 99)
However, the arrival of yet another suitor, the Prince of Morocco, is then announced.
In Act 1 Scene iii, Bassanio has already begun to discuss with Shylock. He wants to borrow 3,000 ducats, for three months, in the name of his friend Antonio. Shylock tells how he believes Antonio’s name is good security; even his fortune is largely in ship at sea. But he also reflects that he hates Antonio because Antonio lends money without charging interest, which is bad for business, and because Antonio has ill-treated him. When Antonio himself comes up to them, an agreement is soon made; Shylock will lend the money, but if it is not repaid within three months, Antonio must give a pound of his flesh to Shylock. Shylock jokingly says:
"……if you pay me not in such a day, in such a place, such sum or sums as are expressed in the condition, let the forfeit be nominated for an equal pound of your fair flesh, to be cut off and taken in what part of your body pleaseth me" (1.iii, 140-5)
In Act 2 Scene i, the Prince of morocco, visit to Belmont was announced at the end of Act 1 Scene ii, now comes to ask Portia for her hand in marriage. He makes much of his appearance and his bravery, but Portia tells him he must, like the others, submit to the lottery of the caskets, and promise not to ask for the hand of any other woman if he loses. He agrees to this condition.
In Act 2 Scene ii, Shylock’s manservant, Launcelot Gobbo, is trying to decide whether or not to leave his master’s service; he discusses the matter with himself by making a conversation between his conscience and devil. Old Gobbo, his father, almost blind, comes up to him but does not know him, and Launcelot tease him before he reveals himself. When Bassanio agrees to do so, and sends him off.
Gratiano, a friend of Bassanio’s then comes in and begs to be allowed to accompany Bassanio to Belmont, Portia’s house. Bassanio agrees, but on the condition that Gratiano behaves a little more soberly than the usually does.
In Acts 2 Scene iii, Shylock’s daughter, Jessica, says good-bye to Launcelot with real regret, but takes the opportunity of giving him a letter to pass on to Lorenzo, who is staying in Bassanio’s house. She is in love with Lorenzo, and regrets that she is a Jewess because this may make it difficult for her to marry him.
In Acts 2 Scene iv, Gratiano and the rest are here seen planning a masque, i.e. a short play for which the actors wore masks and later mixed with the guests for dancing. When the actors came in, torches before them, but in this instance these have not been arranged, and time is short. Launcelot brings in Jessica’s letter, and Lorenzo learns that, disguised as a page, she plans to run away with him.
In Act 2 Scene v, Launcelot gives Shylock Bassanio’s invitation to supper, and Shylock accepts with some hesitation. He wants Jessica to guard the house well while he is away. Launcelot also lets Jessica know secretly that her lover, Lorenzo, may come for her that night.
In Act 2 Scene vi, Gratiano and Salerio, ready for the masque, are waiting for Lorenzo at an agreed place near Shylock’s house. When Lorenzo comes, he calls out and Jessica appears above; she throws down some of his father’s treasure for him to take away and then comes down to him, ready to run away from her father’s house. They leave, but before Gratiano gets away, Antonio comes in and stops him; Antonio gives the news that the ship which is to take Bassanio to Belmont is ready to sail immediately.
In Acts 2 Scene vii, This is the first of three scene in which suitors for Portia’s hand make a choice from among the casket, in according with the her father at death. After considerable thought, the Prince of Morocco chooses the golden casket, and finds inside a skull and a scroll of paper. On the paper are verses warning the reader against being misled by outward appearances. The scroll reads:
"All that glitters is gold; often have you heard that told. Many a man his life hath sold but my outside to behold- gilded tombs do worms infold; had you been as wise as wise old, young in limbs, in judgment old, your answer had not been inscrolled-face you well; your suit is cold."(2.viii, 65-9)
The prince has lost his chance in the lottery, and sadly leaves Belmont; Portia is not sorry.
In Acts 2 Scene viii, Salerio and Solanio here exchange the latest news. Shylock is in a rage over the flight of his daughter and the loss of the property she took with her. A ship has been lost off the English coast, and some fear that it is one of Antonio’s. When Bassanio said good-bye to one another, Antonio was deeply moved and begged Bassanio not worry about the bond with Shylock.
In Acts 2 Scene ix, Portia’s second suitor, the Prince of Arragon, now comes to try his luck. He studies the writing on each of the caskets, and after some reasoning, chooses the one made of silver. In it he finds a disgusting portrait, and he is shown that he was too much attracted by outward appearances to be successful. As soon as he leaves, a message is brought by a young man who tells that his lord, yet another suitor, will soon be there. Portia hopes that this will be Bassanio.
In Act 3 Scene i, Salerio and Solanio (whose part in the plot is often to recount events taking place outside Venice) tell of the wreck of another of Antonio’s ships. Shylock comes up to them lamenting the loss of his daughter; and, when Antonio’s bad luck is mentioned. Shylock makes it clear that he will take the forfeit if Antonio fails to redeem his bond. In a passionate speech, Shylock shows how a Jew’s humanity is the same as a Christian’s. One of Antonio’s servants calls Salerio and Solanio away and Shylock’s friend Tubal enters, bringing news that Antonio has lost yet another ship and is likely to be ruined. This gives Shylock some pleasure, and he prepares to take immediate action against Antonio.
In Act 3 scene ii, in this scene Bassanio wins the hand of Portia in marriage. The wooing and the choosing of the caskets are an occasion for long speeches in a rather formal, courtly style which seems to be more concerned with balanced phrases and plays on words than with the expression of real feeling. But that was the custom of the time; and there are places where passion is clearly express, as when Portia hesitates during her first speech and when Bassanio, having won his suit, compares himself with a champion who has won a fight and is dizzily enjoying the applause of the audience.
Portia shows that Bassanio is the man she truly loves; she tries to persuade him to delay in choosing the caskets so that she will certainly have more company, but he wants to choose at once. To Portia’s delight he chooses the lead casket, and finds her picture inside, and a verse which shows that his reasoning was correct: he was not deceived by outward appearances. Gratiano tells how he, too, has fallen in love and intends to marry Portia’s maid Nerissa.
Lorenzo, Jessica, and Salerio break in on this happy scene to bring Bassanio a letter from Antonio. From the letter they learn that Antonio has had bad luck with his ships and will not be able to pay back his loan in time. He fears he will have to pay the forfeit, which means death, and asks only that Bassanio should see him before he die. Portia thinks the loan very small and offer to pay many times the amount. First, she say, Bassanio and she must marry, and then Bassanio go off to help his friend.
In Acts 3 Scene iii, Antonio has now been seized for dept, and walks through the streets of Venice with a gaoler. He has come from prison to plead once more with Shylock, but Shylock refuses to hear him,
Shylock insists that:
"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……"(3.iii, 12-5)
and Antonio resign himself to pay his penalty, which falls due the next day. He hopes only that he will be only to see Bassanio before he dies.
In Act 3 Scene iv, with her husband away, Portia tells Lorenzo and Jessica that she has made up her mind to retire to monastery until Bassanio’s returns. She asked Lorenzo and Jessica to look after her house for her. But when they have gone she gives her man letter to takes quickly as possible to her relative, Dr. Bellario, who is a lawyer in Padua. She then hints to Nerissa that, dressed as men, they will soon be seeing their husbands again in Venice.
In Act 3 Scene v, this scene marks the passing of the time during which Portia and Nerissa carry out their plan to disguise themselves as lawyers. Launcelot talks to Jessica with a great deal of word-play, and the same joking goes on when Lorenzo comes in. but in the end Lorenzo tires of having his words twisted, and when Launcelot leaves he is pleased to talk to Jessica about Portia. Jessica admires her greatly, and speaks too of Bassanio’s good fortune in winning her.
In Acts 4 Scene i, the court scene begins with the Duke, and Antonio and his friends, talking together about Shylock and the demands of the bond. When Shylock enters, the Duke questions him on his cruel desires, saying:
"……Shylock, the world thinks, and then I think so too, that thou but leadest this fashion of thy malice to the last hour of act, and then ‘t is thought thou ‘lt show thy mercy and remorse, more strange than is thy strange apparent cruelty; and where thou now exact’st the penalty, which is a pound of this poor merchant ‘s flesh, thou wilt not only loose the forfeiture, but, touched with human gentleness and love, forgive a moiety of the principal, glance an eye of pity on his losses that have of late so huddled on his back enow to press a royal merchant down, and pluck commiseration of his state from brassy bosoms and rough hearts of flint, from stubborn Turks, and Tartars never trained to offices of tender courtesy. We all expect a gentle answer, Jew" (4.i, 15-19)
but the talk proves useless because Shylock is determined to make Antonio suffer. The Duke will not decide the case, but tells how he has asked Bellario, a judge from Padua, to come to the court. Nerissa then enters, dressed as a lawyer’s clerk, and brings a letter from Bellario, as already arranged by Portia. Shylock is by now sharpening his knife in readiness for cutting Antonio’s flesh. The letter is read; in it Bellario says he is ill and is sending a young lawyer, Balthazar, in his place. "Balthazar" comes in; it is Portia, dressed as a doctor of laws, but no one recognizes her. She assumes the position of judge and begins to show any mercy, and Antonio says that he is quite resigned to his fate.
But suddenly things take a different turn when the learned Judge give this ruling:
"A pound of that same merchant’s flesh is thine; and the court awards it, and the law doth give it"
and states further that:
"And you must cut
Portia says that no blood may be spilt when the flesh is cut off, and if the flesh slightest amount more or less than one pound, Shylock will lose all his property. These conditions are impossible to fulfill, and it is Shylock’s turn to ask for help; he said he will accept the offer already made for three times the amount of the loan, but Portia will not allow it. Then he is told of another law which punishes anyone who seeks the life of another; under this law, half the offender’s property goes to the Duke and half to the person wronged. The court is merciful, and it is decided that the state fines him, that he must become a Christian, and that at his death all his property must go to his son-in-law and daughter, Lorenzo and Jessica.
When Shylock goes out, Portia says she is ready to leave at once for Padua. Bassanio tries to persuade the "judge" to accept a reward, but Portia asks for his gloves and the ring on his finger. He at first refuses to give the ring, saying it was given him by his wife. At this Portia leaves. But Antonio persuades him to change his mind, and Bassanio sends the ring after her.
The climax of this moving scene is when Portia begins to turn the case against Shylock. His evil purposes and Antonio’s melancholy make much of the scene tragic, but the sadness is lightened by the humour of the disguise; Bassanio, pleading in fiery words for his friend, does not know that he is talking to his wife, so that when the "judge" asks for his ring, and gets it, Portia makes him break his promise to her never to sell it, lose it, or give it away. This leads into a similar trick which Nerissa intends to play on Gratiano, as in the next scene.
In Act 4 Scene ii, Gratiano, whom Bassanio has sent with the ring, overtakes Portia and Nerissa. When the ring has been handed over, Nerissa tells Portia that she will try to get her ring from Gratiano.
In Act 5 Scene i, it is night at Belmont; Lorenzo and Jessica are in the garden enjoying the night air and the moonlight. News is brought that both and Bassanio are near by, and will soon be home. Lorenzo orders music to welcome them, and speaks, in words of great beauty, about the delights of music and the harmony of the universe as seen in the movement of the moon and stars. Soon Portia and Nerissa arrive, and, in a moment, Bassanio and Gratiano with Antonio enter from the other side of the stage. After greetings have been exchanged, the matter of the ring is mentioned. The two women pretend to be very angry that the rings have been given away, and are sure, they say, that the men have given them to other women. At last Portia tells the truth, but only after a good deal of teasing. She has also brought news that three of Antonio‘s ship have, have after all, returns safely. The play ends with Nerissa telling Lorenzo and Jessica that they will get Shylock’s property, and Gratiano promise to be faithful to the doctor’s clerk, his wife Nerissa.
This last act has no tragic implications and the rapid clearing-up of difficulties (the matter of rings; Antonio’s losses at sea) is in the style of pure comedy. So too is the opportunity for dramatic irony which the disguise of Portia and Nerissa as men in the court-room gives to the final explanations; this depends particularly on the confusion between men and women. But perhaps the best-loved passages here are the exchange between Lorenzo and Jessica as they look at the stars and listen to the music in the garden of Belmont.
CONCLUSION
Antonio’s sadness is a fore shadow of the sorrow which descended on all the major character of the play. This can be seen in Antonio who is known to be rich, generous and kind, and also helpful to those around him. The sorrow which descended on all was a result of the supposing losses which Antonio suffered at sea due to the ship wreck and as such he was not able to pay back the debt at the agreed time.
The sadness get to it climax when Shylock insist of getting his pound of flesh at all cost. Antonio plead with him for a little longer but he will not listen, the Duke questions Shylock on his cruel desires but the talk proves useless because Shylock is determined to make Antonio suffer. Antonio’s friends Bassanio and Gratiano plead with but to no avail. Bassanio however, insisted even promised to pay thrice the dept but Shylock insist to get the pound of flesh and the young lawyer pleaded also with Shylock to be merciful he refuses to show any mercy. This made Antonio to submit to his fate since his case seems to be hopeless.
Shylock is another character in the play; he is a money lender by profession. He is a Jew and he is faithful to his faith and he has suffered much insult, even from Antonio. Shylock was the person Bassanio went to when he needed to borrow money for his journey to Belmont and Antonio agrees to be responsible for the repayment of the loan.
At the beginning of the play Shylock seems to be the only person happy and without problem. He expresses his hatred of Antonio as a Christian and as a merchant who lends money without charging interest on it. Shylock agreed to lend Bassanio the money on the condition that, if the money is not paid back at the agreed date Antonio will have to forfeit a pound of his flesh, as stated in Act one scene iii
"Go with me to a notary; seal me there your single bond, and in a
merry sport, if you repay me not on such a day, in such a place,
such sum or sums as are expressed in the condition, let the forfeit
be nominated for an equal pound of your fair flesh, to be cut off
and taken in what part of your body pleaseth me".
Shylock sorrow started when he loses daughter Jessica to a Christian lover called Lorenzo. Shylock grieved more over the loss of his riches which Jessica took with her than over loss of his daughter.
However, all effort to persuade Shylock to collect his money in a later day after the due date of the agreement but he insisted on taken the pound of flesh which he demanded in court as his legal right by an agreement freely entered by Antonio and he demanded for justice.
At the beginning of the proceedings in court, the case was in the favour of Shylock but suddenly things went upside down for Shylock. His sorrow reached it apex when he was robbed of justice he demanded, not in real legal process but by a trick of words which could hardly have any place in a fair system of justice. Shylock could not believe what was going on in the court room he was forced to ask the young lawyer (that is Portia, who disguise herself) if that was the law, the young lawyer answered that it is contained in the act. The young lawyer told Shylock that justice will be done since he insisted of taken the pound of flesh than thrice the money he lend out to Bassanio but on the condition that Shylock will take exactly one pound of flesh no less nor more and that there shall be no blood from Antonio body. This condition seems to be impossible, immediately Shylock demanded to take the money which Bassanio offered to pay but the young lawyer refused based on the fact that right in the court Shylock has refused the money and he cannot turn round to collect the money after another verdict.
The young lawyer went further in her ruling that since Shylock who is an alien in Venice intended to kill Antonio who is a citizen and by law he will lose his life and property. But Shylock was pardon by the Duke of Venice and Antonio on the conditions that his property will be shared among Jessica his daughter and his son in-law Lorenzo and he must also become a Christian. All these he accepted to do at the end of the play all but Shylock became sorrowful.
REFERENCE
Shakespeare, Williams (1988), The Merchant of Venice London: Longman
Lott, Bernard reprint.
Ajimuda O. S. (2001), Complete Work in Literature in English : Stecom.
PUBLISHED BY: OMOLUWA TEMITOPE AND
AGWANIHU EZINWANNE FABIAN
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