Act 2, Scenes 1–4 Summary and Analysis
Scene 1
This scene opens with Portia, Nerissa, and her company as they greet the prince of Morocco, who is a dark man dressed in white. He asks Portia to overlook his skin color, telling her that his blood is as red as any other man’s. He also tells her that he is proud of his skin color, as it has caused other men to fear him and virgins to swoon for him. Portia tells him that she is not only interested in good looks and reminds him that she has no choice in the matter anyway, because he must choose the correct chest.
The prince responds that he would perform any feat of bravery to win Portia, including facing warriors, stealing bear cubs from a mother, or mocking a hungry lion. He feels slighted by the fact that the test Portia’s father devised does not take any of this into account—that it is instead a test of luck. Portia says that he has the option not to choose a chest at all, but if he does and fails, he must promise never to marry another woman and leave immediately. He agrees, and they retreat for dinner before the choice.
Scene 2
Launcelot enters alone and delivers a soliloquy about how he would like to leave Shylock’s employ. Launcelot feels that Shylock is the devil, but his conscience prevents him from abandoning his position. When Launcelot decides to leave Shylock, Gobbo, Launcelot’s father, enters with a basket and asks which way it is to the Jew’s house. Launcelot realizes that his father, who is nearly blind, does not recognize him and decides to confuse him as a joke. Launcelot first gives his father confusing directions, and when Gobbo is unable to follow them, he asks if his son is at Shylock’s house. Launcelot tells him that his son has died, which upsets Gobbo. Lancelot then reveals himself to his father, who does not believe him until he mentions his mother’s name, Margery.
Gobbo explains that he has a present for Shylock, but Launcelot informs his father that he is running away and suggests Gobbo give Shylock a noose and save the present for Bassanio, with whom Launcelot plans to seek employment. At that moment, Bassanio enters with Leonardo and a servant. Bassanio tells the servant to go deliver letters, make sure dinner is ready, and tell Gratiano to visit. Launcelot and Gobbo approach Bassanio, and they speak over each other as they try to secure Launcelot a job with Bassanio. Bassanio agrees but warns Launcelot that he is poor in comparison to Shylock. Launcelot still accepts the offer, and Bassanio sends Launcelot to his house to be fitted for a new uniform.
Launcelot playfully reads his own palm, commenting on how lucky he is and how his life will be filled with fortune: he will wed several wives and escape from death numerous times. He and Gobbo leave, and Bassanio sends Leonardo to collect some provisions which he has bought for his trip. Gatiano enters, greets Bassanio, and asks to accompany him to Belmont. Bassanio will have him but only on the condition that he calm himself and not act too wild or loud. Gratiano promises to act solemnly, but they both agree that they will have a merry time at dinner. Both exit.
Scene 3
In this scene, Launcelot bids Jessica, Shylock’s daughter, farewell. She gives him a letter to give to Lorenzo, and Launcelot leaves, crying because he must part with Jessica. During a short aside, we learn that Jessica is ashamed to be Shylock’s daughter and that she plans to convert to Christianity and marry Lorenzo.
Scene 4
Gratiano, Salarino, Lorenzo, and Solanio enter. Lorenzo wants to turn dinner into a masquerade event, but the others are concerned that there is not enough time. Launcelot enters with Jessica’s letter and gives it to Lorenzo. Lorenzo recognizes the handwriting, and Gratiano speculates that it is a love letter. Launcelot tells them that he is going back to Shylock’s house to invite Shylock to Bassanio’s for dinner, but Lorenzo stops him, gives him money, and tells him to convey to Jessica the message that he (Lorenzo) will not fail her. Solanio and Salarino leave to prepare for the party.
After they leave, Gratiano asks if the letter was from Jessica. Lorenzo confirms this and explains that the letter detailed a plan in which Jessica could run away with Lorenzo: she will collect all of the gold and jewels that she owns and disguise herself as a page. Lorenzo comments on how good she is and grows excited by the fact that she will serve as his torchbearer by the end of the night.
Analysis
Shakespeare has already begun to show the prejudice against Jews in Venice. This theme of prejudice and intolerance is also present in Portia’s treatment of the Prince of Morocco. This tells us about the attitude toward those of African descent at the time. This idea emerges again with the offhanded comment that Launcelot has impregnated a Moorish servant later in the play. In general, Black people, like Jews, were seen as exotic others and treated with strong disdain. Shakespeare would explore this idea much more deeply in his play Othello, which was written only a few years after The Merchant of Venice.
One rather perplexing scene is the dialogue between Launcelot and his father, Gobbo. Gobbo does not appear again in the play, and it is difficult to determine the purpose of the exchange. It is possible that Launcelot needs to be introduced as a clown. In the beginning of the scene, Launcelot is debating with his conscience, a relatively heavy action. Until this point, there has not been much comedy, as the genre of the play promises. The humorous banter between Launcelot and Gobbo may primarily serve to keep the audience interested. While much of this scene is unnecessary to the central action of the plot, it establishes Launcelot as a source of comedic relief and gives the audience a break from what has until now been a fairly serious story: Portia undergoing a strict courtship process and Antonio essentially signing a contract for his death.
Expert Q&A
Explain the interaction between Launcelot and Old Gobbo in The Merchant of Venice Act 2, Scene 2.
In The Merchant of Venice Act 2, Scene 2, Launcelot and Old Gobbo engage in a comedic interaction based on Old Gobbo's blindness and inability to recognize his own son. Launcelot tricks his father by pretending he is dead, leading to humorous confusion. Eventually, they reunite, and Launcelot expresses his desire to leave Shylock to serve Bassanio. This scene uses slapstick and witty wordplay for comic relief while touching on themes of recognition and understanding.
Who is the torchbearer in act 2, scene 4 of The Merchant of Venice?
In Act 2, Scene 4 of The Merchant of Venice, Jessica, Shylock's daughter, is the torchbearer. She plans to elope with Lorenzo, her Christian lover, during a street carnival. Disguised as a boy, she carries the torch to maintain her disguise. Shylock, unaware of her plans, attends a banquet, providing Jessica the opportunity to escape with Lorenzo, taking her father's money and jewels.
Why does Act 2, Scene 2 of The Merchant of Venice require Launcelot's comic relief?
Explain Lancelot Gobbo's opening speech in act 2, scene 2 of The Merchant of Venice.
Lancelot Gobbo's opening speech in Act 2, Scene 2 of The Merchant of Venice reveals his internal conflict about whether to leave his master, Shylock. He is torn between his conscience, which advises him to stay, and the devilish temptation urging him to flee. Lancelot humorously debates the merits of both, ultimately deciding to follow the "friendly" advice of the devil and run away, as he views Shylock as a devil incarnate.
In Act 2, Scene 3 of The Merchant of Venice, what can we infer about Launcelot's and Jessica's relationship, their actions, and Jessica's character compared to Portia's?
In Act 2, Scene 3, Launcelot's departure from Shylock's service highlights Shylock's cruelty, as both Launcelot and Jessica describe their home as "hell." Jessica, Shylock's daughter, contrasts with Portia in her actions and character. While both women scheme to achieve their desires, Portia's actions align with her father's wishes, whereas Jessica defies her father's religious beliefs by planning to marry Lorenzo, a Christian. Jessica's cunning is evident as she enlists Launcelot to deliver a letter to Lorenzo.
What does Portia mean in Act 2, Scene 1 of The Merchant of Venice, when she says: "But if my father had not scanted me, And hedged me by his wit, to yield myself"?
Portia laments her lack of autonomy due to her father's will, which dictates that she must marry the suitor who chooses the correct casket. Her father's "wit" has "scanted" her, meaning it has limited her ability to choose a husband freely. If not for this constraint, she implies she might have considered the Moorish prince as a suitable suitor, as she is not solely guided by appearances.
Explain the line "Yea, mock the lion when he roars for prey" from The Merchant of Venice, Act 2, Scene 1.
The line "Yea, mock the lion when he roars for prey" from Act 2, Scene 1 of The Merchant of Venice is spoken by the Moorish prince. He expresses his willingness to face any danger, even mocking a lion in the midst of a hunt, to win Portia's hand in marriage. This metaphor illustrates his bravery and determination, though he laments that his fate relies on chance rather than valor, as determined by the casket test.
In Act 2, Scene 2 of The Merchant of Venice, who is Launcelot Gobbo and what inner struggle does he face?
Launcelot Gobbo is a servant of Shylock, and in Act 2, Scene 2, he grapples with whether to leave his master's service. His inner struggle is between his conscience, which advises him to stay, and his selfish desires, depicted as a "fiend," urging him to leave. This conflict is complicated by his view that staying with Shylock or following his fiendish desires both align him with a "devil." Ultimately, Launcelot decides to leave, following the "more friendly counsel."
Why does Launcelot use high-sounding words with Gobbo in Act 2, Scene 2 of "The Merchant of Venice"? How does Launcelot prove he is Gobbo's son and how does Gobbo react? Identify two humorous situations from this scene.
Launcelot uses high-sounding words to confuse Gobbo and disguise his identity, highlighting how complex speech can alienate regular people. He eventually proves he is Gobbo's son by referencing his mother, Margery, which Gobbo accepts. Gobbo reacts to Launcelot's supposed death by lamenting the loss of his support. Two humorous moments include Gobbo mistaking Launcelot's back for his face and Launcelot's contradictory statements about being called "Master."
What is the context of Bassanio's advice to Gratiano in Act 2, Scene 2 of their play, and why does he ask Gratiano to behave in Belmont?
Bassanio advises Gratiano to behave modestly in Belmont because he fears Gratiano's carefree nature might jeopardize his chances of marrying Portia. Bassanio, having borrowed money from Antonio for this purpose, is concerned that Gratiano's "skipping spirit" could lead to misunderstandings. He urges Gratiano to temper his behavior with "cold drops of modesty" to avoid being misconstrued. Gratiano agrees to be serious in Belmont but asks to enjoy himself for one night, to which Bassanio consents.
How does Morocco try to win Portia's heart in Act 2, Scene 1 of The Merchant of Venice?
"Mislike me not for my complexion, The shadow'd livery of the burnished sun...except to steal your thoughts; my gentle queen."
In Act 2, Scene 1 of The Merchant of Venice, Morocco attempts to win Portia's heart by addressing her potential prejudice against his dark complexion. He assures her of his virtue and honor, stating that his appearance has been admired by many. Morocco boldly offers to prove his worth by challenging any northern suitor, emphasizing his readiness to meet any challenge to win her affection.
What does "the lottery of my destiny" mean in Act 2, Scene 1 of Shakespeare's The Merchant of Venice?
"In terms of choice I am not solely led/By nice direction of a maiden's eyes,"
In Act 2, Scene 1 of Shakespeare's The Merchant of Venice, "the lottery of my destiny" refers to the process imposed by Portia's father's will, which dictates that her marriage is determined by chance. Portia must marry the suitor who selects the correct box containing her portrait. This choice is beyond her control, rendering her future a matter of luck rather than personal decision, likening it to a lottery.
In Act 2, Scene 1 of The Merchant of Venice, what does the extract reveal about the Prince of Morocco's character?
"Bring me the fairest creature northward bound" to "my gentle queen,"
In this extract, the Prince of Morocco is portrayed as vain and self-conscious about his racial difference. He boasts about his bravery and desirability, claiming that even the "fairest creature northward born" would find him worthy. His plea to Portia not to judge him by his complexion reveals his sensitivity and desire to compensate for his dark skin. Despite Portia's polite words, her later relief at his departure indicates underlying racial prejudice, paralleling themes affecting Shylock.
In Act 2, Scene 2 of Shakespeare's The Merchant of Venice, what is the meaning of the given speech?
Ergo, Master Launcelot. Talk not of Master Launcelot, father; for the young gentleman, according to Fates and Destinies and such odd sayings, the Sisters Three and such branches of learning, is indeed deceased, or, as you would say in plain terms, gone to heaven.
In Act 2, Scene 2 of The Merchant of Venice, Launcelot Gobbo plays a cruel joke on his father, Old Gobbo, by pretending that he, Launcelot, is dead. Using pseudo-scholarly language and references to the Fates, Launcelot humorously misleads his father, who fails to recognize him. This scene highlights Launcelot's comic character through his use of malapropisms and his playful deception of his father.
Explain Portia's words in Act 2, Scene 1 of The Merchant of Venice: "In terms of choice I am not solely led . . . for my affection."
Portia's words in Act 2, Scene 1 express her frustration at not being able to choose a husband based on personal affection due to her father's will, which dictates a "lottery" system involving caskets. She assures the Prince of Morocco that her choices aren't solely based on appearance, but her father's conditions prevent her from exercising personal choice. Despite this restriction, she acknowledges that, without her father's constraints, Morocco would have an equal chance to win her affection.
In Act 2, Scene 2 of The Merchant of Venice, why does Launcelot want to leave the Jew and whom does he ultimately obey: the devil or his conscience?
Launcelot wants to leave Shylock because he views him as "the devil incarnal," indicating a negative experience working for him. He faces an internal conflict between obeying his conscience, which suggests staying, and the devil, which encourages leaving. Ultimately, Launcelot chooses to follow the "more friendly counsel" of the devil, deciding to leave Shylock. This decision highlights racial stereotypes against Shylock, referred to only as "the Jew," reflecting extreme prejudice.
In Act 2, Scene 2 of The Merchant of Venice, what does 'true-begotten father' mean, and what are two comedic elements Launcelot provides?
"O heavens, this is my true-begotten father! Who being more than ... Indirectly to the Jew's house"
In Act 2, Scene 2 of The Merchant of Venice, how does Launcelot secure employment with Bassanio, and what does he predict about his future? What proverb does he reference?
In Act 2, Scene 2, Launcelot secures employment with Bassanio by demonstrating his wit and verbal skill, flattering Bassanio while subtly insulting Shylock. He references the proverb "The grace of God is enough," dividing it to praise Bassanio and criticize Shylock. Launcelot humorously predicts a future filled with multiple marriages and adventures, reflecting his newfound confidence and comedic character. Bassanio, showing generosity, instructs his servants to outfit Launcelot in a smarter uniform.
Explain the meaning of the stanza from Act 2, Scene 1 of The Merchant of Venice that starts with "Even for that I thank you" and ends with "And die with grieving."
In this stanza from Act 2, Scene 1 of The Merchant of Venice, the Moorish prince expresses gratitude to Portia for considering him a worthy suitor despite his skin color. He requests to try his luck with the caskets, acknowledging that while he would bravely face any challenge to win her, success depends on fortune. Even great heroes like Hercules can be beaten by chance, and he fears losing to someone less deserving, causing him metaphorical grief.
In Act 2, Scene 4 of The Merchant of Venice, why do Lorenzo and his friends plan a disguise, how prepared are they, and what is the role of the torch-bearer?
Lorenzo and his friends plan to disguise themselves to secretly help Jessica elope from her father Shylock's house, as she intends to convert and marry Lorenzo, a Christian. The plan involves Jessica disguising as a page and taking her father's wealth. However, the group is poorly prepared, lacking necessary disguises and arrangements, though they have two hours to finalize preparations. The torch-bearer is part of their disguise strategy to facilitate Jessica's escape.
What does Morocco's line mean in Act 2, Scene 1 of The Merchant of Venice?
In Act 2, Scene 1 of The Merchant of Venice, the Prince of Morocco asks Portia not to judge him by his dark skin, asserting his worth by stating his blood is as red as any white man's. This reflects his awareness of racial prejudices. Portia, bound by her father's will, claims she cannot choose her suitor based on appearance. However, her later comment reveals an underlying racial bias consistent with Venetian and Elizabethan attitudes.
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