The Merchant of Venice

The Merchant of Venice

Welcome to our exploration of 'The Merchant of Venice.' The aim of this section is to guide you through some themes and characters and stimulate your thoughts so that you can express yourself with confidence as you discuss or write about this play.

Scene 1

One of the obvious themes in The Merchant is, of course, MONEY. The very first conversation in the play involves two Venetians guessing at why their friend is sad - and they assume it's caused by money problems. At the same time, with only the most rudimentary scenery or props, the speakers convey clearly that we are in Venice. 

1. ACTIVITY: Pick out the language before Bassanio's entrance that conveys to the audience that we are not in the Globe Theatre in London at all, but in the sea-faring capital of the Mediterranean, amongst people who are traders and investors.

Antonio denies that his problem is money. His friends assume it must be love. Or nothing.

As a theme, MONEY intertwines strangely with RELATIONSHIPS in this play. Antonio has denied both, yet in the next part of this scene, he becomes deeply involved in a situation involving MONEY and LOVE. Indeed, the carefree, risky behaviour of the Venetians seems to lead to the blurring of distinctions between money and love. 'To you, Antonio,/ I owe the most, in money and in love,' declares Bassanio.

2. QUESTION: How do the themes of MONEY and LOVE continue to intertwine for the rest of the scene? 

Scene 2

We have seen that the Venetians enjoy a shared culture. This is Portia's world too. Despite the fact that their city is cosmopolitan, and a centre of exchange between East and West, this scene starts to explore - albeit in a comic tone - stereotypes about OUTSIDERS and their odd behaviour. Whilst the national caricatures are funny, a more serious note is introduced by Nerissa, who reassures Portia that the suitor who chooses according to her 'virtuous' father's will, will be 'one who you shall rightly love.' So CHRISTIAN VALUES will naturally draw a man who chooses correctly.

In a light-hearted manner, we see signs of RELIGIOUS / RACIAL INTOLERANCE - though more explicitly in Portia's final speech.

3. QUESTION: What is it about Bassanio that Portia and Nerissa know and remember, that makes him suitable?

Scene 3

Here, we have money again, but on different terms. Shylock will not mix MONEY and RELATIONSHIPS. He lends by contract, with stipulated terms and regardless of whether it is a friend or enemy. For him money has nothing to do with love or trust.

Antonio lends 'to supply the ripe wants of my friend,' and considers money a means to build and support friendship. 

Shylock, constrained by laws against Jews, lends and earns 'well-won thrift' - interest. His culture has imbued him him with a different set of values.

4. ACTIVITY: Look at how Antonio and Shylock each defend their belief or attack the other for lending differently in this scene. What tone do you think they are using, and to whom are they speaking in each case?

Their conflict reaches a peak when Antonio angrily tells Shylock to lend 'to thine enemy,' asking what kind of person lends to his friend on interest? Shylock seemingly shifts position to adopt a more CHRISTIAN approach: 'I would be friends with you'...'This is kind I offer.' 

Note the several double meanings and continual play on the words:

'assurance' ( friendly reassurance - or insurance?)

'bond' (bound through friendship - or a monetary deposit?)

'kind' (of similar blood - or good will?)

'thrift' (fortune in love - or profit from loans?)

Here is Shylock's parody of Christian values: he will lend money with no interest payable - 'no doit / Of usance.' Only flesh and blood - the very thing that makes him an OUTSIDER. 

5. QUESTION: The racial/religious intolerance we saw foreshadowed in Belmont is now spelled out clearly. Can you explain the basis of the hatred that exists between Shylock and Antonio, using references from Act 1?