According to Ball, forwards are first and foremost a tool used by playwrights to keep the audience actively engaged in the play and prevent them from losing interest. However, their secondary function is to call attention to important thematic elements of the play. Some of the forwards in Merchant of Venice serve in this capacity, once again using forwards including the confrontation between Antonio and Shylock, the ring subplot at the play’s end, and Antonio’s mercantile ventures to draw attention to religious conflict, morality, and financial themes in the play.
Category: Ball Group Three
Implications of Exposition
Because the play is based on a medieval story, Shakespeare’s exposition is important because it establishes the differences between his adaptation and the original tale. The thematic elements introduced to Merchant of Venice require some adjustments to the information presented in exposition. For example, Shakespeare’s version of the challenge to win Portia’s hand fits better with the play’s heightened emphasis on religious values and morality, especially since Portia represents a virtuous Christian character diametrically opposed to Shylock the Jew. Shakespeare also inserts exposition detailing Antonio’s willingness to lend Bassanio money on top of his already existing debt as a way to further develop the contrast between the “Christian” philosophy of charitable giving and the “Jewish” method of extortion/usury practiced by Shylock. Finally, Shakespeare’s exposition at the beginning of the play establishes that most central characters are wealthy and relate to each other through financial transactions (another predominant theme in this play).
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.
Some Fowards
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.
Exposition in The Merchant of Venice
These are the questions in Ball. I can certainly go into more detail, but these are a good jumping-off place I think. If anyone wants to take these questions and find more things, feel free.
Where are we?
Venice, a Street
What is it like?
There are references that they are rich, so I'm assuming that the location is relatively 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)
What's the situation?
Antonio is in a sad state, and his friends are trying to aid him. He is in love with Portia, but cannot marry her because of the restraints that her father has placed on her ability to marry.
What are the time and period?
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.
Initial Forwards in Merchant
Hey guys, I've found a few forwards in "The Merchant of Venice" and these are my initial thoughts about the production. I think we should probably start looking farther into this play and see if we can define the exposition more.
1. The nature of Antonio's sadness
a. "In sooth I know not why I am so sad" (Act 1 Scene 1 Line 1)
2. The result of Shylock's grudge towards Antonio: Shylock's attitude towards Antonio is immediately negative
a. "If I can catch him once upon the hip,
b. I will feed fat the ancient grudge I bear him." (Act 1 Scene 1 lines 43-44)
3. Religion debate
a. "I hate him for he is a Christian." (Act 1 Scene 1 line 39)
4. Antonio and Shylock's eventual final battle. From their first meeting it is made clear that these two characters truly hate each other.
a. "the devil can cite Scripture for his purpose.
b. An evil soul producing holy witness
c. Is like a villain with a smiling cheek." (Act 1 Scene 1 lines 95-97)
5. Shylock's forced conversion
a. "Hie thee, gentle Jew
b. The Hebrew will turn Christian; he grows kind." (Act 1 Scene 1 lines 174-175)
6. Portia's wedding: she is unable to decide for herself, so she must settle for whoever her father chooses.
a. "Besides, the lott'ry of my destiny
b. Bars me the right of voluntary choosing." (Act II Scene 1 Lines 15-16)
That's all I have for now. I hope this helps!
A few forwards
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.