Author: Jason

Final Post (Consolidated)

Stasis

–  Antonio, a Venetian merchant, is experiencing an apparently unexplainable depression, while his closest friend Bassanio has been harboring a secret love. Meanwhile, in Belmont,  the beautiful, rich, and intelligent heiress Portia is bound by her father's will not to marry a suitor of her own choosing. All the suitors that have come, however, to attempt her dead father's trial have been quite undesirable.

Implications of Proposed Stasis

– The stasis I have proposed has a great deal to do with the twin concepts of love and marriage. This suggests that these will be some of the primary motivating factors for the characters mentioned in the stasis (Shylock, especially, is excluded from this €˜love and marriage' motivation). It has been theorized that Antonio's motivation is an intense love for Bassanio, Bassanio (obviously) is motivated by his love for Portia, Lorenzo acts out of an infatuation with Jessica, and finally there is Gratiano and Nerissa. All of these pairs, in some way or another, have their actions informed by their love and/or romantic feelings for one another.

Intrusion

– The intrusion, in my opinion, would be one of two things: Bassanio's confession of his love for Portia (to Antonio) or his request for a loan from Antonio. Both of these disrupt the stasis in a way, but I think Bassanio's request for a loan is more significant since it directly leads to the introduction of Shylock into the storyline, and also allows Bassanio to pursue Portia, thus allowing for the two worlds of Belmont and Venice to be intertwined through their characters. Also, obviously, the request for a loan triggers the formation of the loan agreement, which is one of the primary driving forces in the play's action.

Implications of Intrusion

– My proposed intrusion (the loan request) subtly introduces the theme of the importance of money in Venetian (and Belmontian) society: Bassanio cannot woo Portia unless he can dress and travel like a prince. Also, as stated, it introduces Shylock and the role of the Jew as a moneylender in the society of the play. And again, this intrusion indirectly leads to two very separate worlds that would not otherwise unite coming together in the play's storyline. Somewhat more significantly, however, this request introduces the concept of obligation, which is a huge factor throughout the play: Portia is obligated to follow her father's will, Bassanio feels obligated to pay back Antonio somehow, Antonio is obligated to repay Shylock, and Bassanio is obligated to keep Portia's ring safe. This, along with the €˜love and marriage' factors mentioned above in the implications of the stasis,is one of the primary motivating factors, and veen obstacles, for many of the major characters.

Major Conflicts

– Portia's desire vs. her father's will: she wants to marry a man like Bassanio but is obligated to marry only the first man to pass her father's test

– Antonio and Bassanio vs. Shylock: the situation with the loan (terms and Shylock's tenacious adherence to them) and their inability to repay Shylock

– Shylock vs. Christian society's disdain of Jews (as represented by Antonio and Bassanio's attitudes toward him)

– Jessica/Lorenzo vs. Shylock: this conflict directly leads to Jessica's elopement (Shylock would not allow her to see Lorenzo or any of his friends, thus they hatch a plan to elope together)

– Bassanio/Gratiano and their feelings of obligation to the "lawyers" vs. the promises they made to keep Portia's/Nerissa's rings (a very interesting dynamic in the final scenes of the play)

Obstacles by Character (at various points in the play)

– Antonio: Shylock's vehement adherence to the terms of the loan agreement (the primary obstacle), Bassanio's heterosexuality and love for Portia (if Antonio's love for Bassanio is seen as more than platonic), lack of cash (all his money is tied up in his ships abroad)

– Bassanio: lack of money/social status with which to woo Portia, Portia's father's will, Shylock and the loan

"O my Antonio, had I but the means to hold a rival place with [Portia's suitors]€¦" (Bassanio, 1.1.172-173)

– Portia: her father's will (inability to marry Bassanio straightaway), her own intelligence and rationality coupled with Bassanio giving her ring away (she seems unable to completely trust Bassanio and so devises the ring scheme, only forgiving Bassanio after Antonio vouches for him)

"I may neither choose who I would, nor refuse who I dislike, so is the will of a living daughter curbed by the will of a dead fther." (Portia, 1.2.19-21)

"Then you shall be his surety. Give him this [ring] and bid him keep it better than the other." (Portia, 5.1.254-255)

– Shylock: anti-Semitism (widespread, general mistrust of Jews in Christian Venice), legal system of Venice (prevents him from easily enacting revenge on those who have wronged him)

"The devil€¦an evil soul€¦a villain€¦a goodly apple with a rotten heart€¦" (Antonio, referring to Shylock, 1.3.90-93)

– Launcelot Gobbo: the dishonor he will incur by abandoning his master (Shylock)

"The Jew my master who€¦is a kind of devil; and to run away from the Jew I should be ruled by the fiend who€¦is the devil himself." (Launcelot, 2.2.17-20)

– Jessica: her father's feud with Antonio et al. (due to which he will not let her see Lorenzo)

"Hear you me, Jessica, lock up my doors€¦nor thrust your head into the public street to gaze on Christian fools€¦" (Shylock, 2.5.27-32)

Implications of Obstacle and Conflict

– It seems to me that a great many of the obstacles and conflicts mentioned come about because of societal norms and/or nonverbal social contracts. Again, this raises the enduring concept of obligation: characters struggle between fulfilling their obligations to society/friends/family and fulfilling their own individual desires. Also, above I mentioned the concept of a social contract, which would gain great importance in the distant future, thanks to the writings of such philosophers as Hobbes, Locke, and Rousseau. This social contract governing how humans interact with one another provides an interesting parallel to the physical, business contract drawn up by Shylock. Clearly, this play is pointing to a distinct gap between the natural inclinations of the characters and the actions they feel obligated to undertake because of these social contracts. In many cases (Launcelot, Portia, and Jessica especially), this conflict boils down to a common decision: follow orders, or follow your heart.

Things Theatrical (Implications included in each element)

The Courtroom 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.

The 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.

Shylock's Courtroom Knife

"Bassanio: Why dost thou whet thy knife so earnestly?

Shylock: To cut the forfeiture from that bankrupt there."

I just thought it was pretty theatrical that Shylock has a knife, in a courtroom, and he's sharpening it. Also, the only thing he was question of was why he was sharpening it. There was no shock that he pulled a knife out in the least, they just needed justification not of its presence, but of its sharpening. To much surprise, we see that Shylock is truly seeking revenge and not the money, as repeated throughout the scene. However, this quest for bloody revenge is hindered by the justice system of Venice, to which he must adhere if he is to have any hope of getting what he wants.

Shylock's Aside

"(aside) How like a fawning publican he looks!

I hate him for he is a 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.

If I can catch him once upon the hip,

I will feed fat the ancient grudge I bear him.

He hates our sacred nation, and he rails,

Even there where merchants most do congregate,

On me, my bargains and my well-won thrift,

Which he calls "interest." Cursèd be my tribe

If I forgive him!"

This, from ACT 1 SCENE 3, is what Shylock said as soon as Antonio enters. This is funny because he slanders Antonio's name, Christian beliefs (by extension, his disdain for Jews), and his lack of interest use disrupting the lending market. While said "to himself," he still said all this out loud in the middle of conversation with Bassanio, which is strange. However, it only led to Bassanio and Antonio requesting Shylock's attention, and not about what he said. This also provides the audience with a bit of dramatic irony: we know that Shylock hates Antonio for his prejudicial behavior, but Antonio and Bassanio do not necessarily know the exact extent. Additionally, asides tend to serve as a tool to make the audience feel a a part of the play, further captivating their attention.

 Shylock's Contract

Among the things theatrical in the Merchant of Venice,  Shylock's contract with Antonio is one of the most memorable scenes. The actual quote reads,

"This kindness will I show.

Go with me not a notary, seal me there

If you reply me not on such a day,

In such a place, such sum or sums as are

Express'd in the condition, let the forfeit

Be nominated for an equal pound

Of you fair flesh, to be cut off and taken

In what part of your body pleaseth me."

This scene has a shocking effect to the audience, as it is an abrupt emergence of violence in the play. Prior to this scene, there is no implication of any form of violence. The emergence of a violent thought in a peaceful time is an implication of how peace is superficial, and violence or grievance is always hidden under. It is also important to note that this line was given by a Jew to a Christian, which implies the profoundness of the cleavage between the two religions.

Comedic Ending

Comedies are known for always ending well even when the buildup may seem hopeless. The Merchant of Venice does just that. The relationships end well and against all odds, Antonio's boats return unscathed, restoring Antonio's fortune. Shylock, however, does not receive the happiest of endings, and depending on how you analyze the script, he may not appear to be the villain he gets labeled from the start. In the courtroom scene, Antonio proposes and the court accepts to:

"So please my lord the duke and all the court,

To quit the fine for one half of his goods

I am content, so he will let me have

The other half in use to render it

Upon his death unto the gentleman

That lately stole his daughter.

Two things provided more: that for this favor

He presently become a Christian;

The other, that he do record a gift

Here in the court, of all he dies possessed,

Unto his son Lorenzo and his daughter."

A man simply seeking acceptance loses his daughter, all he owns, and even his own religion, of which he was so proud, and forced to convert to those he hated most. With not an ounce of dignity, Shylock is in shambles, having no "happy ending" whatsoever.

Others

Other theatrical elements we found included Shylock's monologue directed towards Antonio, beginning with a very heated accusation: "He hath disgraced me, and hindered me half a million, laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies; and what's his reason? I am a Jew." (3.1.49-61) This is an emotional high point in the play for Shylock, and allows the audience to see more of his motivations for being so vindictive, even if his logic is somewhat twisted. In essence, this monologue plays on the audience's sympathies, perhaps leaving them to question whether or not Shylock truly is the objective villain of the play, or if he is a tragic character to be pitied, having been a product of the cruel society that surrounds him and his kind. Additionally, another theatrical element we noticed was the cross-dressing of Portia and Nerissa, posing as a lawyer and a clerk. This concept of identity confusion is very common in many Shakespearean comedies, Twelfth Night being a prime example. These identity (and often gender) mix-ups add a sense of dramatic irony to the play, and simply put it can be very entertaining and comedic for an audience to be in on a big secret while the characters on-stage are not. Finally, there is Portia and Nerissa's dialogue about the European noblemen. This serves as a thinly veiled, biting satire of the aristocracies of different countries, some of these unfair stereotypes even endure to this day (the German prince is a drunkard, Scots  are violent and hate the English, etc.). This dialogue would have been thoroughly entertaining for the audiences of Shakespeare's day, and would have been one of the high comedic parts of the entire play.

Wrap-Up

– To summarize, according to the elements of the play we noticed through stasis/intrusion, obstacles/conflict, and things theatrical, it would not be inappropriate to claim that the theme of obligation endures throughout the play. It is one of the primary motivating forces for many of the characters, and yet also places obstacles in the way of other characters. The eternal question of loyalty to others versus self-integrity is definitely present here, and is a conflict that many of the characters must deal with. This ties in with an underlying theme of law/justice versus morality, represented by the court scene. Also, quite obviously, the religious tension between Christians and Jews comes to the forefront of this play. Additionally, the question is raised in the course of the story as to whether Shylock is truly the villain of this play. Sure, he is vengeful and nasty, acting mainly out of a desire for revenge. However, it would not be a stretch of the imagination to claim that he is simply an unfortunate product of his environment, as he states in his monologue, and that he has learned his cruelty from the Christians who practiced it upon him. Due to this question, it has been asked whether The Merchant of Venice is truly a comedy. As far as an analysis of theatrical elements goes, we conclude that there are enough comedic elements (identity confusion, neat/happy ending, satire/fooling, etc.) to comfortably classify this play as a comedy. However, this does not mean that the enduring questions mentioned above regarding obligation, morality, religion, and discrimination are discounted or made any less important.

Final Post – Things Theatrical and Wrapup

Things Theatrical (Implications included in each element)

The Courtroom 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.

The 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.

Shylock’s Courtroom Knife

“Bassanio: Why dost thou whet thy knife so earnestly?

Shylock: To cut the forfeiture from that bankrupt there.”

I just thought it was pretty theatrical that Shylock has a knife, in a courtroom, and he's sharpening it. Also, the only thing he was question of was why he was sharpening it. There was no shock that he pulled a knife out in the least, they just needed justification not of its presence, but of its sharpening. To much surprise, we see that Shylock is truly seeking revenge and not the money, as repeated throughout the scene. However, this quest for bloody revenge is hindered by the justice system of Venice, to which he must adhere if he is to have any hope of getting what he wants.

Shylock’s Aside

“(aside) How like a fawning publican he looks!

I hate him for he is a 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.

If I can catch him once upon the hip,

I will feed fat the ancient grudge I bear him.

He hates our sacred nation, and he rails,

Even there where merchants most do congregate,

On me, my bargains and my well-won thrift,

Which he calls "interest." Cursèd be my tribe

If I forgive him!”

This, from ACT 1 SCENE 3, is what Shylock said as soon as Antonio enters. This is funny because he slanders Antonio's name, Christian beliefs (by extension, his disdain for Jews), and his lack of interest use disrupting the lending market. While said "to himself," he still said all this out loud in the middle of conversation with Bassanio, which is strange. However, it only led to Bassanio and Antonio requesting Shylock's attention, and not about what he said. This also provides the audience with a bit of dramatic irony: we know that Shylock hates Antonio for his prejudicial behavior, but Antonio and Bassanio do not necessarily know the exact extent. Additionally, asides tend to serve as a tool to make the audience feel a a part of the play, further captivating their attention.

 Shylock’s Contract

Among the things theatrical in the Merchant of Venice,  Shylock's contract with Antonio is one of the most memorable scenes. The actual quote reads,

"This kindness will I show.

Go with me not a notary, seal me there

If you reply me not on such a day,

In such a place, such sum or sums as are

Express'd in the condition, let the forfeit

Be nominated for an equal pound

Of you fair flesh, to be cut off and taken

In what part of your body pleaseth me."

This scene has a shocking effect to the audience, as it is an abrupt emergence of violence in the play. Prior to this scene, there is no implication of any form of violence. The emergence of a violent thought in a peaceful time is an implication of how peace is superficial, and violence or grievance is always hidden under. It is also important to note that this line was given by a Jew to a Christian, which implies the profoundness of the cleavage between the two religions.

Comedic Ending

Comedies are known for always ending well even when the buildup may seem hopeless. The Merchant of Venice does just that. The relationships end well and against all odds, Antonio's boats return unscathed, restoring Antonio's fortune. Shylock, however, does not receive the happiest of endings, and depending on how you analyze the script, he may not appear to be the villain he gets labeled from the start. In the courtroom scene, Antonio proposes and the court accepts to:

“So please my lord the duke and all the court,

To quit the fine for one half of his goods

I am content, so he will let me have

The other half in use to render it

Upon his death unto the gentleman

That lately stole his daughter.

Two things provided more: that for this favor

He presently become a Christian;

The other, that he do record a gift

Here in the court, of all he dies possessed,

Unto his son Lorenzo and his daughter.”

A man simply seeking acceptance loses his daughter, all he owns, and even his own religion, of which he was so proud, and forced to convert to those he hated most. With not an ounce of dignity, Shylock is in shambles, having no "happy ending" whatsoever.

Others

Other theatrical elements we found included Shylock’s monologue directed towards Antonio, beginning with a very heated accusation: “He hath disgraced me, and hindered me half a million, laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies; and what’s his reason? I am a Jew.” (3.1.49-61) This is an emotional high point in the play for Shylock, and allows the audience to see more of his motivations for being so vindictive, even if his logic is somewhat twisted. In essence, this monologue plays on the audience’s sympathies, perhaps leaving them to question whether or not Shylock truly is the objective villain of the play, or if he is a tragic character to be pitied, having been a product of the cruel society that surrounds him and his kind. Additionally, another theatrical element we noticed was the cross-dressing of Portia and Nerissa, posing as a lawyer and a clerk. This concept of identity confusion is very common in many Shakespearean comedies, Twelfth Night being a prime example. These identity (and often gender) mix-ups add a sense of dramatic irony to the play, and simply put it can be very entertaining and comedic for an audience to be in on a big secret while the characters on-stage are not. Finally, there is Portia and Nerissa’s dialogue about the European noblemen. This serves as a thinly veiled, biting satire of the aristocracies of different countries, some of these unfair stereotypes even endure to this day (the German prince is a drunkard, Scots  are violent and hate the English, etc.). This dialogue would have been thoroughly entertaining for the audiences of Shakespeare’s day, and would have been one of the high comedic parts of the entire play.

Wrap-Up

– To summarize, according to the elements of the play we noticed through stasis/intrusion, obstacles/conflict, and things theatrical, it would not be inappropriate to claim that the theme of obligation endures throughout the play. It is one of the primary motivating forces for many of the characters, and yet also places obstacles in the way of other characters. The eternal question of loyalty to others versus self-integrity is definitely present here, and is a conflict that many of the characters must deal with. This ties in with an underlying theme of law/justice versus morality, represented by the court scene. Also, quite obviously, the religious tension between Christians and Jews comes to the forefront of this play. Additionally, the question is raised in the course of the story as to whether Shylock is truly the villain of this play. Sure, he is vengeful and nasty, acting mainly out of a desire for revenge. However, it would not be a stretch of the imagination to claim that he is simply an unfortunate product of his environment, as he states in his monologue, and that he has learned his cruelty from the Christians who practiced it upon him. Due to this question, it has been asked whether The Merchant of Venice is truly a comedy. As far as an analysis of theatrical elements goes, we conclude that there are enough comedic elements (identity confusion, neat/happy ending, satire/fooling, etc.) to comfortably classify this play as a comedy. However, this does not mean that the enduring questions mentioned above regarding obligation, morality, religion, and discrimination are discounted or made any less important.

Final Post – Obstacles and Conflict

Major Conflicts

– Portia's desire vs. her father's will: she wants to marry a man like Bassanio but is obligated to marry only the first man to pass her father's test

– Antonio and Bassanio vs. Shylock: the situation with the loan (terms and Shylock's tenacious adherence to them) and their inability to repay Shylock

– Shylock vs. Christian society's disdain of Jews (as represented by Antonio and Bassanio's attitudes toward him)

– Jessica/Lorenzo vs. Shylock: this conflict directly leads to Jessica's elopement (Shylock would not allow her to see Lorenzo or any of his friends, thus they hatch a plan to elope together)

– Bassanio/Gratiano and their feelings of obligation to the "lawyers" vs. the promises they made to keep Portia's/Nerissa's rings (a very interesting dynamic in the final scenes of the play)

Obstacles by Character (at various points in the play)

– Antonio: Shylock's vehement adherence to the terms of the loan agreement (the primary obstacle), Bassanio's heterosexuality and love for Portia (if Antonio's love for Bassanio is seen as more than platonic), lack of cash (all his money is tied up in his ships abroad)

– Bassanio: lack of money/social status with which to woo Portia, Portia's father's will, Shylock and the loan

"O my Antonio, had I but the means to hold a rival place with [Portia's suitors]€¦" (Bassanio, 1.1.172-173)

– Portia: her father's will (inability to marry Bassanio straightaway), her own intelligence and rationality coupled with Bassanio giving her ring away (she seems unable to completely trust Bassanio and so devises the ring scheme, only forgiving Bassanio after Antonio vouches for him)

"I may neither choose who I would, nor refuse who I dislike, so is the will of a living daughter curbed by the will of a dead fther." (Portia, 1.2.19-21)

"Then you shall be his surety. Give him this [ring] and bid him keep it better than the other." (Portia, 5.1.254-255)

– Shylock: anti-Semitism (widespread, general mistrust of Jews in Christian Venice), legal system of Venice (prevents him from easily enacting revenge on those who have wronged him)

"The devil€¦an evil soul€¦a villain€¦a goodly apple with a rotten heart€¦" (Antonio, referring to Shylock, 1.3.90-93)

– Launcelot Gobbo: the dishonor he will incur by abandoning his master (Shylock)

"The Jew my master who€¦is a kind of devil; and to run away from the Jew I should be ruled by the fiend who€¦is the devil himself." (Launcelot, 2.2.17-20)

– Jessica: her father's feud with Antonio et al. (due to which he will not let her see Lorenzo)

"Hear you me, Jessica, lock up my doors€¦nor thrust your head into the public street to gaze on Christian fools€¦" (Shylock, 2.5.27-32)

Implications of Obstacle and Conflict

– It seems to me that a great many of the obstacles and conflicts mentioned come about because of societal norms and/or nonverbal social contracts. Again, this raises the enduring concept of obligation: characters struggle between fulfilling their obligations to society/friends/family and fulfilling their own individual desires. Also, above I mentioned the concept of a social contract, which would gain great importance in the distant future, thanks to the writings of such philosophers as Hobbes, Locke, and Rousseau. This social contract governing how humans interact with one another provides an interesting parallel to the physical, business contract drawn up by Shylock. Clearly, this play is pointing to a distinct gap between the natural inclinations of the characters and the actions they feel obligated to undertake because of these social contracts. In many cases (Launcelot, Portia, and Jessica especially), this conflict boils down to a common decision: follow orders, or follow your heart.

Final Post – Stasis and Intrusion

Stasis

–  Antonio, a Venetian merchant, is experiencing an apparently unexplainable depression, while his closest friend Bassanio has been harboring a secret love. Meanwhile, in Belmont,  the beautiful, rich, and intelligent heiress Portia is bound by her father's will not to marry a suitor of her own choosing. All the suitors that have come, however, to attempt her dead father's trial have been quite undesirable.

Implications of Proposed Stasis

– The stasis I have proposed has a great deal to do with the twin concepts of love and marriage. This suggests that these will be some of the primary motivating factors for the characters mentioned in the stasis (Shylock, especially, is excluded from this €˜love and marriage' motivation). It has been theorized that Antonio's motivation is an intense love for Bassanio, Bassanio (obviously) is motivated by his love for Portia, Lorenzo acts out of an infatuation with Jessica, and finally there is Gratiano and Nerissa. All of these pairs, in some way or another, have their actions informed by their love and/or romantic feelings for one another.

Intrusion

– The intrusion, in my opinion, would be one of two things: Bassanio's confession of his love for Portia (to Antonio) or his request for a loan from Antonio. Both of these disrupt the stasis in a way, but I think Bassanio's request for a loan is more significant since it directly leads to the introduction of Shylock into the storyline, and also allows Bassanio to pursue Portia, thus allowing for the two worlds of Belmont and Venice to be intertwined through their characters. Also, obviously, the request for a loan triggers the formation of the loan agreement, which is one of the primary driving forces in the play’s action.

Implications of Intrusion

– My proposed intrusion (the loan request) subtly introduces the theme of the importance of money in Venetian (and Belmontian) society: Bassanio cannot woo Portia unless he can dress and travel like a prince. Also, as stated, it introduces Shylock and the role of the Jew as a moneylender in the society of the play. And again, this intrusion indirectly leads to two very separate worlds that would not otherwise unite coming together in the play's storyline. Somewhat more significantly, however, this request introduces the concept of obligation, which is a huge factor throughout the play: Portia is obligated to follow her father's will, Bassanio feels obligated to pay back Antonio somehow, Antonio is obligated to repay Shylock, and Bassanio is obligated to keep Portia's ring safe. This, along with the ‘love and marriage’ factors mentioned above in the implications of the stasis,is one of the primary motivating factors, and veen obstacles, for many of the major characters.

Obstacles and Conflict

Possible Conflicts

– Portia's desire vs. her father's will: she wants to marry Bassanio but is obligated to marry the first man to pass her father's test

– Antonio and Bassanio vs. Shylock: the situation with the loan (terms and Shylock's tenacious adherence to them) and their inability to repay Shylock

– Shylock vs. Christian society's disdain of Jews (as represented by Antonio and Bassanio's attitudes toward him)

– Jessica/Lorenzo vs. Shylock: this conflict directly leads to Jessica's elopement (Shylock would not allow her to see Lorenzo)

– Bassanio/Gratiano and their feelings of obligation to the "lawyers" vs. the promises they made to keep Portia's/Nerissa's rings (would this be important enough to be mentioned in a full-play analysis?)

 

Obstacles by Character (at various points in the play)

– Antonio: Shylock's vehement adherence to the terms of the loan agreement (the primary obstacle), Bassanio's heterosexuality and love for Portia (if Antonio's love for Bassanio is seen as more than platonic), lack of cash (all his money is tied up in his ships abroad)

– Bassanio: lack of money/social status with which to woo Portia, Portia's father's will, Shylock and the loan

"O my Antonio, had I but the means to hold a rival place with [Portia's suitors]€¦" (Bassanio, 1.1.172-173)

– Portia: her father's will (inability to marry Bassanio straightaway), her own intelligence and rationality coupled with Bassanio giving her ring away (she seems unable to completely trust Bassanio and so devises the ring scheme, only forgiving Bassanio after Antonio vouches for him)

"I may neither choose who I would, nor refuse who I dislike, so is the will of a living daughter curbed by the will of a dead fther." (Portia, 1.2.19-21)

"Then you shall be his surety. Give him this [ring] and bid him keep it better than the other." (Portia, 5.1.254-255)

– Shylock: anti-Semitism (widespread, general mistrust of Jews in Christian Venice), legal system of Venice (prevents him from easily enacting revenge on those who have wronged)

"The devil€¦an evil soul€¦a villain€¦a goodly apple with a rotten heart€¦" (Antonio, referring to Shylock, 1.3.90-93)

– Lancelot Gobbo: the dishonor he will incur by abandoning his master (Shylock)

"The Jew my master who€¦is a kind of devil; and to run away from the Jew I should be ruled by the fiend who€¦is the devil himself." (Lancelot, 2.2.17-20)

– Jessica: her father's feud with Antonio et al. (due to which he will not let her see Lorenzo)

"Hear you me, Jessica, lock up my doors€¦nor thrust your head into the public street to gaze on Christian fools€¦" (Shylock, 2.5.27-32)

 

Implications of Obstacle and Conflict

– It seems to me that a great many of the obstacles and conflicts I mentioned come about because of societal norms and/or nonverbal social contracts. Again, this raises the enduring concept of obligation: characters struggle between fulfilling their obligations to society/friends/family and fulfilling their own individual desires. Also, above I mentioned the concept of a social contract, which would gain great importance in the distant future, thanks to the writings of such philosophers as Hobbes, Locke, and Rousseau. This social contract governing how humans interact with one another provides an interesting parallel to the physical, business contract drawn up by Shylock.

Stasis/Intrusion

Stasis Proposition

– Antonio is experiencing an apparently unexplainable depression, while his closest friend Bassanio has been harboring a secret love. Meanwhile, in Belmont, Portia is bound by her father's will not to marry a suitor of her own choosing. All the suitors that have come, however, to attempt her dead father's trial have been quite undesirable.

Stasis Implication

– The stasis I have proposed has a great deal to do with the twin concepts of love and marriage. This suggests that these will be some of the primary motivating factors for the characters mentioned in the stasis (Shylock, especially, is excluded from this €˜love and marriage' motivation). It has been theorized that Antonio's motivation is an intense love for Bassanio, Bassanio (obviously) is motivated by his love for Portia, Lorenzo acts out of an infatuation with Jessica, and finally there is Gratiano and Nerissa.

Intrusion?

– The intrusion, in my opinion, would be one of two things: Bassanio's confession of his love for Portia (to Antonio) or his request for a loan from Antonio. Both of these disrupt the stasis in a way, but I think Bassanio's request for a loan is more significant since it directly leads to the introduction of Shylock into the storyline, and also allows Bassanio to pursue Portia, thus allowing for the two worlds of Belmont and Venice to be intertwined through their characters.

Intrusion Implication

– My proposed intrusion (the loan request) subtly introduces the theme of money and class in Venetian (and Belmontian) society: Bassanio cannot woo Portia unless he can dress and travel like a prince. Also, as stated, it introduces Shylock and the role of the Jew as a moneylender in the society of the play. And again, this intrusion indirectly leads to two very separate worlds that would not otherwise unite coming together in the play's storyline. Somewhat more significantly, however, this request introduces the concept of obligation, which is a huge factor throughout the play: Portia is obligated to follow her father's will, Bassanio feels obligated to pay back Antonio somehow, Antonio is obligated to repay Shylock, and Bassanio is obligated to keep Portia's ring safe.

Additions

 Here are a few more things I thought of/the points that Shana made in her comment…now I guess we just kind of need to tie all of this together and make a statement about the play in general, somehow? I’m not really sure how to begin with that, but maybe we could start by considering that pretty much the entire environment of the play (characters, settings, time frame, etc.) is relatively self-contained, with the notable exception of Blanche, who is an ‘outsider.’ I don’t know, just a thought.

Scene 2 Date: 6:00 the evening after Scene 1.

 Scene 4 Date: Early the morning after Scene 3.

Scene 6 Date: 2 AM the same evening as Scene 5. 

Scene 8 Date: 45 minutes after Scene 7. 

Scene 9 Date: “A while later that evening.”

Scene 10 Date: “A few hours later that night.”

Scene 11 Date: Weeks later after Scene 10.

– Stanley’s adherence to the Napoleonic Code and the ideals of Huey Long. Political

– Coming off the heels of WWII, Great Depression, etc. Political/Economic

– Technical Revolution and the rise of the working class are in full swing.  Political

– Blanche seems to put some sort of stock in astrology. Religious

– Blanche believes in the power of self-deception to shape subjective reality. Religious

– Blanche claims that “deliberate cruelty is not forgivable.” Religious

Thoughts

For given circumstances, I’ll just continue in Alyssa’s format and go scene by scene, putting down whatever information was revealed in the dialogue.

Scene 4

-Blanche has an acquaintance named Shep Huntleigh, who she dated in college. Shep has become fairly wealthy through the oil business. Social

– Stanley controls the household finances (Stella does not receive a “regular allowance”; possible that this is the norm?). Social/Economic

– Blanche references God and being made in His image; implies that she is a Christian. Religious

Scene 5

– Steve has been engaging in behavior giving Eunice cause to suspect him of infidelity. Previous Action

–  Stanley is a Capricorn. Social

– Blanche (claims she) is a Virgo. Social

Scene 6

– Blanche can speak at least a few phrases of French; Mitch cannot. Social

– Blanche has “old-fashioned ideals.” Social

– Mitch and Stanley served together in the “Two-forty-first.” Previous Action

– Mitch’s mother worries that he will not marry before she dies. Social

Scene Seven

– “Late afternoon in mid-September.” Date/year/season/time

– Blanche was kicked out of The Flamingo Hotel for her promiscuous behavior, and ruined her reputation in Laurel. Previous Action

– Stanley and Mitch work at the same plant and play on the same bowling team. Social

Couple thoughts on polar attitudes as well. I’m not sure if the qualification is strictly how a character changes from the beginning to the end, but if we were to examine changes in the middle of the show it might be interesting to look at Stella’s relationship with Stanley, and the tides of violence, love, trust, and mistrust that seem to ebb and flow between them when Blanche is around. Also, I might rephrase the polar attitude provided for Blanche. She doesn’t necessarily have a grip on reality, as she is constantly lying to herself and people around her in order to conceal the shameful truth. As long as these lies are unchallenged in any major way, she is able to function and maintain her sanity. However, when Stanley (and subsequently Stella and Mitch) begin to press her for the truth, she shows that her fragile psyche cannot deal with the stress of acknowledging her past behavior. So I would argue that Blanche never really has a grip on reality; rather, she is able to brush reality aside, underneath the rug she has made of lies.

Character and Language – Final Post

 Character

While reflecting on some of the characters it was interesting to see where they fit within the overall play itself and their purpose/interactions with other characters.

Antigone

I began looking at Antigone (Her name in Greek means €˜one who is of the opposite opinion' (anti = against, gnomi = opinion)) herself- she definitely is larger than life in Aristotle's terms, a very Joan of Arc-esque figure fighting against kings and men in power. Especially in Ancient Greek times she is extraordinary because of her courage and readiness to die for her brother. She simply wont accept the fact that she is not allowed to bury her brother and is extremely passionate about familial love and kindness. She could be considered the antagonist to Creon in the grand scheme of the play.

The amount of devotion she has to her family is shocking and certainly served as an example to the Greeks of true honor and dignity. In a sense she could be considered stubborn in that she doesn't listen to Ismene and has a very strong sense of purpose that cannot and will not be swayed by outside forces. Antigone doesn't let others control her. I would also say that she is blindly loyal to others and when Oedipus dies she must be loyal to her brother. Her loyalty is her tragic flaw. She also serves as a foil to Ismene, quite different characters in both external and internal looks and purpose.

Haemon (meaning "Bloody")

I would say that Haemon is a character that is like us/like the audience. He tries to be a voice of reason to Creon and shows his love for his fiancee. He tries to tell Creon that it is unfair to put Antigone to death and serves as a rational character. he is someone the audience pulls for as he is trying to save the character who serves as a beacon of familial love. His devotion to her might transcend the level of "like us" to a different plain in that he threatens to fight Creon for Antigone's life and ends up killing himself.  He is put between a rock and a hard place in that he LOVES Antigone but at the same time it is WRONG for him to go against his family. His life ends up being one big conundrum in which he ultimately takes his life.

Messenger

The Messenger in many of these tragedies and plays in general serves as a stock character. Generally there is not much personality in the character but still the ability to feel and choose sides in their dialogue. They serve to tell the audience and the characters what has happened (generally off stage) and the predicament they are currently in. The messenger in this is no different. In a way I would also say that the Messenger is like us though because he/she does show sympathy for the characters who have died (namely Haemon, his mother and Antigone) and is very taken aback by what has happened. There are certainly parallels between the audience members and the messenger in Antigone.

Ismene

Under the Aristotelian method of analysis, Ismene would be considered a character that is "like us." This is because she lacks the fiery, passionate spirit of characters such as Antigone and Creon. In the play's opening scene, for instance, she expresses her fear and concern for Antigone, but is largely passive and eventually bends to her sister's will, despite her personal feelings. On the other hand, when she appears for the second time (as Creon's captive) she displays a bit more backbone in her proclamations of loyalty to Antigone. However, despite this slight transformation, she is once again rebuffed by her sister's domineering personality and ceases her attempts to die with Antigone.

Ismene can also be considered a foil to Antigone. It is obvious that the two are meant to be looked at in comparison, as they are sisters. Hence, upon inspection, it is revealed that the two are almost complete polar opposites. As stated before, Antigone is passionate and fiery whereas Ismene is more calm and passive. In addition, Ismene shows much more concern for the physical and material environment of kings and worldly rules. Antigone, however, is primarily concerned with a higher calling dictated by the gods, and is prepared to defy Creon's authority in following this calling. Overall, the two characters represent a characteristically Greek character conflict: that between reason/logic and emotion/passion.

Teiresias

Teiresias, under Aristotle's character types, is a stock character. In the play, he is the archetypal blind prophet/harbinger of doom. The blind prophet, as many stock characters do, embodies a crucial contradiction: one who can see the future and yet cannot see the physical world around him. Also, Teiresias serves as the messenger of doom, also a stock character, one who is often possessed of supernatural powers and/or a connection to the divine; this aspect of Teiresias' character also suggests that he could be viewed as a unique/unusual character (due to his gift of prophecy).

Teiresias also provides an interesting take on the classification of a raisonneur. He serves as the voice of the gods and conveys their displeasure with Creon's actions. Whether or not this is the voice of the author cannot be known, but Teiresias is essentially the voice of an outside observer (the Olympian gods). It is unlikely that he is the actual raisonneur of the play, but it is important to note that he IS the voice of beings that exist outside of the play's world.

Chorus

The chorus (which, for these purposes, can be considered a single character), like many other characters in the play, is very much like us. The members of this group, who represent the elders of the city of Thebes, respond to the inquiries and statements of the characters with characteristically "normal" responses. Also, like Ismene, the chorus essentially takes no effectual action in the entire plot. They comment on the actions of other characters, however, and speak their opinions, but, as stated, they are largely a passive entity.

It is very likely that the chorus serves as the raisonneur of the play. When they are interacting with characters such as Creon and the Messenger, they ask questions and express opinions. To go along with this, when the chorus is engaging in one of the typical choral odes between "scenes" they expound upon philosophical ideas and larger concepts within the plot (covered in Thought/Idea). These roles characterize this particular chorus as expressive, but still quite passive. This makes it seem very likely for the chorus to serve as the raisonneur.

Creon – Classic Tragic Hero

Creon, is the larger than life protagonist of Antigone.  Antigone's action of burying her brother the traitor, going directly against the orders that have been laid down, require Creon to take counter-action.  Creon, who is the reigning king of Thebes at the time the play takes place, suffers a fall from grace due to his own hubris and stubbornness.  As Thebes has just gotten out of a terrible war, Creon tries to provide stability by being a firm and authoritarian ruler.  Antigone threatens the stability and authority that Creon is trying to maintain.  The Chorus states that Creon is normally reasonable and rational.  When it comes to Antigone, however, he becomes rigidly stubborn and excessive with his punishment simply because he cannot stand being defied no matter what the circumstances.  Several people if not directly arguing in Antigone's favor, at least assert he's being harsh, but he refuses to change his decision. When he finally relents, it is far too late.  He loses his wife and son, the former dies cursing him for his actions.

Eurydice

Creon's wife plays a small but significant role in the play.  She is a hysterical and emotional woman.  When hearing all that has happen she curses Creon's stubborn pride and takes her own life.

Guard

The guard character is very much like us. He not only tells the audience of Antigone's actions but seems genuinely conflicted between loyalty to his king and sympathy for Antigone which is general feeling throughout the play.

Language

Language and Diction

As far as language and diction, we found that our different translations implied different levels of elevation for the language. The level of formality was different for each of our texts. Overall, it is very discernable, it isn't super elevated, it can be understood easily and doesn't require a dictionary or anything for the vocabulary.

Vocabulary

As far as the vocabulary it is relatively mid-level, there isn't any kind of jargon or technical language either as far as the vocabulary.

Words unique to the Time Period

We couldn't find many words unique to the time period. We did stumble upon, the ai ai and oi moi, which are conventions of Greek tragedy and they are used to convey pain, suffering, and grief in different characters throughout the play.

Dominating Words

Some of the dominating words are: honor, gods, law and order, punishment, loyalty. This certainly tells a lot about the purpose of the play and what it meant to the audience that was observing it. These words in and of themselves certainly serve as a clear indicator of the major motifs and themes throughout the play.

Some Themes We Discovered

Simply knowing how many times these words arise throughout the play, we as audience members can make a good guesstimate about what the play will cover.

One of the major themes is also the separation between loyalty/devotion to higher power/family and obedience to earthly authority.

The Word “Marriage”

The word marriage came up quite a bit too, this isn't as dominating as the other words above but it certainly was a topic that was covered quite a bit throughout the text. Marriage was a dominating concept in Greek culture and throughout several different plays (especially the Oedipus plays). Who married who, incestual love, etc.

Imagery (passages)

Sophocles referenced Dionysus quite a bit throughout the text. The text used the analogy/imagery of Dionysus to serve as a cultural analogy to Antigone's frenzied emotional state, which was constantly very heightened, passionate and overall very intense.

There is also the passage that says "the goddess Aphrodite has her throne next to the mighty laws." Aphrodite is also one of the divine beings that is associated with passion and emotion. This illustrates the pervasive nature of emotion as it relates to reason and order.

Teiresias uses imagery regarding pollution, "you should not have done this (forbidding Polyneices to be buried) and your violation has also polluted the gods above." He also mentions how the offerings he made to the gods can't be used in his prophecy because they are messy, slimy, and there is no fat on the bones. This emphasizes the notion that Creon's decree has gone against the religious ideas of the time.

Implications

Based primarily on our analyses of character and language in Antigone, it seems fairly clear that one of the major, overarching themes is that of passion and emotional judgment untempered by calm reason and logic and how, even when we have the best intentions, it can bring all of our plans and desires to ruin. Another running concept we noticed was that many of the characters seemed to be “like us,” excluding Creon and Antigone of course. This implies that one is to examine how the actions and attitudes of these “larger than life” characters affect the various situations of the more relatable figures, such as Ismene and Haemon. Finally, it is also obvious that the author wishes for the audience to observe the inherent inevitability within the consequences of one’s actions. This is made clear through Teiresias’ prophecies, as well as Creon’s ultimately lamentable fate.

Character – Jason

Ismene

Under the Aristotelian method of analysis, Ismene would be considered a character that is "like us." This is because she lacks the fiery, passionate spirit of characters such as Antigone and Creon. In the play's opening scene, for instance, she expresses her fear and concern for Antigone, but is largely passive and eventually bends to her sister's will, despite her personal feelings. On the other hand, when she appears for the second time (as Creon's captive) she displays a bit more backbone in her proclamations of loyalty to Antigone. However, despite this slight transformation, she is once again rebuffed by her sister's domineering personality and ceases her attempts to die with Antigone.

Ismene can also be considered a foil to Antigone. It is obvious that the two are meant to be looked at in comparison, as they are sisters. Hence, upon inspection, it is revealed that the two are almost complete polar opposites. As stated before, Antigone is passionate and fiery whereas Ismene is more calm and passive. In addition, Ismene shows much more concern for the physical and material environment of kings and worldly rules. Antigone, however, is primarily concerned with a higher calling dictated by the gods, and is prepared to defy Creon's authority in following this calling. Overall, the two characters represent a characteristically Greek character conflict: that between reason/logic and emotion/passion.

Teiresias

Teiresias, under Aristotle's character types, is a stock character. In the play, he is the archetypal blind prophet/harbinger of doom. The blind prophet, as many stock characters do, embodies a crucial contradiction: one who can see the future and yet cannot see the physical world around him. Also, Teiresias serves as the messenger of doom, also a stock character, one who is often possessed of supernatural powers and/or a connection to the divine; this aspect of Teiresias’ character also suggests that he could be viewed as a unique/unusual character (due to his gift of prophecy).

Teiresias also provides an interesting take on the classification of a raisonneur. He serves as the voice of the gods and conveys their displeasure with Creon's actions. Whether or not this is the voice of the author cannot be known, but Teiresias is essentially the voice of an outside observer (the Olympian gods). It is unlikely that he is the actual raisonneur of the play, but it is important to note that he IS the voice of beings that exist outside of the play's world.

Chorus

The chorus (which, for these purposes, can be considered a single character), like many other characters in the play, is very much like us. The members of this group, who represent the elders of the city of Thebes, respond to the inquiries and statements of the characters with characteristically "normal" responses. Also, like Ismene, the chorus essentially takes no effectual action in the entire plot. They comment on the actions of other characters, however, and speak their opinions, but, as stated, they are largely a passive entity.

It is very likely that the chorus serves as the raisonneur of the play. When they are interacting with characters such as Creon and the Messenger, they ask questions and express opinions. To go along with this, when the chorus is engaging in one of the typical choral odes between "scenes" they expound upon philosophical ideas and larger concepts within the plot (covered in Thought/Idea). These roles characterize this particular chorus as expressive, but still quite passive. This makes it seem very likely for the chorus to serve as the raisonneur.