Month: November 2010

Implications of Completing our Analysis

Implications: The implications of doing the backwards and forwards in conjunction with each other is that it allowed us to break down the relationships better between couples. We were able to find a through-line that extended both through a backwards and forwards analysis, which is that the attraction between Portia and Bassanio kind of controls the movement of the play and the plot.

It was interesting to find that the backwards analysis was more heavily focused on Antonio, while the forwards was mostly focused on the relationship between Portia and Bassanio.

The backwards analysis seemed to require a much stricter observance of detail. It was interesting too because it was hard to find a straight line from the end to beginning, there seemed to be a lot of splits and "coming togethers."

Based on our analysis we found that strict observance to the law (and its nuisances and loopholes) ended up helping Portia and Bassanio achieve their end goal, marriage based on their true love for each other. This strict observance also helped Antonio get out of his bond to Shylock.

Further Updated Image

·        IMAGES

·         Dominant Images  – Images/motifs in the play that underscore or augment the play's action

The Pound of Flesh

·        The pound of flesh is a dominant image, because it represents Shylock's lack of mercy and bloodlust.  It is not enough for him to be paid back for his bond in money.  Antonio has always persecuted him for being Jewish and now he must pay with something truly painful, and ultimately life threatening.  This idea of being merciless is important to the play, because it is Shylock's downfall.  He ends up losing his fortune (although it is returned upon his conversion) because he did not take the Christian path and forgive Antonio his debts, or at least take Bassanio's offere of Portia's money.

The Three Caskets

·        Gold, silver and lead

o   The three caskets contain gold, silver and lead.  The prize of Portia's hand in marriage is hidden in the lead casket.  The gold and silver caskets represent wealth and glamor.  They are desirable, but also often chased after by those who are greedy.  The lead is a strong image, because, as the correct choice, it symbolizes risking everything for faith (or in Bassanio and Portia's case, love).  This idea of risk for faith follows the strong pattern of Christian ideals that can be found throughout the play.  The three caskets demonstrate the importance of ignoring greed in order to find something higher, such as love.

·         Repeated Images – Images that reappear throughout the course of the play

 

·        Sea Images:
The sea images apply directly to Antonio having several merchant ships at sea – they remind us again and again that everything is riding on his ships coming back safely. If they don't come back with a profit he dies at Shylock's hand.

·        "€¦the pageants of the sea" (I, 1, line 11)
"Your mind is tossing on the ocean/there where your argosies with portly sail€¦" (I, i, 8-9)
"I should not see the sandy hourglass run/ But I should think of shallows and of flats /and see wealthy Andrew docked in sand/vailing her high top lower than her ribs€¦" (I, i, 25-29)
"But fish not with this melancholy bait/ For this fool gudgeon, this opinion," (I, i, 101-102)
"when he did redeem/the virgin tribute paid by howling Troy/to the sea-monster" (III, 2, lines 57-59)
"€¦with a willow in her hand Upon the wild sea banks, and wav'd her love to come again to Cathage." (V, i, 100)

·        Religious References:
The religious references, many of them specifically Hebrew, are constantly accentuating the big Holy Christian vs. Evil Jew theme.
"When Jacob grazed his uncle Laban's sheep-/This Jacob from our holy Abram was/ As his wise mother wrought in his behalf/ The third possessor," (I, iii, 69-71)
"The Prodigal Christian€¦" (70)
"Black Monday€¦Ash Wednesday€¦" (72)
"Jacob's staff€¦" (72)
"..a gentle and no Jew" (75) – jews are bad
"€¦wise, fair and true€¦" (75)
"This shrine, this mortal breathing saint," (77)
"The figure of an angel" (78)
"Look how the floor of heaven Is thick inlaid with patines of bright gold." (V, i, 102)

·        Nature Images:

The nature images often connect to the people within the play, reinforcing moods through the personification of an animal or element.
"Venus' pigeons fly€¦" (73) Venus is a reference to love and pigeons are common (not fancy).
"Strumpet wind€¦" (74) – prostitute wind
"There are a sort of men whose visages do cream and mantle like a standing pond," (I, i, 88-89)
"the lion's shadow ere himself, And ran dismay'd away" (V, i. 100) "muddy vesture of decay.." Soul will stay on earth if you don't take Christian path.

·        Famous Figures:

These famous figures are used to hyperbolize the situations the characters find themselves in through the use of familiar characters known to audiences.  These characters are also religious figures of Ancient Greece though their notoriety and out-datedness seems to negate the disdain placed upon the other non-Christian images.
"€¦Hang on her temples like a golden fleece/ Which makes her seat of Belmont Colchos' strond/ And many Jasons come in quest of her," (I, i, 169-172).
"If I live to be as old as Sibylla, I will die as chaste as Diana unless I be obtained by the manner of my father's will," (I, ii, 105-107)

·        Misc. Images:

The use of personification in describing Death as not only an entity to be capitalized, but also an animal corpse emphasizes its terribleness.  Bassanio's wedding ring is a symbol of his devotion to his wife, and since he gives it up to repay Antonio's "lawyer" it also symbolizes his gratitude to both the lawyer for helping Antonio, and Antonio for helping him.

"A carrion Death€¦" (78)
Bassiano's wedding ring

·        Images in the Title – Is there a dominant image in the Title? What is its importance?

The Merchant of Venice: The Merchant of Venice is referring to Antonio.  Antonio is worthy of being the title character because he represents the good Christian values reflected in the play.  He is willing to sacrifice not only his fortune, but also his well being for the good of his friend Bassanio, and he expects to gain nothing in return.  He is altruistic and caring.

Themes of play as derived from images:

The predominant images revolve around religious themes, and ideals pertaining to goodness.  For example, as previously stated, the three caskets represent taking a leap of faith and choosing substance over wealth.  All of the Christian images are related to positive ideas, which connect to the fact that within this play Christianity is a symbol of goodness, whereas Judaism is not.  The famous figures and much of the nature, and specifically sea images increase the stakes of the characters in the play, and puts pressure on their decisions between following the good Christian path or falling short.

Final Forwards

Portia is first mentioned in act one scene one, by Bassanio as being beautiful and sought after.  Antonio says he will help Bassanio win her affections.  Two forwards are set up here, one in that the audience wants to see Portia themselves and see exactly what Antonio will do to help Bassanio succeed.

Scene three, the last scene of act one ends with a rhyming forwarding couplet

          Antonio: Come on, in this there can be no dismay,/My ships come home a month before the day.

Scene one of act two introduces the prince of Morocco, a suitor for Portia.  He and Portia discuss the famed test that all the others have failed but we do not get to see it until later in the act.

In scene two, Grantiano insists on accompanying Bassanio to meet Portia.  It is pointed out that Grantiano is not the most civil man.  Grantiano promises to be on his best behavior.  A forward is set up to see if Grantiano will keep his promise or create trouble for Bassanio with his behavior.

In the last scene of act 2, Bassanio's arrival is announced.  We have to go to the next act to see if he passes the test we've already seen two suitors fail.

Act 3 begins with the news Antonio has been unsuccessful at sea.  Shylock hears this news at around the same time he hears about his daughter Jessica running off with a Christian.  A forward is created here to see how Shylock will exact his revenge now that he has the opportunity.

This is followed with Bassanio hearing about Antonio's misfortune just as he's won the hand of Portia.  The forward here being how Bassanio plans to save his friend.

At the end of act 4 after the major conflicts have been resolved we are propelled to read the next act when Gratiano and Bassanio, are tricked by their wives, who are in disguise, into giving up the rings they have sworn never to take off.

       Dramatic irony-the audience knows that the €˜judge' is Portia dressed as a man, and they are waiting to see when the other characters will figure this out. 

The nature of Antonio's sadness

       "In sooth I know not why I am so sad" (Act 1 Scene 1 Line 1)

The result of Shylock's grudge towards Antonio: Shylock's attitude towards Antonio is immediately negative

       "If I can catch him once upon the hip,

      I will feed fat the ancient grudge I bear him." (Act 1 Scene 1 lines 43-44)

Religion debate

       "I hate him for he is a Christian." (Act 1 Scene 1 line 39)

Antonio and Shylock's eventual final battle.  From their first meeting it is made clear that these two characters truly hate each other.

       "the devil can cite Scripture for his purpose.

      An evil soul producing holy witness

       Is like a villain with a smiling cheek." (Act 1 Scene 1 lines 95-97)

Shylock's forced conversion

       "Hie thee, gentle Jew

      The Hebrew will turn Christian; he grows kind." (Act 1 Scene 1 lines 174-175)

Portia's wedding: she is unable to decide for herself, so she must settle for whoever her father chooses. 

       "Besides, the lott'ry of my destiny

      Bars me the right of voluntary choosing." (Act II Scene 1 Lines 15-16)

Portia hints at the three caskets in act one, but we don't actually find out what they contain until act two.

Shylock spends an entire scene deliberating before he reveals his condition for the loan.

Jessica's scene with Lancelot lets the audience know about her plan to elope with Lorenzo ahead of time, creating a sense of anticipation.

During the trial itself, there is anticipation relating to the verdict.  The audience does not know if Shylock will be punished or if he will get away with his scheme. 

Final Exposition

The differences in Shakespeare’s tests

The exposition in "The Merchant of Venice" is based on a short story: "The tale of Giannetto of Venice and the Lady of Belmont", part of the collection "Il Pecorone".  In the short story, the suitors must spend €˜a successful night in bed' with the woman as their test and the Portia character tricks them with drugged wine.  In this production both the character of Portia and the test itself are changed, and since Portia needs to be portrayed as a more wholesome Christian woman it seems fit that her test is more virtuous. 

Where are we?

                Venice, a Street

            Shylock's House

            Portia's House (Belmont)

What is it like?

                There are references that they are rich, so the location is lavish.

                Antonio: "€¦I thank my fortune for it,

                My ventures are not in one bottom trusted,

                Nor to one place; nor is my whole estate

                Upon the fortune of this present year." (Act I Scene I lines 41-44)

            Authority figures are all Christian

            Predominantly Christian society with a Jewish minority

What's the situation?

                Antonio is in a sad state, and his friends are trying to aid him. 

Bassanio is in love with Portia, but cannot marry her because of the restraints that her father has placed on her ability to marry. 

            Portia's father set up a trial for any of her potential suitors.  They must choose the correct casket: either gold, silver, or lead. 

            Shylock is a rich money-lending Jew who causes rifts within the Christian Merchants of Venice. 

            Shylock's daughter Jessica and Lorenzo wish to be married against the wishes of Shylock. 

            Bassanio already owes Antonio money.  This sheds light on their relationship, that Antonio would give Bassanio money even when he already has a debt to pay. 

What are the time and period?

            They mention trade with Asia and the Americas

            Mid 1500s-Shakespeare's time

Who are all these people?

Antonio-A merchant of Venice

Bassanio – Antonio's friend, in love with Portia;

Gratiano, Salanio, Salarino, Salerio – friends of Antonio and Bassanio;

Lorenzo – friend of Antonio and Bassanio, in love with Jessica;

Portia – a rich heiress

Nerissa – Portia's waiting woman

Balthasar – Servant to Portia

Stephano – Servant to Portia

Shylock– a rich Jew, father of Jessica

Tubal – a Jew; Shylock's friend

Jessica – daughter of Shylock, in love with Lorenzo; Jewess,

Launcelot Gobbo – a foolish man in the service of Shylock

Old Gobbo – father of Launcelot

Leonardo – servant to Bassanio

Duke of Venice – Venetian authority who presides over the case of Shylock's bond

Prince of Morocco – suitor to Portia

Prince of Aragon – suitor to Portia

What have they to do with each other?

                As is stated above, they are either in business with each other or in love with each other.  Generally speaking, Antonio and Shylock are in business with each other and mortal enemies.  Portia and the rest of the women have fallen in love and try to test their lovers. 

What are they doing here?

                Many of these characters were either born into wealth or attained wealth through their own hard work, so their motivations are generally related to monetary gain.  

Themes in greater detail

THEME

¨      Interpret the author's potential messages – what issues is the author exploring

¨      What are the abstract concepts which part of all of the play is "about?"

The play explores the following themes:

Love versus money

·        Shylock chooses money over love, as demonstrated by the fact that when his daughter runs away he is he is preoccupied by the loss of his "ducats." He says, "I shall never see my gold again." He values her in terms of financial dealings and other materials ("precious jewels" "a diamond gone") instead of missing the girl herself.

·        The three caskets that determine Portia's husband contain gold, silver and lead, but despite gold and silver having a higher monetary value, lead is the casket that Portia's picture is in, meaning the suitor who chooses lead will be able to wed Portia.

Taking risks on faith to achieve greater happiness

·        Antonio and Bassanio risk being unable to pay off their debt to Shylock in order for Bassanio to seek the greater happiness derived from being Portia's husband

·        Bassanio risks choosing the wrong casket and being exiled from Portia's company permanently for the chance to choose the right casket and be with Portia for the rest of his life.

Charity and mercy versus hatred and vengeance

·        Antonio is willing to pay for Bassanio to go to Portia and try to marry her, whereas Shylock is unwilling to lend Bassanio the money on goof faith, and must instead have a promise of money or flesh from Antonio

·        Portia is willing to lose large amounts of money to help Antonio pay off his debt to Shylock, even though she has never met Antonio.  She simply believes him to be a good man, and knows that he means a great deal to her husband.

·        Shylock is unwilling to move past his hatred and desire for vengeance when he has a chance to take a pound of Antonio's flesh.  He demands the flesh despite offers of more than the amount of money he is owed, showing no mercy.

·        When Shylock loses everything, Antonio offers him mercy, reinstating his fortunes and sparing his punishment, so long as Shylock converts to Christianity.

All of these themes can be contained within the overarching theme:

·        Supposed Christian values versus Jewish values (or non-Christian values)

o   Christians are supposed to value love over money, choosing to behave in charitable ways, and having great faith.  They should not be greedy, ignoring self-interest in order to bring happiness to others.  Also, they are supposed to be merciful, not wrathful, and choose love and forgiveness over hatred.

What this play is about:

These themes create a play that comments on what it takes to be a good person.  Looking past the Christian/Jewish stereotypes of the time in which this was written, the characteristics that make a person a "good Christian" in this story are also ideals that make a good person in general. All of the themes represent different aspects of a good person, such as choosing love over money and greed, or choosing mercy over vengeance.

Things Theatrical: Court Scene

The court scene is the most theatrical scene in the Merchant of Venice. The implication of this scene is the rule of law. At the beginning, Shylock refuses Bassanio's offer for 6,000 ducats because the limit of the contract has passed, and the Duke of Venice cannot stop Shylock from accomplishing the contract because curbing the law would establish a wrong legal precedent. Nevertheless, Shylock is defeated at the end because of a flaw in his contract, and loses everything accordingly to the law. Through this scene, one can see a strong sense of dogmatism, setting the law as absolute rule that cannot be affected by human emotions. At the same time, the fact that the law eventually makes a judgment that agrees with people's moral judgment, to save Antonio and punish Shylock, emphasizes the idea that the law is equal to justice. This idea that the law is absolute justice is similar to how the judgment of the three caskets were portrayed as absolutely right.

Images Revamped

·        IMAGES

·         Dominant Images  – Images/motifs in the play that underscore or augment the play's action

The Pound of Flesh

·        The pound of flesh is a dominant image, because it represents Shylock's lack of mercy and bloodlust.  It is not enough for him to be paid back for his bond in money.  Antonio has always persecuted him for being Jewish and now he must pay with something truly painful, and ultimately life threatening.  This idea of being merciless is important to the play, because it is Shylock's downfall.  He ends up losing his fortune (although it is returned upon his conversion) because he did not take the Christian path and forgive Antonio his debts, or at least take Bassanio's offere of Portia's money.

The Three Caskets

·        Gold, silver and lead

o   The three caskets contain gold, silver and lead.  The prize of Portia's hand in marriage is hidden in the lead casket.  The gold and silver caskets represent wealth and glamor.  They are desirable, but also often chased after by those who are greedy.  The lead is a strong image, because, as the correct choice, it symbolizes risking everything for faith (or in Bassanio and Portia's case, love).  This idea of risk for faith follows the strong pattern of Christian ideals that can be found throughout the play.  The three caskets demonstrate the importance of ignoring greed in order to find something higher, such as love.

·         Repeated Images – Images that reappear throughout the course of the play

 

·        Sea Images:
The sea images apply directly to Antonio having several merchant ships at sea – they remind us again and again that everything is riding on his ships coming back safely. If they don't come back with a profit he dies at Shylock's hand.

·        "€¦the pageants of the sea" (I, 1, line 11)
"Your mind is tossing on the ocean/there where your argosies with portly sail€¦" (I, i, 8-9)
"I should not see the sandy hourglass run/ But I should think of shallows and of flats /and see wealthy Andrew docked in sand/vailing her high top lower than her ribs€¦" (I, i, 25-29)
"But fish not with this melancholy bait/ For this fool gudgeon, this opinion," (I, i, 101-102)
"when he did redeem/the virgin tribute paid by howling Troy/to the sea-monster" (III, 2, lines 57-59)
"€¦with a willow in her hand Upon the wild sea banks, and wav'd her love to come again to Caththage." (V, i, 100)

·        Religious References:
The religious references, many of them specifically Hebrew, are constantly accentuating the big Holy Christian vs. Evil Jew theme.
"When Jacob grazed his uncle Laban's sheep-/This Jacob from our holy Abram was/ As his wise mother wrought in his behalf/ The third possessor," (I, iii, 69-71)
"The Prodigal Christian€¦" (70)
"Black Monday€¦Ash Wednesday€¦" (72)
"Jacob's staff€¦" (72)
"..a gentle and no Jew" (75) – jews are bad
"€¦wise, fair and true€¦" (75)
"This shrine, this mortal breathing saint," (77)
"The figure of an angel" (78)
"Look how the floor of heaven Is thick inlaid with patines of bright gold." (V, i, 102)

·        Nature Images:
"Venus' pigeons fly€¦" (73) Venus is a reference to love and pigeons are common (not fancy).
"Strumpet wind€¦" (74) – prostitute wind
"There are a sort of men whose visages do cream and mantle like a standing pond," (I, i, 88-89)
"the lion's shadow ere himself, And ran dismay'd away" (V, i. 100) "muddy vesture of decay.." Soul will stay on earth if you don't take Christian path.

·        Famous Figures:
"€¦Hang on her temples like a golden fleece/ Which makes her seat of Belmont Colchos' strond/ And many Jasons come in quest of her," (I, i, 169-172).
"Why, hath a horse better than the Neopolitan's/ a better bad habit of frowning than the Count Palatine€¦" (I, ii, 58-59)
"If I live to be as old as Sibylla, I will die as chaste as Diana unless I be obtained by the manner of my father's will," (I, ii, 105-107)

·        Misc. Images:
The different caskets: gold, silver, and dull lead
"A carrion Death€¦" (78)
"A pound of flesh€¦" (101) – The pound of flesh image really brings to mind that it's such small amount of something, but it's worth much more than the same amount in gold to Shylock. It will also be the death of Antonio, though it be so little.
Bass' wedding ring

·        Images in the Title – Is there a dominant image in the Title? What is its importance?

The Merchant of Venice: The Merchant of Venice is referring to Antonio.  Antonio is worthy of being the title character because he represents the good Christian values reflected in the play.  He is willing to sacrifice not only his fortune, but also his well being for the good of his friend Bassanio, and he expects to gain nothing in return.  He is altruistic and caring.

Things Theatrical: Three Caskets

The scene where Portia's suitors choose from three caskets to find out if they qualify for marrying Portia is another theatrical thing in the Merchant of Venice. Prior to this scene, Portia mocks all her possible fiancés except for Bassanio in the conversation with Nerissa, and it is clear to the audience that Portia will reject a propose by anybody but Bassanio. And indeed, Bassanio is the one who is chosen as the fiancé of Portia. However, Shakespeare chooses to make Bassanio the fiance through this unique idea of three caskets rather than having Portia simply choose him.

One of the functions of this scene is that it allows the audience to see a clear distinction of the ideologies of the three suitors. The reasons that each suitor gives before he chooses a casket reflect the philosophies and ideologies of the suitors. Through this scene, one can see that there is a clear contrast between the philosophy of Bassanio and the other two suitors.

Secondly, instead of having Portia choose her fiancé and explain to each suitor why or why not he was chosen, Shakespeare makes each suitor choose his own fate and the casket explain why or why not he was chosen. This makes the reasons given for the rejection or the acceptation of the suitor appear to be much more credible than being told through Portia's mouth. It is also important that the phrases in the caskets appear like moral precepts. It gives almost an absolute justice to the judgment by the caskets.

 Finally, the casket system allows every person, regardless of class, to be judged equally. The caskets function as dogma that judge people based solely on their philosophies and morals.

This whole scene allows Shakespeare to articulate the problem with the nobles that were criticized by Portia in the prior scene. Throughout the play, the nobles are portrayed as superficial people who care only about their appearance, as opposed to Bassanio, who chooses the lead box because he declares that appearance shows the least of something. And because the caskets judged Bassanio as the right one, the audience is directed towards receiving Bassanio's idea as an absolute truth. What is implied by Bassanio's statement is that the morality of a person is higher than his class or appearance. The fact that the suitors were all judged equally under the casket also emphasizes this idea, as the suitors are judged stripped off of their social status and only by their morals or ideologies.

Divvying up these Posts

I think that it is nearly impossible to divvy up these posts evenly especially since we are dealing with a continuous line of thought and can’t really divvy something like that up. I think that if we all do our own separate backwards and forwards we can compare our findings and see what we think about that. Otherwise it will just be an extremely confusing set up and hard to comprehend.

-PJ