January 30th, 2012- Manipulation= Power

Throughout Act IV, Shakespeare exposes Portia’s duplicity and manipulation when she disguises herself as a man. Portia tests the potency of Bassanio’s commitment to her when asking for his marital ring; furthermore, by giving away his ring, Bassanio reveals that his faithfulness to his wife is not significant enough to persuade him to keep his ring. Thus, when he returns to Belmont, Portia pretends to be both furious and disappointed in him. She proclaims, “I will become as liberal as you” (V.i. 226). Portia convinces Bassanio that she will become just as “liberal” or generous as he is. Her generosity includes giving away her body, which she mentions as a way to make Bassanio panic. She makes him believe that her faithfulness to their marriage is questionable, and the only alternative is for him to watch her closely. She says, “Watch me like Argus” to exaggerate that he must watch her as if he had one hundred eyes (V.i.230). She convinces Bassanio that she is capable of misbehaving, which ultimately persuades him to become more watchful of her. While Bassanio believes he must monitor Porita’s faithfulness, Portia inherits the ability to watch Bassanio more closely. Portia exposes early on that she is concerned about Bassanio’s faithfulness when she deceitfully asks for his ring, and Shakespeare publicizes that she uses manipulation to foster a committed marriage. 

January 26, 2012- Mercy vs. Justice

Throughout Act IV scene i, mercy and justice appear frequently. In class, we began discussing how justice is associated more with the law than mercy; meanwhile, mercy is more innate and personal. Shylock demands to receive justice, or that the law will allow his bond. Portia explains, “Though justice be thy plea…in the course of justice, none of us Should see salvation” (Shakespeare IV.i. 194-196). She explains that although he “pleas” for justice, he will never be accorded “salvation.” Her use of salvation provides a religious connection between God and justice.  “In [his] course of justice,” he will never possess his salvation, or deliverance from sin. By never receiving salvation, Portia connotes that his current demand of a pound of Antonio’s flesh will only bring him damnation. Although his bond is just, she warns him that “We do pray for mercy, And that same prayer doth teach us all to render The deeds of mercy” (Shakespeare IV.i.196-198). She communicates that although “we” can pray and plea for both justice and mercy, our prayers for mercy actually "render" us merciful. However, when one pleas for justice, their prayers do not necessarily make them possess justice, or fairness. 

January 25, 2012- Does Compassion Exist?

In Act IV scene i, Antonio and Shylock go to court to settle their bond. Portia, who disguises herself as Balthazar, replaces the lawyer the Duke originally calls for, and she begins to inquire that Shylock should give up his bond. She asks Shylock to be merciful, and he demands “on what compulsion” must he become compassionate (Shakespeare IV.i.179). She begins by saying, “mercy is not strained,” so that Shylock is aware that she is not ordering him to be merciful (Shakespeare IV.i.180). She is trying to arouse any humane and sympathetic feelings he may possess to persuade him to acknowledge his humanity. Her use of “strained” reveals that mercy is not forced. She then says, “It droppeth as the gentle rain from heaven Upon the earth beneath” (Shakespeare IV.i.181-182). Her use of a simile compares mercy to rain to emphasize that mercy comes naturally. Its origination, like rain, is “from heaven,” and therefore she associates compassion to be a godly characteristic. By describing mercy to be natural and god-like at the same time, she attempts to flatter Shylock so that he no longer demands his bond. However, her blandishments heighten rather than mitigate Shylock’s demand because the more suppressed Shylock feels, the more his desire for equality will grow.     

January 23, 2012- Inhumanity of Relishing Authority

In Act III scene iii, Antonio is captured and arrested because he fails to pay Shylock back, which authorizes Shylock to execute the consequences as they agreed in the bond. Shylock conveys a strong hate towards Antonio, and he publicizes that he has not forgiven Antonio for all his past slander. In fact, Shylock reveals that he has become obsessed with the bond by constantly repeating, “bond” throughout his “conversation” with Antonio (Shakespeare. III.iii.4-5). His repetition of “bond” throughout his passages purposefully reminds him of Antonio’s past slander towards him. Thus, Shylock reveals that he must keep himself motivated to enact the bond’s decrees. Shakespeare ultimately exposes Shylock is not as inhumane as he previously is portrayed to be. Shylock says, “I will not hear thee speak” to Antonio as a way to tune out Antonio’s pleas (Shakespeare III.iii.12). Shylock acknowledges that if he were to listen to Antonio or let him speak at all, he would be made into a “soft and dull-eyed fool” (Shakespeare III.iii.14).  Thus, Shakespeare divulges that Shylock does feel sorry for Antonio; however, his hatred is more influential than his compassion. His abhorrence towards Antonio and anti-Semitism outweighs his humane feelings because he relishes his moments of power over Antonio. 

January 19th, 2012- Portia's Endless Servitude

After Bassanio discovers that he has chosen the correct casket, he confesses that he is in disbelief and asks if Portia can confirm that he can marry her. Her response centers on power, and therefore money, and her speech ultimately serves to represent the beginning of their relationship. She begins by saying that she wishes she “would be trebled twenty times” in order “to stand high in [his] account” (Shakespeare III.ii.153-155). She reveals that she feels that she is undeserving of Bassanio, and the only way she could consider herself equal to him is if she were “trebled twenty times.” Ironically, Portia feels subservient to Bassanio; meanwhile, she possesses more money, power, and prestige. Portia’s feeling of subservience illustrates that women are meant to assume subordinate roles. After just ending her bond with her father, Portia assembles a new bond with another man. Like her agreement with her father, Portia agrees “to be directed” by Bassanio (Shakespeare III.ii.164). Portia hands over the prestige and power she possesses so that she can be “directed” through Bassanio’s demands. Portia responds to Bassanio’s confusion to discuss materialistic benefits and profits that he inherits through their marriage, and thus she makes their relationship more superficial than romantic. 

January 18th, 2012- Choices Expose

Throughout the last few scenes of Act II, Portia’s suitors attempt to win the chance to marry Portia and therefore come to select the right casket. Interestingly enough, when they are presented with the caskets, Shakespeare divulges their train of thought which ultimately also reveals their characteristics. For example, the Prince of Morocco is the first suitor who attempts to win  the opportunity to marry Portia. When he first examines the lead casket, he does not believe that a man should risk everything for lead, so he proclaims, “A golden mind stoops not to shows of dross” (Shakespeare II.vii.20). He considers his mind to be “golden,” and therefore reveals that he regards himself highly. His tone connotes that he is pompous, which is further emphasized when he says he will not stoop to “dross,” or rubbish. He believes he is too valuable to stoop to the level that lead represents, which drives him to ultimately pick the golden casket; however, the golden casket does not contain Portia’s picture. The Prince’s inclination to select the golden casket further discloses how materialistic he is, and therefore, how undeserving he is of being Portia’s husband.