The Merchant of Venice and Portia

The Merchant of Venice Study Guide
Name: ______________________________ Hour ____

Shakespeare gets contract story from Italian novel collection by Ser Giovanni Fiorentino circa 1558.
“Pound of flesh” story occurs as early as 1378.
Casket plot appeared in Greek romances—is used as a means of a test.

Act I
1. What important background information is established in the first scene?
2. Does Shakespeare intend the audience to view Bassanio as a spendthrift and a “gold digger”?
3. Why, in Scene II, is Portia in such a melancholy mood?
4. Why does Shakespeare use the word “choose” so often in the second scene?
5. How is Portia characterized in Scene II?
6. In Scene II, why do Portia and Nerissa review the suitors who have come to court Portia?
7. How do Shylock’s first words in Scene III help to characterize him?
8. What is the point of Shylock’s comment about Antonio’s ships?
9. Why does Shylock refuse to eat with Antonio?
10. What is the purpose of Shylock’s “aside” as Antonio approaches in Scene III?
11. What is ironic about Shylock’s reference in Scene III to feeding his grudge toward Antonio, and then greeting Antonio by saying that he was the last man in their mouths?
12. How does Shylock defend his practice of charging interest on loans?
13. Apart from the matter of usury, why does Shylock bear such hatred for Antonio?
14. How does Antonio react to Shylock’s expression of his resentment?
15. Can the audience believe Shylock when he says he would offer the hand of friendship to Antonio?
16. Why does Antonio agree to the terms of the “merry bond” – that is, to forfeit one pound of flesh if he fails to repay the borrowed money on time?
17. What does Bassanio’s reluctance to allow Antonio to agree to Shylock’s bond reveal about him?
18. As far as plot development is concerned, what is the importance of Antonio’s agreeing to Shylock’s bond?

Act II
1. How does the scene between Portia and the Prince of Morocco further Portia’s characterization?
2. Why does Shakespeare split the episodes of the Prince of Morocco’s choice into two scenes?
3. What is the function of Lancelot Gobbo in Scene II?
4. What new element of the plot is added to the play in Scene III?
5. What is Lancelot’s function in the subplot?
6. How does Jessica’s letter to Lorenzo in Scene IV set up further exposition?
7. Why is Shylock reluctant to sup with Bassanio?
8. What is ironic about Shylock leaving his keys with his daughter?
9. Why is Shylock glad to see Lancelot leave his household to go work for Bassanio?
10. As Scene VI closes, why does Antonio announce that there will be no masque tonight?
11. What is the dramatic function of Scene VII?
12. Why does the Prince of Morocco choose the gold casket over the other?
13. What lesson does he discover inside the gold box?
14. What are Solanio and Salerio discussing in Scene VIII?
15. Why does Shakespeare choose to have Solanio report Shylock’s reaction to his daughter’s elopement rather than stage it with Shylock himself?

Act III
1. What are Solanio and Salerio discussing at the beginning of Scene I?
2. What is the effect of Shylock’s “I am a Jew” speech in Scene I?
3. How does Shakespeare keep from making Shylock into too sympathetic a character in Scene I?
4. What is the mood like in this scene?
5. How does the mood in Scene II differ from that of Scene I?
6. What is the theme of Bassanio’s speech before he makes his casket choice?
7. How does Scene II change our previous view of Bassanio?
8. How does our view of Portia change in Scene II?
9. What is the dramatic function of Scene III?
10. Why can the Duke do nothing to prevent Shylock’s claiming his bond?
11. How does Scene IV “humanize” Portia?
12. How does Portia explain her departure from Belmont to Lorenzo?

Act IV
1. What appeal does the Duke of Venice make to Shylock as the trial opens?
2. How does Shylock respond to this appeal?
3. How does Antonio behave in the face of the fate, which seems about to befall him?
4. Is money the most important thing in the world to Shylock? Explain.
5. What is the effect of Shakespeare’s delaying Portia’s entrance into the trial scene?
6. Describe the unfolding of Portia’s argument in the trial.
7. When Shylock relents and says he will take the money instead of the pound of flesh, why is he denied?
8. How does Shakespeare bring the trial scene full circle?
9. What kind of mercy does the court show Shylock?
10. How would the audience of Shakespeare’s day have regarded Shylock’s forced conversion?
11. Why doesn’t Shakespeare end Act IV with Shylock’s exit from the court defeat?

Act V
1. What is the mood as Act V begins?
2. In what other scene in the play does music play as important a role?
3. How is the ring plot in Act V enhanced by dramatic irony?
4. How is the ring plot finally resolved?

Quotes from The Merchant Of Venice
You should be able to identify the speaker and to whom they are speaking.

1. I hold the world but as the world, Gratiano
A stage, where every man must play a part,
And mine a sad one. Act I, scene 1--Antonio

2. I hate him for he is Christian;
But more, for that in low simplicity
He lends out money gratis, and brings down
The rate of usance here with us in Venice.

3. Mark you this, Bassanio,
The devil can cite Scripture for his purpose.
An evil soul producing holy witness
Is like a villain with a smiling cheek,
A goodly apple rotten at the heart.

4. Turn up on your right hand at the next turning, but at the nest turning of all, on your left; marry, at the very next turning turn of no hand, but turn down indirectly to the Jew’s house.

5. Farewell; and if my fortune be not crost
I have a father, you a daughter, lost.

6. Cold indeed, and labor lost.
Then farewell heat, and welcome frost!
Portia, adieu. I have too grieved a heart
To take a tedious leave. Thus losers part.

7. I once did lend my body for his wealth,
Which but for him that had your husband’s ring
Had quite miscarried. I dare be bound again,
My soul upon the forfeit, that you lord
Will never more break faith advisedly.

8. Why, I were best to cut my left hand off
And swear I lost the ring defending it.

The History of Jews in England

1066: Jews enter England following the victory of William the Conqueror

1144: First ritual murder charge or case of “blood libel” involving William of Norwich

1189: The Third Crusade

1194: Crown establishes Exchequer of the Jews—records all Jewish holidays

1217: English Jews made to wear yellow badges to identify them as Jews

1255: blood libel case involving Hugh of Lincoln—100 Jews are executed, reference in Canterbury Tales

1265: rising influence of Italian bankers makes Jewish financial services superfluous—Crown less interested in protecting Jewish rights

1269: Jewish rights gradually restricted, could not inherit money from parents

1290: Jews expelled from England under reign of Edward I—16,000 forced from country

THREE AND A HALF CENTURIES OF EXILE FROM ENGLAND

1589: Christopher Marlowe, a contemporary of Shakespeare’s, has his play Jew of Malta performed—play vilifies Jews

1594: Execution of Roderigo Lopez, a Jew in hiding, for the attempted assassination of Queen Elizabeth I

1597: Shakespeare’s Merchant of Venice

1655: Manasseh Ben Israel negotiates with Cromwell the readmission of the Jews to England

NOTE: Shakespeare had never seen a Jew in his life as they were expelled 300 years before he was born.

Themes
1. Friendship and Love
2. External vs. Internal or Letter of the Law vs. Spirit of the Law
3. Christian Allegory

The themes of money-justice-mercy govern the two main plots of the play and are reflected in the character’s actions. In the casket plot, money (gold) is what men desire. Justice, embodied in the silver casket, is what they deserve; but only when they “give and hazard all” (symbolized by the lead box) can they win, as Bassanio won Portia’s love when he chose the lead casket. In the Shylock/Antonio plot, this allegorical pattern is repeated. Bassanio’s desire for money, so he might woo Portia and win her fortune, is the inciting force for the action which culminates in the trial. In agreeing to Shylock’s bond, Antonio gives and hazards all out of love for his friend Bassanio. Shylock comes to court demanding justice. Bitter over the unjust treatment of Jews, he seeks redress for past wrongs. Our sympathy for Shylock is evoked by his “Hath not a Jew” speech, but then he goes too far. He confuses justice and vengeance in pressing the court for the terms of his bond. Through Portia, the theme of mercy (love) is introduced. When Shylock turns aside Portia’s plea for mercy and insists on strict justice, he falls into her trap. His insistence on the letter of the law leads to his own downfall, for he cannot claim his pound of flesh without violating the law himself. He then finds himself at the mercy of the law for having sought a citizen’s life. The tables are dramatically turned, as judgment is made upon the Jew. In the end, Shylock receives both justice and mercy.

Symbolism and Imagery

There is tension in Shakespeare’s use of gold as a symbol. On the one hand, gold is presented in a conventional light as a symbol and essence of earthly wealth, that which is most desired and coveted. It is what makes mercantile Venice function. So used, it takes on its most negative light – the false glitter of money. In the casket plot, the Prince of Morocco chooses the gold casket and thus loses Portia. In the Venice plot, the love of gold is what drives Shylock. He treasures his ducats and jewels above his daughter. And, as a moneylender, he would use money as a way to gain revenge on Antonio. This leads to his downfall. On the other hand, gold has positive aspects which the playwright associates with romantic love, beauty, and music. imagery of gold also dominates the Prince of Morocco’s praise of Portia’s beauty. In the final act, the lyrical phrases of Lorenzo and Jessica bring together music and gold in a romantic setting of love and harmony. Music has symbolic value in the play as well. It is associated with beauty and love and harmony. Shylock’s character is the least musical of all the characters. His language is hard and curt. When he is dismissed from the play in defeat, the language and imagery become highly musical, reflecting the harmony which is restored in the final scene.

Aspects of a Shakespearean Comedy
1. Thematic concern with love and beauty

2. Night to day movement

3. Quest, journey, pilgrimage motif

4. Tragic overtones and a harsh law

5. Monetary interest

6. Misidentity and disguise

7. Low-life farcical (ridiculous and confused) subplot

8. The turning of a man to an ass

9. Discovery and conversion

10. Resolution in paradox (something absurd or contradictory)

11. A harmonious universe at the end
12. A spirit of playfulness—with a purpose
Characters

Antonio—Antonio is wealthy but sad older merchant who claims never to have borrowed money but is willing to lend it to friends, esp. Bassanio, without benefit of interest.

Salerio and Solanio—Friends of Antonio and Bassanio, minor characters almost indistinguishable from each other who comment on the action and who inform the audience about the action that has occurred offstage.

Bassanio—A young man with expensive tastes and rich friends who borrows money from Antionio in order to court the rich, intelligent, and beautiful Portia.

Gratiano—Bassanio’s friend with a clownish demeanor. Accompanies Bassanio to Belmont to court Portia and falls in love with Portia’s servant, Nerissa.

Lorenzo—Bassanio’s friend who falls in love with Shylock’s daughter, Jessica.

Portia—Widely pursued noblewoman who is as intelligent as she is rich and beautiful. Her father’s demands that her husband be selected through a test involving three caskets: gold, silver, and lead. Portia’s mind allows her to find loopholes in legal matters, thus rescuing her new husband’s friend from his bond.

Nerissa—Portia’s handmaid who falls in love with Gratiano, Bassanio’s friend.

Shylock—The Jewish merchant of Venice who lends Antonio the money on his friend Bassanio’s behalf. He serves as both the villain and the most tragic figure of the play.

Prince of Morocco—Portia’s suitor; wrongly chooses the silver casket.

Launcelot Gobbo—Shylock’s comic servant who leaves Shylock’s service to serve Bassanio.

Old Gobbo—Launcelot’s father who has not encountered his son in years.

Jessica—Shylock’s daughter who escapes from her father’s house in order to marry Lorenzo. She converts to Christianity in order to further assimilate into the Christian society of Venice.

Prince of Arragon—One of Portia’s suitors who greedily chooses the golden casket.

Tubal— Shylock’s friend who is also Jewish and functions as a news bearer of Jessica’s escape and of her consequent behavior.

Balthazar and Stephano—servants to Portia.

The Duke of Venice—the reigning official of Venice who presides over the court where Shylock intends to collect his bond.

What will be on the test?
Part I
Identify basic plot movement of the play.
Identify quotations from the play.
Know the characters and what happens to them in the play.
Know the background of Jews in England from this packet.
Know the “themes” from your MOV packet and how they relate to the play.
Part II
Essay
Explain the aspects of a Shakespearean comedy and provide evidence from the play for each one.