Welcome to the world of Shakespeare’s The Merchant of Venice, a play filled with drama, humor, and complex characters. This article will guide you through the intriguing lives of Shylock, Bassanio, and Portia, three of the play’s most fascinating figures. Let’s dive into their stories and see what makes them so memorable.
Shylock, a Jewish moneylender, is one of Shakespeare’s most controversial characters. He is often portrayed as a villain, but his character also highlights the prejudice and discrimination faced by Jews in 16th-century London. At that time, there were only a few hundred Jews in the city, and they had to practice their faith in secret due to widespread antisemitism.
Shylock’s famous speech, “Hath not a Jew eyes?” challenges the audience to see him as a human being with emotions and vulnerabilities, just like everyone else. Shakespeare uses Shylock to explore themes of justice and revenge, making him a character that evokes both sympathy and criticism.
Bassanio is a young Venetian nobleman who seeks to marry the wealthy heiress Portia. To win her hand, he must choose the correct casket from three options, a task set by Portia’s late father. Bassanio is often seen as a carefree spender, borrowing money from his friend Antonio to finance his quest for love.
Despite his financial recklessness, Bassanio is charming and likable. His journey in the play is not just about winning Portia’s love but also about proving his worth and maturity. His friendship with Antonio is a central theme, showcasing loyalty and sacrifice.
Portia is one of Shakespeare’s most resourceful and intelligent female characters. Initially, she appears to be trapped by her father’s will, which dictates how she must choose her husband. However, as the play progresses, Portia reveals her wit and cleverness.
In a pivotal moment, Portia disguises herself as a male lawyer to save Antonio from Shylock’s bond. Her ability to manipulate the legal system and her persuasive skills highlight her strength and independence. Portia’s transformation from a passive character to a powerful heroine is a key aspect of the play.
The Merchant of Venice explores themes of mercy, justice, and the complexity of human nature. Through Shylock, Bassanio, and Portia, Shakespeare delves into issues of identity, prejudice, and the power dynamics between individuals. The play encourages us to look beyond stereotypes and understand the deeper motivations and emotions of its characters.
As you study this play, consider how each character’s actions and decisions reflect the societal norms and values of their time. Think about how these themes are still relevant today and what lessons we can learn from them.
Enjoy your journey through this classic Shakespearean drama, and may it inspire you to explore the rich tapestry of human experience it presents.
Engage in a debate with your classmates about whether Shylock is a villain or a victim. Use evidence from the play to support your arguments, and consider the historical context of antisemitism in 16th-century London. This will help you understand the complexity of Shylock’s character and the themes of justice and prejudice.
Reenact the casket selection scene with your classmates. Take turns playing the roles of Bassanio, Portia, and the other suitors. Discuss the symbolism of each casket and what it reveals about the characters’ values and choices. This activity will deepen your understanding of the themes of love and materialism.
Analyze Portia’s courtroom speech and her legal strategy to save Antonio. Work in groups to rewrite the scene in modern language, focusing on her persuasive techniques and logical reasoning. Present your version to the class to explore Portia’s intelligence and resourcefulness.
Write an essay on one of the major themes in The Merchant of Venice, such as mercy, justice, or identity. Use examples from the play to illustrate how these themes are developed through the characters and plot. Reflect on how these themes are still relevant in today’s society.
Create a diary from the perspective of one of the main characters: Shylock, Bassanio, or Portia. Write entries that explore their thoughts and feelings throughout the play. This creative exercise will help you empathize with the characters and understand their motivations and emotions.
Sure! Here’s a sanitized version of the transcript:
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(light-hearted music) – [Trey] Ah, this! (laughs) If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? If you watch our production of ‘The Merchant of Venice’, do we not be incredible? (light-hearted music) Come on. Ah! (laughs) My eager charges! It is so nice to be a part of a professional production. Look, the handsome Bassanio. – [Ranko] Weren’t rehearsals supposed to start at nine? – [Trey] Don’t get your britches in a knot. It’s only eleven. – [Gary] Nine yesterday? – [Trey] If you wrong us, shall we not revenge? – [Gary] What? – [Trey] Nothing. ‘The Merchant of Venice’, a dark, comedic, controversial concoction about money, justice, and revenge. It’s my role as the director to deliver the complexities of its characters. Like Shylock, whose characterization reflects the attitudes of the time. – [Ranko as Bassanio] Why dost thou whet thy knife so earnestly? – [Trey as Shylock] To cut the forfeiture from this bankrupt there. – [Trey] I play Shylock. (light-hearted music) – [Interviewer] Trey, there are some interesting casting decisions in this production. Why did you cast yourself as Shylock? – [Trey] (laughs) Why is the sky blue, the grass green? Why does my brother Trevor always give me bad reviews? Is it because I’m living the dream as a successful theatre director and he isn’t? It’s not like I lay in bed cursing his name as I fall asleep every night, or write about it in my diary every day about how I want his respect. (sniffles) I’m sorry, what was the question? – [Ranko] I’m Bassanio. He’s a cool guy, a snappy dresser. And charming. Wait, is it the right casket because it’s the right choice or is it the right casket because it’s on the right of stage? He’s a total catch just like me. He’s the one who borrows money from this rich merchant, Antonio. People think Bassanio isn’t good with money, but I think he’s living life to the max, which is what I’m about to add to my dating profile. (laughs) Yeah! Mmm! Mmm hmm. Mmm hmm. – [Ranko as Bassanio] ‘Tis not unknown to you, Antonio, how much I have disabled mine estate. – [Gary] By something showing— – [Ranko as Bassanio] …By something showing a more swelling port than my faint means would grant continuance. (lips popping) – [Trey] Portia, another fascinating character, sees herself as a prisoner, trapped by her father’s edict. She waits for a suitor to choose the right casket and release her from a life of suspense. At first, she’s passive. She puts the casket lottery result to chance and fate, trusting her true love will help her suitors win the lottery. Portia! (light-hearted music) Uh, Portia! Uh, Portia! Hello? – [Jennifer] Portia’s a trickster. She’s funny. She’s an unlikely Shakespearean heroine. At the beginning, she shows no resourcefulness. I mean she’s bound by her father’s wishes. But as the story plays out, she shows how clever she is, how witty she is (giggles). – [Jennifer as Portia] Oh me, the word ‘choose’! 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 father. – [Jennifer] It’s the first time I’ve had a lead role. Previously I’ve only had small parts, like the nurse in ‘Romeo and Juliet’, and Snug in ‘A Midsummer Night’s Dream’. Oh, and the skull from ‘Hamlet’. – [Gary as Bassanio] My Lord Bassanio, let him have the ring. Let his deservings and my love withal be valued ‘gainst your wife’s commandments. – [Ranko] It’s very good. – [Gary] I play Antonio. (light-hearted music) And, he pretty much values his friendship with Bassanio over everything else. – [Ranko] Just like our real-life friendship, right? – [Gary] Yeah, I barely know him. – [Ranko] Well, Bassanio knows a good guy when he sees one, and I bet Antonio would help Bassanio with his dating profile, if he had one, yeah? – [Gary] Yeah, I guess. I mean, Antonio’s more of a sad-sack, which is ironic ’cause I’m actually a really happy guy, you know what I mean? Like, despite the fact that I lost my job, I got kicked out of my home, and now am living in an equipment room at my local squash court so… (laughs) Hmm. – [Ranko] Are you really? – [Gary] Yeah. – [Ranko] Oh um… – [Jennifer as Portia] A gentle riddance. Draw the curtains, go. Let all of his complexion choose me so. – [Jennifer] Here, Portia’s relieved that the Prince of Morocco chose the wrong casket and she hopes that all men of his complexion choose incorrectly so she doesn’t have to marry them (chuckles). She’s a product of her time. – [Interviewer] Does that bother you? – [Jennifer] Well, it’s a sign of the times. Plus Portia has 574 lines, so she has more lines than any other character. – [Trey] Look at this place, huh! Isn’t it wonderful? It’s a lot better than that theatre my brother Trevor put on his plays. That’s probably why he quit being a director and became a critic. Ha! – [Interviewer] Trey, isn’t it the same theatre your brother used? – [Trey] It’s been renovated. – [Interviewer] Are you sure? It looks exactly the same. In fact, I’ve got footage of it here, Trey. When he did Macbeth. – [Trey] Portia’s passivity transforms into power. She’s experienced and confident, which she proves by mocking her various suitors. (light-hearted music) Where on Earth is Portia? Portia? Dude, do you know where Portia is? – [Jennifer] Day two. Star has arrived (chuckles). – [Interviewer] So, how do you think it’s going, Jennifer? – [Jennifer] (sighs) It’s going well. If Trey learns his lines then we’ll be just fine. But, that’s okay, I’m a professional and I can carry the show. – [Jennifer as Portia] For fear of the worst, I pray thee, set a deep glass of Rhenish wine on the contrary casket, for if the devil be within that temptation without, I know he will choose it. I will do anything, Nerissa, ere I be married to a sponge. – [Jennifer] Read the script! It’s called rehearsals for a reason. – [Jennifer as Portia] I had rather be married to a death’s head with a bone in his mouth than to either of these. God defends me from these two. – [Jennifer] Ah, Portia. She dominates ‘The Merchant of Venice’. Despite its title, referring to Antonio, she’s the star. I’m not letting it get to my head, though. (giggles) (loud pounding) – [Trey] Portia! Portia! Portia! Portia is a free and independent spirit. Witty and cheeky, yet she lives in accordance to rigid rules. She’s glad when her suitors choose the incorrect casket, but sad she has no choice. – [Interviewer] Trey? Is everything all right? – [Trey] (chuckles) Of course! It’s time to work on Shylock and it has nothing to do with Portia. (light-hearted music) – [Ranko] Portia’s not leaving the dressing room until the director renames the play ‘The Portia of Venice’. (sighs) – [Trey as Shylock] You call me misbeliever, cut-throat dog, and spit upon my garment. And all for use of that which is mine own? – [Gary] Fair sir — – [Trey] I know. – [Gary] Yeah. – [Trey as Shylock] Fair sir, you spit on me on Wednesday last. You spurned me such a day; another time you called me ‘dog’ – and for these courtesies I’ll lend you thus much money? – [Antonio] I am as like to call thee so again, to spit on thee again, to spurn thee too. – [Trey] You know, in the 16th century, there were only a few hundred Jews in London? Yeah. Their religion was forbidden so they had to practice their faith in secret. Could you stop eating? – [Jennifer as Portia] There is something else. This bond doth give thee here no jot of blood. The words expressly are “a pound of flesh”. But in the cutting it if thou dost shed one drop of Christian blood, thy lands and goods are by the laws of Venice confiscate unto the state of Venice. (Trey applauding) – [Trey] Perfection! (laughs) – [Jennifer] What did you expect? – [Ranko] She’s really smart and resourceful. – [Jennifer] She manipulates the rules of society when she disguises herself and Nerissa as men to achieve her goal of saving Antonio’s life. Hmm. Her powers of persuasion are more powerful in a man’s disguise. She’s given respect, and her intelligence and wit are allowed to shine. – [Gary] Yeah, and she uses persuasion to gain a lot of power. – [Interviewer] Portia? – [Gary] No, the actress. – [Trey as Shylock] What if my house be troubled with a rat and I be pleased to give it 10,000 ducats to have it banished? What, are you answered yet? Some men there are love not a gaping pig, some that are mad if they behold a cat, and others, when the bagpipe sings in the nose cannot contain their urine. For affection, mistress of passion, sways it to the mood of what it likes or it loathes. – [Trey] Do you see what Shakespeare is doing? – [Interviewer] Uh, he hates bagpipes. – [Trey] No! He’s exploring antisemitism through the character of Shylock. – [Trey as Shylock] I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Fed with the same food, hurt with the same weapons, subject to the same disease, healed by the same means, warmed and cooled by the same winter and summer as Christians? – [Trey] Bet my brother couldn’t do that. (light-hearted music) This way. I need to go this way. Shakespeare sets up a stereotypical Jewish villain of the day, only to undermine it. We see a double standard emerging. Shylock is humanized and is used to exhibit pathos. – [Trey as Shylock] Most learned judge, a sentence! Come, prepare. – [Jennifer] Unlike Shylock’s villainous character, Portia offers Shylock a second chance to show mercy. She honorably upholds the rule of law, while highlighting the Christian doctrine to show mercy. – [Trey as Shylock] Hath a dog money? Is it possible a cur can lend 3,000 ducats? (laughs) Shylock mocks Bassanio and Antonio for disrespecting his religion and then– (cans rattling) – [Stagehand] Sorry, sorry, sir. – [Trey] He mocks Bassanio and Antonio for disrespecting his religion and his business and then asking for money. My brother, I mean, the audience will be blown away by this production. – [Ranko] Even though he can’t get Portia to come out of her dressing room (chuckles). – [Trey] What? – [Ranko] Nothing, nothing, man. – [Jennifer] Let the rehearsals recommence. (giggles) Although Portia waited passively for her prince, she becomes a dominant partner by the end of the play. Antonio’s plight empowers her. She becomes a merciful heroine. – [Jennifer as Portia] And that same prayer doth teach us all to render the deeds of mercy. I have spoke thus much to mitigate the justice of thy plea, to which if thou follow, this strict court of Venice must needs give sentence ‘gainst the merchant there. – [Interviewer] Do you think changing the title to ‘The Portia of Venice’ might be a little confusing for the audience, Trey? – [Trey] What’s in a name? That which we call a rose, by any other name— – [Both] Would smell as sweet. – [Interviewer] That’s from ‘Romeo and Juliet’. – [Trey] Yeah. And now it’s in this play, according to Portia. Actor, director, negotiator. I wear many hats. You know, I doubt my brother could’ve saved rehearsals like I have. That’s probably why he quit directing. Yes. – [Jennifer] I’ll be in my dressing room. I just think we should change one more. That’s the one. – [Trey] That’s just from ‘Love Actually’. – [Jennifer] Yes, but I think it would really suit the tone of the play there. Thank you! – [Stagehand] Goodnight, folks. – [Gary] Oh. – [Gary as Antonio] In sooth, I know not why I am so sad. It wearies me; you say it wearies you. But how I caught it, found it, and came by it, what stuff ’tis made of, whereof it is born, I am to learn. – [Gary] I got kicked out of that squash court that I was living in and uh, oh well (chuckles). (jazzy music)
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This version removes any inappropriate or sensitive content while maintaining the essence of the original transcript.
Shylock – A character in Shakespeare’s “The Merchant of Venice,” known as a Jewish moneylender who demands a pound of flesh as security for a loan. – In “The Merchant of Venice,” Shylock’s insistence on the bond highlights the complex interplay between justice and mercy.
Bassanio – A character in “The Merchant of Venice,” who is a suitor to Portia and a friend of Antonio. – Bassanio’s quest to win Portia’s hand in marriage drives much of the plot in “The Merchant of Venice.”
Portia – A wealthy heiress in “The Merchant of Venice,” known for her intelligence and wit, who disguises herself as a lawyer to save Antonio. – Portia’s clever legal maneuvering in the courtroom scene is a pivotal moment in “The Merchant of Venice.”
Villain – A character whose evil actions or motives are important to the plot of a story or play. – Iago is often considered one of Shakespeare’s most sinister villains due to his manipulation and deceit in “Othello.”
Themes – The central topics or ideas explored in a literary work. – The themes of love and sacrifice are intricately woven into the narrative of “Romeo and Juliet.”
Justice – The concept of moral rightness based on ethics, law, fairness, and equity that is often explored in literature. – The play “Measure for Measure” delves into the theme of justice, questioning the balance between law and equity.
Mercy – Compassion or forgiveness shown towards someone whom it is within one’s power to punish or harm, often a theme in literature. – Portia’s speech on the quality of mercy in “The Merchant of Venice” is one of the most famous passages in Shakespearean literature.
Prejudice – A preconceived opinion not based on reason or actual experience, often explored as a theme in literature. – “To Kill a Mockingbird” addresses the deep-rooted prejudice in society through its portrayal of racial injustice.
Friendship – A close and mutual relationship between two or more people, often a central theme in literature. – The friendship between Antonio and Bassanio is a driving force in “The Merchant of Venice.”
Heroine – A female protagonist who is admired for her courage, outstanding achievements, or noble qualities. – Elizabeth Bennet is celebrated as a strong and independent heroine in Jane Austen’s “Pride and Prejudice.”
