Act 1, Scenes 1–2 Summary and Analysis
Scene 1
The Merchant of Venice opens with three characters: Antonio, Salarino, and Solanio. Antonio explains that he feels sad, but he does not know why. Salarino and Solanio suggest that it is probably because Antonio has several trading ships at sea. They tell him not to worry because his ships are sturdy. Salarino notes that if he himself were a businessman with so much money invested in some ships’ cargo, he would constantly be afraid of the ships wrecking.
Antonio tells them that it is not his business that he is sad about, so Solanio suggests that he must be in love, but Antonio dismisses this idea. Solanio then suggests that it might simply be Antono’s disposition. Salarino and Solanio decide to leave as Bassanio, Lorenzo, and Gratiano enter, thinking that this trio will be better company for Antonio. Lorenzo and Gratiano claim that they will leave Bassanio and Antonio to talk alone, and Lorenzo reminds Bassanio that they all have dinner plans later in the evening.
Before they leave, Gratiano notes that Antonio does not look well, and Antonio responds that the world is a stage and that “every man must play a part . . . mine a sad one.” In response, Gratiano volunteers to play a mirthful fool and claims that there are many silent, stoic men who take themselves too seriously; but were these men to speak, they would mark themselves as foolish. Gratiano says that they will speak more after dinner, and Lorenzo complains that he never gets a chance to speak when Gratiano is around.
Lorenzo and Gratiano exit, leaving Bassanio and Antonio. Bassanio states that while Gratiano loves to talk, he rarely has a point to make; Bassanio points to the former dialogue as an example. Antonio changes the subject and asks about a secret girlfriend whom Bassanio was going to visit in Belmont, but Bassanio has many debts to pay off before he can make such a trip. Bassanio, aware of the fact that he is already in debt to Antonio, explains that he needs to borrow more money from Antonio. He promises to be careful with Antonio’s money, but Antonio, who sees them as close friends, does not need such assurance and is willing to give Bassanio any money he might ask for.
Bassanio then explains that there is a girl in Belmont named Portia who is very rich. He has fallen for her, and he believes she has fallen for him, but many rich suitors are trying to court her. He believes that if he had money to rival these suitors, he could win her. Antonio tells Bassanio that currently all of his money is at sea, but he gives Bassanio permission to take out a loan in his name and promises to help Bassanio get to Belmont.
Scene 2
Act 1, Scene 2 opens in Belmont, with Portia and Nerissa speaking. Portia feels tired by the world, and Nerissa suggests this is because she owns too much; it is better, she says, to live comfortably than to have too much in the world. Portia agrees but complains that it is difficult to follow this advice. In fact, she argues, good advice is much easier to give than it is to follow. Portia then complains that her melancholy is a result of her inability to choose a husband for herself due to an edict from her deceased father. Nerissa explains that her father had good intentions on his deathbed, creating a kind of game wherein her suitor must choose from three chests: one each of gold, silver, and lead. The man to become her husband must choose the correct chest.
Nerissa then asks if Portia likes any of her current suitors. There is a prince from Naples, whom Portia dislikes because he only talks about his horse; the Count Palatine, whom Portia dislikes because he never smiles; and a French lord, Monsieur le Bon, but Portia does not like him because “he is every man in no man”—that is, he was so eager to impress Portia that he had no personality of his own. Nerissa asks about an English Baron, but Portia does not speak much English, and they cannot communicate well. Portia dismisses a Scottish noble for being too weak and a German noble for being a drunk and vile, bestial man. Nerissa asks what Portia will do if the German chooses the right chest, and Portia tells her to put a glass of wine on the wrong chest, because he will be tempted to choose that one.
Nerissa tells her that most of these suitors are planning to go home as a result of her father’s test, and Portia commends their good sense. Nerissa then asks if Portia remembers Bassanio, and both comment on what a good suitor he would be for Portia. A servant enters to tell Portia that four of the suitors are leaving, but a fifth, the Prince of Morocco, is on his way. Portia hopes that she can welcome him openly but shows some concern over the fact that he is likely black. Portia, Nerissa, and the servant leave.
Analysis
The introduction of this play provides an exposition on the characters and also sets the tone of the play. While this play is a comedy, designed to raise spirits, it opens with two melancholy figures, Antonio and Portia. While the audience is never given a definitive reason for Antonio’s sadness, Portia’s is related to her inability to marry a man of her choosing. Though their sadness may stem from different places, a general air of melancholy marks the beginning scenes. As this play falls into the genre of a comedy, there is an implicit promise to the audience that things will improve. In this way, there is a kind of promise to the audience that they, too, will be happier once the play is over.
While the first two acts provide context for the subject matter of the play—for instance, we learn of Antonio’s mercantile endeavors, of his giving nature, of Bassanio’s secret love, and of Portia’s situation—the play also alludes to how it will be affecting those watching it. Some other Shakespeare plays begin with an introduction wherein the audience is explicitly told what will happen and how they should feel over the course of the play. While this play does not have such an introduction, the characters themselves offer an equivalent introduction through their dialogue.
The play itself is self-aware in the sense that the characters refer to their being characters in a play, even if such references are metaphorical. This is made apparent by the fact that Antonio refers to himself as such, and Gratiano responds by playing the part of the fool.
Expert Q&A
Why is Antonio sad in Act 1, Scene 1 of The Merchant of Venice?
In Act 1, Scene 1, Antonio's sadness is unexplained, even to himself. He acknowledges his melancholy without knowing its cause. Suggestions by Salarino and Salanio that he might be worried about his ships or in love are rejected by Antonio. Some commentators suggest his sadness might stem from the impending loss of his friend Bassanio to Portia, but Antonio's own explanation is simply that he is not merry.
Why does Gratiano say, "Let me play the fool" in Act 1, scene 1 of The Merchant of Venice?
Gratiano says, "Let me play the fool" to suggest that, if the world is as Antonio describes it, he would rather play the part of a jester who encourages laughter and joy. He advises Antonio to adopt a more pleasant demeanor instead of being consumed by melancholy, although his speech ends up being more critical than encouraging.
What figures of speech are used in act 1, scene 1 of Shakespeare's The Merchant of Venice?
In act I, scene 1 of The Merchant of Venice, Shakespeare uses figures of speech such as metaphor, personification, imagery, alliteration, polysyndeton, allusion, simile, and double entendre to create an image-saturated opening to his play.
Why does Salarino refer to Antonio as the "two-headed Janus" in The Merchant of Venice?
Salarino refers to Antonio as the "two-headed Janus" to highlight his inexplicable sadness in contrast to a cheerful disposition. Janus, the Roman god of transitions, had two faces: one looking forward and one backward. This symbolizes the dual nature of moods, with some people always cheerful and others perpetually serious. Salarino suggests Antonio naturally falls into the latter category, being sad not for any specific reason but due to his inherent nature.
Why does Portia refuse to marry the Scottish lord in Act 1, Scene 2?
Portia refuses to marry the Scottish lord in Act 1, Scene 2 of "The Merchant of Venice" because she mocks his inability to defend himself against the English, highlighting his lack of masculinity and courage. Her comments reflect stereotypes about the Scots' thriftiness and lack of military prowess, suggesting these traits make him an unsuitable suitor.
Explain the following excerpt from Act 1, Scene 1 of The Merchant of Venice.
My wind, cooling my broth,
Would blow me to an ague, when I thought
What harm a wind too great at sea might do
I should not see the sandy hour-glass run,
But I should think of shallows and of flats;
And see my wealthy Andrew dock'd in sand,
Vailing her high-top lower than her ribs
To kiss her burial. Should I go to church,
And see the holy edifice of stone,
And not bethink me straight of dangerous rocks,
Which touching but my gentle vessel's side,
Would scatter all her spices on the stream,
Enrobe the roaring waters with my silks,
And, in a word, but even now worth this,
And now worth nothing? Shall I have the thought
To think on this, and shall I lack the thought
That such a thing bechanced would make me sad?
But tell not me: I know Antonio
Is sad to think upon his merchandise.
In this excerpt, Salerio speculates on Antonio's sadness, suggesting it stems from anxiety about his merchant ships. Salerio imagines how even small winds remind him of potential shipwrecks, envisioning Antonio's ship "Andrew" running aground and losing its cargo, thus reducing his wealth to nothing. Despite attending church, Salerio can't escape thoughts of his ship's potential destruction, believing such worries make Antonio sad, concerned about his investments and livelihood.
Explain the following quote from Act 1, Scene 1, of The Merchant of Venice:
Not in love neither? Then let us say you are sad,
Because you are not merry: and 'twere as easy
For you to laugh and leap and say you are merry,
Because you are not sad. Now, by two-headed Janus,
Nature hath framed strange fellows in her time:
Some that will evermore peep through their eyes,
And laugh like parrots at a bag-piper;
And other of such vinegar aspect,
That they'll not show their teeth in way of smile,
Though Nestor swear the jest be laughable.
In Act 1, Scene 1 of The Merchant of Venice, Solanio's quote is a playful attempt to understand Antonio's sadness. He remarks on how people express emotions differently, referencing the two-headed Roman god Janus to illustrate this duality. Solanio suggests that while some laugh easily, others remain serious even at the funniest jokes, using the Greek figure Nestor to emphasize this contrast.
What is the meaning of the following lines from act 1, scene 1, of The Merchant of Venice?
"Your mind is tossing on the ocean; / There, where your argosies with portly sail, / Like signiors and rich burghers on the flood / Or, as it were, the pageants of the sea, / Do over peer the petty traffickers, / That curt'sy to them, do them reverence, / As they fly by them with their woven wings."
In act 1, scene 1 of Shakespeare's The Merchant of Venice, Antonio, a wealthy Venetian merchant, enters the scene with his two friends, Salerio and Solanio. Antonio tells his friends that he's feeling sad, but he doesn't know why. Salerio suggest that Antonio's mind is "tossing like the ocean" because he's concerned about the safety of the cargo in his many merchant ships at sea.
In The Merchant of Venice, who is Janus, and why is he compared to Antonio?
Janus, in Roman mythology, is the god of beginnings and transitions, depicted with two faces representing duality. In The Merchant of Venice, Antonio is compared to Janus due to his mysterious sadness and dual nature. While he claims not to worry about his ships, his melancholy suggests a premonition of future troubles. Like Janus, Antonio is torn between his business at sea and his friendship with Bassanio, indicating his complex emotional state.
What does "Your mind is tossing on the ocean" mean in Shakespeare's The Merchant of Venice?
"Your mind is tossing on the ocean" means Antonio is troubled and worried, much like a ship tossed on stormy seas. Salarino uses this maritime metaphor to describe Antonio's mental state, suggesting he is preoccupied with concerns over his merchant ships and their valuable cargo. Despite this, Antonio denies that his sadness is due to financial worries or being in love, leaving his true reasons ambiguous.
What is the meaning of the following passage from Act 1, Scene 1 of The Merchant of Venice?
In my school-days, when I had lost one shaft, / I shot his fellow of the self-same flight / The self-same way, with more advised watch, / ... And thankfully rest debtor for the first.
In Act 1, Scene 1 of The Merchant of Venice, Bassanio uses the analogy of shooting a second arrow to find a lost first one to justify borrowing more money from Antonio. He believes that by spending more to present himself as wealthy, he can win Portia and recover his previous losses. Antonio's willingness to help reflects his deep commitment to Bassanio.
In The Merchant of Venice, act 1, scene 2, what are Nerissa's feelings towards Portia's father's test?
Nerissa views Portia's father's test as a positive and inspired plan. She believes that Portia's father was virtuous and that his method of selecting a husband through the casket test is wise. Nerissa is confident that the right suitor, who truly loves Portia, will choose the correct casket. Her perspective is optimistic and romantic, trusting that the outcome will naturally lead to a happy marriage for Portia.
What are the similarities and differences in Antonio and Portia's melancholies in act 1 of The Merchant of Venice?
Antonio and Portia both share their melancholies with friends, highlighting a similarity in their openness. However, Antonio's sadness is inexplicable to him, while Portia knows her melancholy stems from her lack of choice in marriage, dictated by her late father's will. Both find their conditions unpleasant, but Portia has hope for resolution through Bassanio's casket choice, unlike Antonio, who sees no solution. Ultimately, Portia's issue resolves, whereas Antonio's situation worsens.
In The Merchant of Venice, what does the wind cooling the broth remind Salarino of?
In "The Merchant of Venice," the wind cooling Salarino's broth reminds him of the powerful winds at sea that threaten Antonio's ships. Salarino empathizes with Antonio, suggesting that if he were in Antonio's position, he would constantly worry about his merchandise at sea. The simple act of blowing on his soup would evoke fears of the wind potentially damaging or sinking Antonio's ships, highlighting the anxiety over Antonio's financial ventures.
What is the meaning of the quote from Act 1, Scene 2 of The Merchant of Venice?
"If to do were as easy as to know what were good to do, chapels had been churches, and poor men's cottages princes' palaces. It is a good divine .............Is it not hard, Nerrisa, that I cannot choose one, nor refuse none?"
The quote from Act 1, Scene 2 of The Merchant of Venice reflects Portia's frustration with the gap between knowing what is right and actually doing it. She laments that if actions were as easy as knowing what is good, the world would be a better place. Portia struggles with her father's will, which restricts her from choosing or refusing a husband, highlighting the tension between duty and personal desire.
What impression does Bassanio leave from his meeting with Antonio in Act 1, Scene 1?
What figures of speech are in Act 1, Scene 2 of The Merchant of Venice?
In Act 1, Scene 2 of The Merchant of Venice, various figures of speech highlight Portia's wit and disdain for her suitors. These include similes, metaphors, synecdoche, chiasmus, personification, puns, hyperbole, alliteration, and anaphora. Portia uses similes to express her reluctance to marry, metaphors to describe suitors, chiasmus and puns to demonstrate her cleverness, and hyperbole to exaggerate her aversion to her suitors. Alliteration and anaphora emphasize certain traits and actions.
What does Portia mean in her line from Act 1, Scene 2 of Shakespeare's The Merchant of Venice?
"If he have the condition of a saint and the complexion of a devil, I had rather he should shrive me than wive me."
In Act 1, Scene 2 of Shakespeare's The Merchant of Venice, Portia means that she would prefer a suitor who is saintly in character but dark-skinned to hear her confession rather than marry her. This reflects her frustration and disgust with her father's method of choosing her husband and her disdain for the suitors who seek her for her wealth.
What is the significance of the "holy edifice" in Act 1, scene 1 of The Merchant of Venice?
In Act 1, Scene 1 of The Merchant of Venice, the "holy edifice" refers to a church, symbolizing strength and faith. Salarino uses this image to contrast the church's solidity with the fragility of ships at sea, emphasizing the dangers Antonio's vessels face. The church represents the power of belief and protection, suggesting that without faith, like a ship near hazardous rocks, one is vulnerable to destruction. This metaphor highlights the precariousness of human endeavors.
What is the context and nature of Portia's remark about a mocker in The Merchant of Venice?
Portia's remark about being a "mocker" occurs in Act 1, Scene 2, in a conversation with Nerissa about her suitors. Portia humorously critiques each suitor, particularly the French Lord, Monsieur Le Bon. She acknowledges that mocking is sinful but feels compelled due to his ridiculous behavior. Portia describes him as lacking substance, "every man in no man," and expresses concern about the prospect of marrying him, noting she could not reciprocate his affection.
In The Merchant of Venice, why do Salarino and Salanio believe Antonio is depressed in act 1, scene 1?
In Act 1, Scene 1, Salarino and Salanio believe Antonio is depressed because of concerns about his merchant ships at sea, which face numerous risks. However, Antonio dismisses this, stating his investments are diversified. Salarino then suggests love as a reason, but Antonio rejects this too. Ultimately, Salarino humorously suggests Antonio might be sad simply because he isn't happy, highlighting the inexplicable nature of Antonio's melancholy.
How is humor created in Act 1, Scene 2 of The Merchant of Venice?
Humor in Act 1, Scene 2 of The Merchant of Venice is primarily created through Portia's witty descriptions and sarcasm about her suitors. She humorously stereotypes each suitor, finding faults in them, such as the Neapolitan prince's obsession with horses and the frowning "County Palatine." Her clever remarks and the irony of her interest in the penniless Bassanio add to the comedic effect, appealing to both Shakespearean and modern audiences.
What conclusion does Salarino draw from Antonio's denial of love-induced sadness in The Merchant of Venice?
Salarino initially suspects that Antonio's sadness is due to anxiety over his merchant ships facing peril at sea. Despite Antonio's denial of this, Salarino imagines he would constantly worry about the ships if he were in Antonio's position. After Antonio also dismisses Solanio's suggestion that unrequited love is the cause, Salarino offers no further conclusions and exits the scene with Solanio.
What evidence in Act 1, Scene 2 of The Merchant of Venice shows Portia is intelligent and witty?
Evidence in Act 1, Scene 2 of The Merchant of Venice that shows Portia is intelligent and witty includes her humorous and insightful critiques of her suitors. She jokes about their stereotypical behaviors, such as the Englishman's monolingualism and the Frenchman's drunkenness, demonstrating her sharp mind and quick wit. Her eloquence and ability to categorize each suitor accurately highlight her intelligence.
What is the spiritual significance of "holy edifice of stone" in Act 1, Scene 1 of Shakespeare's The Merchant of Venice?
"Should I go to church / And see the holy edifice of stone."
In Act 1, Scene 1 of Shakespeare's The Merchant of Venice, the phrase "holy edifice of stone" lacks spiritual significance. Instead, it reflects Salarino's anxiety about Antonio's ships at sea. The church's stone structure reminds Salarino of dangerous rocks that could wreck the ships, leading to financial loss. Thus, the imagery underscores the precariousness of Antonio's business ventures, rather than a religious or spiritual contemplation.
What does Salarino's "sandy hourglass" refer to in The Merchant of Venice, act 1, scene 1?
The "sandy hourglass" referred to by Salarino in act 1, scene 1 is a time measuring device commonly used in the Elizabethan world. Sand would sit in one side of the hourglass. When the hourglass was turned over, it would take an hour for the sand to flow through to the other side. Salarino is saying that if he were Antonio, watching the sand in the hourglass would make him fearful of his ship running aground on sand.
What does "argosies with portly sail" mean in The Merchant of Venice?
The phrase "argosies with portly sail" in The Merchant of Venice refers to Antonio's large, impressive ships with full sails navigating the oceans. This imagery highlights his wealth and the risks associated with his maritime ventures. The discussion about these ships helps set up the financial predicament Antonio faces, leading him to borrow money from Shylock, which ultimately propels the story's central conflict involving the "pound of flesh" demand.
How is greed portrayed in Act 1 of The Merchant Of Venice?
In Act 1 of The Merchant of Venice, greed is subtly portrayed through characters like Bassanio, who pursues Portia partly for her wealth, and Antonio, whose high-risk investments reflect a profit-driven mindset. While Bassanio's actions may stem from financial desperation, Antonio's ambitions could be seen as overly risky rather than purely greedy. Greed is more evident in Shylock, a money lender focused on profit, as he resents Antonio for lending interest-free money.
What does Salarino believe is the cause of Antonio's sadness in "The Merchant of Venice"?
Salarino believes Antonio's sadness is due to his anxiety over his merchant ships at sea, as it's a risky business with potential financial loss. He suggests Antonio's mind is "tossing on the ocean" with his ships. However, when Antonio dismisses this concern, Salarino proposes that Antonio might be in love, which Antonio also rejects. Thus, Salarino is left pondering the cause of Antonio's unexplained melancholy.
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