‘The Most Excellent Historie of the Merchant of Venice’ Act 1 – “In sooth, I know not why I am so sad.”

‘The Most Excellent Historie of the Merchant of Venice’ Act 1 – “In sooth, I know not why I am so sad.”

It is strange to think that in Shakespeare’s time a performance of ‘The Most Excellent Historie of the Merchant of Venice’ would have been heralded with the raising of a white flag above The Rose or The Curtain to indicate that a comedy was to be performed that day. It certainly has some romantic comedy threads but stylistically it is eclectic and complex by any times definition and tastes. Let’s get some of the modern controversy surrounding this play out of the way first.

Many modern critics and audiences see the greatest barrier for modern audiences for this play is that see it as anti-Semitic. I think that two things must be kept strongly in mind when contemplating such a question. ‘The Merchant of Venice’ was first staged in about 1596 and also it was listed as viewed as a comedy at the time. Let’s start with the second one.

Comedy is a wonderful form. Humour is a master of many styles and purposes and one of its essential purposes is that it allows through imitation, mockery and even satire the criticism of prejudices, attitudes and conceptions. It is also a fickle mistress to fashion and form and what seems hilarious or even astutely poignant in a piece one year can be embarrassing, not humorous and misunderstood a year hence. My point is that perhaps Shakespeare’s audience saw that even though it was dramatic in much of its form, that ‘The Merchant of Venice’ was mocking their prejudices. The way the play ends with Shylock’s punishment and conversion is stylistically a little overdone even for Shakespeare’s time and perhaps we miss the subtle social and cultural commentary that some or many of Shakespeare’s audiences would have picked up.

Jewish people had lived in England for centuries but from about 1300, the expulsion of and confiscation of Jewish property was continuous (or at least it kept coming in waves). There simply weren’t that many around in England anymore so ignorance abounded. Also, just as we go through waves of using ethic and religious groups as villains (remember when ever villain was a Russian or a South African, ah, those were the days), writers and audiences have always done this. Will we cringe in years to come at the way that nearly every second villain in our movies seems to be a Muslim or someone from a dis-enfranchised ex-Soviet state, or both? I certainly hope we do, because that will mean that we meeting our prejudices in the face. And let’s face it, villains are not meant to painted with the simple delicate brush strokes and hues of sympathy but with the broad emotionally charged slaps and dashes of a bright pallet that challenges our values, perceptions and prejudices.

“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, or came by it,

What stuff 'tis made of, whereof it is born,

I am to learn;

And such a want-wit sadness makes of me,

That I have much ado to know myself.”

‘The Merchant of Venice’ begins with such beautiful simplicity, at the end of a conversation about Antonio’s, a merchant of Venice, melancholy. Salarino and Salanio suggest it is because of him worrying about his investments which are ‘at sea’ or maybe ‘sunk’. When Antonio denies this is the reason, they suggest that he must be in love but Antonio also denies this. They come across a myriad of other merchants including Antonio’s friend Bassanio. Bassanio reveals that he has fallen in love with a girl called Portia, whose father has just died and who has inherited a large fortune. He says that he wishes to compete with other suitors who are more well known and richer than him and he want to borrow money from Antonio so he can pursue his suit. Antonio says although he does not have the money at the moment. That he will act as a guarantor for a loan for Bassanio.

We switch to Belmont, where we encounter the rich, beautiful and intelligent Portia (the heroine of this drama) who is first encountered bemoaning to her friend and lady in waiting Nerissa that she upset that the will of her dead father has left a task for any of her suitors to complete to decide who should be her husband. The tasks involves suitors choosing one of three chests – one made of gold, one of silver and one of lead. The one who chooses the correct chest gets to marry Portio. Even Portia does not know which is the correct chest. They then go through criticizing and mocking the negative traits of her suitors one by one from the horse-loving Neapolitan prince, to the frowning County Palantine, to the Frenchman Monsieur Le Bon who is filled with conceit and vanity. They finally start to recall a young man from Venice called Bassanio who once visited and are just speaking about him in admiring tones when s servant enters and tells Portia that a prince from Morocco will arrive soon. Portia despairs at the continuous throng of unsuitable suitors.

The audience then shifts their focus back to Venice, where the Jewish moneylender Shylock is negotiating with Bassanio whether to loan him the money (three thousand ducats for three months) using Antonio as the guarantor. Shylock seems more interested in the fact that the deal would include Antonio being bound to him if the debt was forfeited. Shylock shows his great understanding of Christians and their ways and their great ignorance of Jews and their customs and ways. He reveals that he dislikes Antonio because he lends money without interest (which undermines business) and because Antonio has mocked and derided Shylock in public.

Despite his obvious hatred towards Antonio, Shylock comes up with a ‘kind’ deal:

“I would be friends with you and have your love,

Forget the shames that you have stain'd me with,

Supply your present wants and take no doit

Of usance for my moneys, and you'll not hear me…

This kindness will I show…

If you repay me not on such a day,

In such a place, such sum or sums as are

Express'd in the condition, let the forfeit

Be nominated for an equal pound

Of your fair flesh, to be cut off and taken

In what part of your body pleaseth me.”

Thinking that Shylock is only motivated by money, Antonio accepts the arrangement and Shylock arranges for them to meet later at a notary to sign the agreement. But we know that Shylock motives run deeper than Antonio and others grant him and we as an audience sense that something sinister lurks behind Shylock’s “kindness”. Antonio remarks how amicable Shylock seems while Bassanio remarks that he is suspicious and likes not “fair terms and a villain’s mind”. Antonio dismisses his worries claiming that his ships and fortune will arrive a full month and a day before the agreement runs out and that the forfeit will not see the light of day.