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.  

Things Theatrical

I just wanted to randomly list up things theatrical in the play.

  • Portia’s question of the three boxes.
  • Bassanio and Portia’s marriage.
  • The whole court scene.
  •  Bassanio, Portia and the ring

Some Ideas on What Happens

I think the first major thing that happens in the text is Bassanio asking Antonio for a loan. I would say that the trigger for that would be Bassanio falling in love with Portia and deciding to go to Belmont to take the challenge (the trigger for that being Portia’s dad dying and leaving the challenge of the three boxes to win her hand in marriage), but I’m not sure if we’re supposed to go that far back or if that’s stasis/intrusion business. But the loan and introducing Portia connects the sort of split between the plotlines of what’s going on with Bassanio and co. and what’s going on with Portia in Belmont.
Bassanio asking Antonio for a loan triggers him to say yes, and that they should go find a benefactor
This triggers them to seek out Shylock, which triggers his agreement to give them the money and to set up the term that if they cannot pay it back at the exact time and place agreed upon, that Shylock will cut out a pound of Antonio’s flesh.
This triggers Antonio to agree and they set up a meeting after Shylock runs home for a minute

Here’s where I’m getting kind of lost – the next scene is with Portia and the Prince of Morocco. I know we can have both plotlines occuring simulataneously, but then when we return to Antonio/Bassanio’s side of the plot, it’s Launcelot (is this another split? Meaning the next heap would be Gratiano’s request to go with Bassiano, as triggered by the agreement to lend the money which allows Bassanio to go on the trip?)

I’m so sorry if I’ve confused everyone, but please let me know what you guys think.

Ideas for stasis and intrusion

  • The location is Venice. There are many merchants in Venice who make money by trading goods.
  • Shylock and Antonio have a conflict in interest regarding business.
  • Antonio is sad.
  • Antonio’s ships are all on journey and he does not have money.
  • Portia’s father died recently, and she is looking for a husband.

–These seem to be the unchangable stability, but maybe these are too specific? Then, there must be an action that disrupts this stability, which I think is Bassanio asking Antonio for money. What do other people think?

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.

Some Image Themes

Images: Sea and Famous People themed

  • "Your mind is tossing on the ocean/there where your argosies with portly sail€¦" (I, i, 8-9)

argosy -large merchant ship

  • "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)
  • "There are a sort of men whose visages do cream and mantle like a standing pond," (I, i, 88-89)
  • "But fish not with this melancholy bait/ For this fool gudgeon, this opinion," (I, i, 101-102)

gudgeon – part of a rudder, small freshwater fish

  • "€¦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)"
  • 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)

FINAL blog post- Dramatic Action, Character

 Here is our final post for Dramatic Action and Character by Hannah, Camden and Sloane

 

DRAMATIC ACTION: A Streetcar Named Desire

 

Inciting incident- Blanche's arrival

 

Scene 1:

Part 1: What a snob!: Blanche is shocked to see Stella's new life and she and Stella reconnect.

Part 2 (when Stanley enters): Be Comfortable: Stanley briefly questions Blanche about her past.

 

Scene 2:

Part 1: It's all in the Details: Stanley tries to get Stella to side with him over the idea that Blanche has swindled them.

Part 2 (When Blanche enters): Nothing to hide: Stanley confronts Blanche about Belle Reve.

 

Scene 3:

Part 1: Poker Face: Mitch explains how he's different and how he'll be alone when his mother dies while the men play poker.

Part 2 (When Blanche and Stella enter): Rose colored glass: Mitch and Blanche get acquainted while Stanley gets more annoyed by Mitch's absence from the game.

Part 3 (When he throws the radio through the window): Off again on again: Stanley's frustration gets the best of him then he repents.

 

Scene 4:

Part 1: Intentional misunderstanding: Blanche tries to convince Stella to leave Stanley, but Stella resists.

Part 2 (when Stanley enters scene to speak): Stanley deserves a hug: Stella demonstrates to Blanche her unconditional love of Stanley.

 

Scene 5:

Part 1: A beautiful day in the neighborhood: Blanche imagines an ideal neighborhood but is interrupted with reality.

Part 2 (after Steve exits): Gossip: Stanley eludes to things he's heard about Blanche's past and Blanche denies them.

Part 3 (after Stanley exits):  Wishful thinking: Stella reassures Blanche that her future will turn out all right.

Part 4 (after Stella exits): Dangerous liaisons: Blanche gives in to her desires in kissing a young man just before she goes on a date with Mitch.

 

Scene 6:

Part 1: Getting to know you (Blanche and Mitch): Blanche and Mitch come to the conclusion that they could be a couple.

 

Scene 7:

Part 1: The cat's out of the bag: Stanley reveals to Stella the truth about Blanche's past and plans to force her out of their lives. 

 

Scene 8:

Part 1: King of the house: Stanley asserts his power over both the women.

 

Scene 9:

Part 1: Turn on the light: Mitch admits he no longer has a desire to marry Blanche.

 

BD: BD wonders

M: M identifies

BD: BD forgives

M: M complains

BD: BD humors

M: M rejects

BD: BD defends

M: Mitch questions intent

BD: BD pretends

M: M expresses skepticism

BD: BD relaxes

M: M accuses

BD: BD chides

M: M admits

BD: BD delays

M: M implies

BD: BD boasts

M: M mocks

BD: BD flirts

M: M rebukes

BD: BD deflects

M: M realizes

BD: BD suspects

M: M assembles argument

BD: BD defends

M: M confronts

BD: BD fears

M: M highlights

BD: BD worries

M: M distinguishes

BD: BD reprimands

M: M specifies

BD: BD admits

M: M resents

BD: BD reproaches

M: M justifies

BD: BD discounts

M: M contends

BD: BD mocks

M: M demands

BD: BD gives in

M: M distills

BD: BD begs

MW: MW offers

BD: BD escapes

MW: MW provokes

BD: BD crumbles

BD: BD reflects

BD: BD pleads

M: M admits

BD: BD appeals

M: M resolves

BD: BD challenges

M: M reasons

BD: BD lashes out

 (There were a few short lines that had the same gist in this breakdown so we combined them. Only once or twice though.)

Scene 10:

Part 1: We've had this date from the beginning: Stanley forces Blanche to accept the reality she is living.

 

Scene 11:

Part 1: Taken: Everyone comes to an agreement that Blanche must go for their lives to become stable again.

 

 

CHARACTER:

 

Blanche:

Desire: To live a dream like life.

Will: Strong

Moral Stance: If no one knows it happened then it didn't.

Decorum: appearance is important, wears extravagant outfits, clean (bathes a lot), accessorizes, older, very feminine, proper speech, noticeably intoxicated sometimes, Blue jacket at beginning

Summary Adjectives: intense, on the verge of lunacy, nervous, hysterical, attractive, lovely, frazzled, fresh, adaptable, excitable, soft, morbid, sensitive, proper, alone, old-fashioned, anxious, solemn, nice, unlucky, deluded, cultivated, destitute, desperate, caught, wonderful, not respected, famous, refined, particular, flighty, refreshed, rested, tender, trusting, hoity-toity, empty, unfit, prim, a liar, name means "white woods," smoker, French, bohemian, fading, morbid

 

Stella:

Desire: To have normalcy in their home again.

Will: Strong

Moral Stance: The relationship between a husband and wife is the most important

Decorum: Pregnant, shabby, simple/plain appearance, visibly content

Summary Adjectives: dainty, precious, insane, good, quiet, child, baby, "little woman," matter of fact, indifferent

 

Stanley:

Desire: To have a relationship with Stella where nothing gets in their way of happiness

Will: Strong

Moral Stance: lives by the Napoleonic Code, friends tell friends the truth

Decorum: was in the military (built), very sexual/manly, comfortable, silk pajamas, sweaty and a little dirty, noticeably intoxicated sometimes, collared bowling shirt, in first scene his sweat makes it stick to him, Master sergeant in the engineers corps (salesman, he's on the road a lot)

Summary Adjectives: unrefined, simple, straightforward, honest, primitive, animal, ape-like, whelp, lamb, stinker, bestial, common, forceful, dynamic, rude, American, cruel, fantastic, lucky, Polish, €˜different species,' civilian, an ape

 

Mitch:

Desire: To not be alone

Will: Moderate

Moral Stance: relationships should be based on honesty

Decorum: 6' 1 1/2" 207 pounds, heavily built, perspires a lot, can't wear light weight clothes, Blanche calls him €˜Samson'

Summary Adjectives: Alone, superior, sensitive, doubtful, anxious, solemn, imposing, natural gentleman, sincere, uncavalier, uncouth, fantastic, realistic, lucky, kind

 

CONCLUSION:

 

Having completed our portions of analysis, dramatic action and character, we have come to the conclusion that this play is about the acceptance of reality. We go on a journey with the main characters throughout the play in which every one of them must accept reality to live in harmony. Up until Stanley and Mitch force Blanche to really look at reality, she has been living a dream like life. Her home is called Belle Reve (beautiful dream) and in scene nine she blatantly states: "I don't want realism, I want magic!" Which implies that she is being taken away from the magical life she desires to live. We see a battle inside Blanche throughout the whole production between a realistic life and a dream, but ultimately in the end when she agrees to leave the house with the gentlemen doctor, she is accepting her reality; maybe not consciously, but by leaving she is accepting her future.

The same type of journey is seen with Stella and Mitch as well. Mitch has this ultimate desire to not live alone, he is in need of a companion, but after scene nine we see a transformation in Mitch when he realizes that not just anyone can fill that desire (Blanche). He could marry her, she in no way stops him from moving in that direction but we see him come to terms with reality when he says "I don't think I want to marry you any more" to Blanche. He has let all of her foolishness and lies slide by until he realizes that he could not live with someone like her and accepts his reality that he must continue to live alone.

Stella is another example of acceptance. She spends the whole play trying to be a mediator between Blanche and Stanley when it is only making her unhappier. For her life to return to something bearable either Stanley or Blanche must leave, but because she loves Stanley so much, Blanche is the one who is forced to go. Stella, like Blanche, roughly accepts this reality in the last scene of the play. Stella struggles with it, but in the end she does not stop it from occurring. She must cleanse herself of Blanche so her and Stanley can go back to being normal and live the marriage they had been living until Blanche showed up.

Stanley serves as a realistic ground throughout the play because he does not let Blanche put anything in front of his eyes. He sees through everything she has said and does and in a sense continually forces the play back down to reality. When he comes in, it is all business. There is no dream, there is no reason to appeal to both parties, life is what it is and Stanley knows that living in a dream is not going to change reality. He is the most continually realistic character throughout the play and sends the driving force of realism through his actions and desires.

All of the dramatic action leads up to these characters accepting reality and tossing out a life of dreams. It is their resistance from reality that drives the play, but their acceptance of reality that resolves it.

 

 

 

Final Post

Dialogue

Stanley: He specifically speaks in very simple, blunt sentences. In fact, he doesn't say more than two words per sentence until he brings his friends home from bowling. His lines are often followed by exclamation points like his first four lines "Hey, there! Stella, baby" "Catch!" "Meat!" "Bowling!" The fact that he uses such blunt sentences so often and keeps his thoughts generally to the point shows us his masculinity and his desire to be "real" and never put on fronts. The fact that he constantly justifies his actions too through his moral stance "The Napoleonic Code" shows us that he is very rigid and has his own set of standards that he lives by regardless of how it makes others feel. He is unwavering and consistent. He weighs all thoughts and actions on his moral stance and is very much a stereotypical "tough guy."

Blance: She is a fascinating character because her dialogue really reveals a lot of sadness. When we understand her character and take into perspective her growth as a character throughout the play we come to realize that she is very superficial and concerned with appearance. We can see in her dialogue that she is very concerned with the social standards of what it means to "be a lady" and have men interested in her. Stanley constantly questions her as a character and tries to get her to see past her own superficiality and "bullshit."
She is frequently dropping in French words or quotes from French plays (including one from "La Dame aux Camelias" by Alexandre Dumas – she says this to Mitch, and I'm pretty sure she is remarking on how Mitch does not appreciate her)
It is also of note that the only references Stanley brings into the play are in the current, political genre. He talks about both Napoleonic code and Huey Long (elected governor of Louisiana in 1928), both of which are meant to reassert his dominance and relevant knowledge; however, he knows little of the art, music, language and poetry that Blanch often recites. Again, he appears less cultured and more barbarian.

Stella: She stands in between Stanley's and Blanche's in the sense that Stanley is blunt and barbaric and Blanche is educated and proper. Stella speaks in a familiar voice, never quoting any historic media or using overcomplicated words like Blanche, but also never retracting to the simplicity that Stanley verbalizes. She always supports Stanley. Blanche attacks her and Stanley in almost every conversation she has in the play, but Stella is strong and clings to Stanley with her every word. Regardless how offensive and hurtful Blanche gets with her, Stella still attempts to support her sister. She is caring and compassionate throughout and tries to always make the best of situations. Whenever Blanche speaks badly of Stanley or vice-versa, Stella tries to mediate and explain the good sides of both, in hopes of having them all get along.

Mitch:

We can learn a lot about the character Mitch throughout the play through his dialogue (his dialogue with Blanche says a lot about his character too. We can easily get the vibe that he is not particularly bright or ambitious in that he is very clumsy and is often teased by Blanche (such as when she speaks to him in French which she knows he will never understand, also when he uses bad grammar and slang "Kind of on your high horse ain't you€¦ I oughta go home"). He tries to behave as a gentleman to Blanche though, being very polite to her and trying to meet the social standards of what it was to be a gentleman during this time period.  (Ie calling Blanche Ms DuBois and the beginning and acting awkwardly respectful)

We learn that he is also a lonely person through his dialogue who wishes to make his mother happy. We can see this in the fact that we hear of his mother a lot but never actually see her. She is just constantly referenced. (such as at poker night when they talk about the custard Stella sent to his sick mother)

Research:

In 1929, Williams is admitted to the University of Missouri where he sees a production of Henrik Ibsen's Ghosts and decides to become a playwright, but two years later, his father forces him to withdraw from school and work in a St. Louis shoe factory where he meets a young man named Stanley Kowalski who became an obvious inspiration for Streetcar. Later, two of his plays, Candles to the Sun and The Fugitive Kind, are produced by Mummers of St. Louis. He eventually moves to New Orleans and changes his name from "Tom" to "Tennessee" which was the state of his father's birth. A prefrontal lobotomy is performed on Williams' sister Rose who had long suffered from mental illness. The operation, however, is a failure and leaves Rose incapacitated for the remainder of her life. Tennessee never forgives his parents for allowing the operation, which could lead to how horrible the thought of being in a mental institution was for Stella to put Blanche through. The Glass Menagerie then becomes a major hit and then Streetcar opens at the Ethel Barrymore Theatre on Broadway, earning Williams his first Pulitzer Prize and establishing him as one of the top dramatists of the American theatre. Streetcar was written the same year that the WWII peace treaty had finally been signed.