{"id":144,"date":"2010-11-22T11:55:57","date_gmt":"2010-11-22T15:55:57","guid":{"rendered":"http:\/\/blog.richmond.edu\/script_analysis_2010\/2010\/11\/22\/final-post-consolidated\/"},"modified":"2010-11-22T11:55:57","modified_gmt":"2010-11-22T15:55:57","slug":"final-post-consolidated","status":"publish","type":"post","link":"https:\/\/blog.richmond.edu\/script_analysis_2010\/2010\/11\/22\/final-post-consolidated\/","title":{"rendered":"Final Post (Consolidated)"},"content":{"rendered":"

Stasis<\/strong><\/p>\n

–\u00a0 Antonio, a Venetian merchant, is experiencing an apparently unexplainable depression, while his closest friend Bassanio has been harboring a secret love. Meanwhile, in Belmont,\u00a0 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.<\/p>\n

Implications of Proposed Stasis<\/strong><\/p>\n

– 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 \u20ac\u02dclove 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.<\/p>\n

Intrusion <\/strong><\/p>\n

– 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.<\/p>\n

Implications of Intrusion<\/strong><\/p>\n

– 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 \u20ac\u02dclove 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.<\/p>\n

Major Conflicts <\/strong><\/p>\n

– 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<\/p>\n

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

– Shylock vs. Christian society's disdain of Jews (as represented by Antonio and Bassanio's attitudes toward him)<\/p>\n

– 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)<\/p>\n

– 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)<\/p>\n

Obstacles by Character (at various points in the play)<\/strong><\/p>\n

– 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)<\/p>\n

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

"O my Antonio, had I but the means to hold a rival place with [Portia's suitors]\u20ac\u00a6" (Bassanio, 1.1.172-173)<\/p>\n

– 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)<\/p>\n

"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)<\/p>\n

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

– 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)<\/p>\n

"The devil\u20ac\u00a6an evil soul\u20ac\u00a6a villain\u20ac\u00a6a goodly apple with a rotten heart\u20ac\u00a6" (Antonio, referring to Shylock, 1.3.90-93)<\/p>\n

– Launcelot Gobbo: the dishonor he will incur by abandoning his master (Shylock)<\/p>\n

"The Jew my master who\u20ac\u00a6is a kind of devil; and to run away from the Jew I should be ruled by the fiend who\u20ac\u00a6is the devil himself." (Launcelot, 2.2.17-20)<\/p>\n

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

"Hear you me, Jessica, lock up my doors\u20ac\u00a6nor thrust your head into the public street to gaze on Christian fools\u20ac\u00a6" (Shylock, 2.5.27-32)<\/p>\n

Implications of Obstacle and Conflict<\/strong><\/p>\n

– 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.<\/p>\n

Things Theatrical <\/strong><\/em>(Implications included in each element)
\n<\/strong><\/em><\/p>\n

The Courtroom Scene<\/em><\/p>\n

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.<\/p>\n

The Three Caskets<\/em><\/p>\n

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 fianc\u00c3\u00a9s 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 fianc\u00c3\u00a9 of Portia. However, Shakespeare chooses to make Bassanio the fiance through this unique idea of three caskets rather than having Portia simply choose him.<\/p>\n

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.<\/p>\n

Secondly, instead of having Portia choose her fianc\u00c3\u00a9 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.<\/p>\n

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.<\/p>\n

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.<\/p>\n

Shylock's Courtroom Knife<\/em><\/p>\n

"Bassanio: Why dost thou whet thy knife so earnestly?<\/p>\n

Shylock: To cut the forfeiture from that bankrupt there."<\/p>\n

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.<\/p>\n

Shylock's Aside<\/em><\/p>\n

"(aside)<\/em> How like a fawning publican he looks!<\/p>\n

I hate him for he is a Christian,<\/p>\n

But more for that in low simplicity<\/p>\n

He lends out money gratis and brings down<\/p>\n

The rate of usance here with us in Venice.<\/p>\n

If I can catch him once upon the hip,<\/p>\n

I will feed fat the ancient grudge I bear him.<\/p>\n

He hates our sacred nation, and he rails,<\/p>\n

Even there where merchants most do congregate,<\/p>\n

On me, my bargains and my well-won thrift,<\/p>\n

Which he calls "interest." Curs\u00c3\u00a8d be my tribe<\/p>\n

If I forgive him!"<\/p>\n

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.<\/p>\n

\u00a0Shylock's Contract<\/em><\/p>\n

Among the things theatrical in the Merchant of Venice, \u00a0Shylock's contract with Antonio is one of the most memorable scenes.\u00a0The actual quote reads,<\/p>\n

"This kindness will I show.<\/p>\n

Go with me not a notary, seal me there<\/p>\n

If you reply me not on such a day,<\/p>\n

In such a place, such sum or sums as are<\/p>\n

Express'd in the condition, let the forfeit<\/p>\n

Be nominated for an equal pound<\/p>\n

Of you fair flesh, to be cut off and taken<\/p>\n

In what part of your body pleaseth me."<\/p>\n

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.<\/p>\n

Comedic Ending<\/em><\/p>\n

Comedies are known for always ending well even when the buildup may seem hopeless. The Merchant of Venice<\/em> 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:<\/p>\n

"So please my lord the duke and all the court,<\/p>\n

To quit the fine for one half of his goods<\/p>\n

I am content, so he will let me have<\/p>\n

The other half in use to render it<\/p>\n

Upon his death unto the gentleman<\/p>\n

That lately stole his daughter.<\/p>\n

Two things provided more: that for this favor<\/p>\n

He presently become a Christian;<\/p>\n

The other, that he do record a gift<\/p>\n

Here in the court, of all he dies possessed,<\/p>\n

Unto his son Lorenzo and his daughter."<\/p>\n

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.<\/p>\n

Others<\/em><\/p>\n

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<\/font>." (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\u00a0 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.<\/p>\n

Wrap-Up<\/strong><\/em><\/p>\n

– 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<\/em> 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.<\/p>\n","protected":false},"excerpt":{"rendered":"

Stasis –\u00a0 Antonio, a Venetian merchant, is experiencing an apparently unexplainable depression, while his closest friend Bassanio has been harboring a secret love. Meanwhile, in Belmont,\u00a0 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, … Continue reading Final Post (Consolidated)<\/span><\/a><\/p>\n","protected":false},"author":1377,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[823],"tags":[],"class_list":["post-144","post","type-post","status-publish","format-standard","hentry","category-ball-group-two"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/blog.richmond.edu\/script_analysis_2010\/wp-json\/wp\/v2\/posts\/144","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.richmond.edu\/script_analysis_2010\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.richmond.edu\/script_analysis_2010\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.richmond.edu\/script_analysis_2010\/wp-json\/wp\/v2\/users\/1377"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.richmond.edu\/script_analysis_2010\/wp-json\/wp\/v2\/comments?post=144"}],"version-history":[{"count":0,"href":"https:\/\/blog.richmond.edu\/script_analysis_2010\/wp-json\/wp\/v2\/posts\/144\/revisions"}],"wp:attachment":[{"href":"https:\/\/blog.richmond.edu\/script_analysis_2010\/wp-json\/wp\/v2\/media?parent=144"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.richmond.edu\/script_analysis_2010\/wp-json\/wp\/v2\/categories?post=144"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.richmond.edu\/script_analysis_2010\/wp-json\/wp\/v2\/tags?post=144"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}