Act 3, Scenes 1–2 Summary and Analysis
Scene 1
Solanio and Salarino are talking, and Salarino shares that he has heard a rumor that another of Antonio’s ships has wrecked. Solanio hopes that it is only a rumor, but he suspects it is likely true, and he hopes that all Antonio will lose is a ship, rather than the flesh that he has promised to Shylock. Shylock enters, and after calling him a devil, Solanio and Salarino ask how he is doing. He accuses them of knowing about his daughter’s plans to run away, which they affirm. Shylock exclaims that his own flesh and blood has rebelled against him, to which Solanio makes a dirty joke at Shylock’s expense about how it is surprising that Shylock’s flesh can rebel at his age.
Salarino then tells Shylock that he and his daughter are completely different people, and then asks if he has heard any news on Antonio’s ships. Shylock says that his deal with Antonio is another bad deal but that Antonio had better come through on his bond. Salarino exclaims that Shylock cannot possibly want Antonio’s flesh, but Shylocks says that he will use it to bait fish and feed his own revenge. This, Shylock believes, he is entitled to, for Antonio has continuously insulted Shylock.
Shylock explains that like all humans, including Christians, Jews have eyes, hands, organs, and feeling. They eat like anyone else, get hurt like anyone else, get sick like anyone else, and die like anyone else. He asks whether a Jew should not seek revenge if wronged. Christians, he tells them, seek revenge often. In following suit, he is only exercising the lesson that he has learned from Christians.
One of Antonio’s servants then enters and tells Solanio and Salarino to meet Antonio at his estate. Before they exit, Tubal, another Jew, enters, and Solanio makes a derogatory comment. Tubal has been searching for Jessica but cannot find her. Shylock curses Jessica and tells Tubal that one of the jewels she stole was worth two thousand ducats. He wishes she were dead in front of him with the money and jewels that she stole and realizes that he has spent a lot of money just trying to find her. He bemoans his bad luck and feels that he is the only one in the world truly suffering.
Tubal tells Shylock that Antonio has also had bad luck; a third ship of Antonio’s has been reported missing. Tubal also tells him about the money that Jessica has been reported as spending, as well as the ring which she traded for a monkey—the ring was given to Shylock by his dead wife. Shylock likens this news to being stabbed with a dagger. Despite the bad news, Shylock is happy to hear about Antonio’s misfortune, and he sends Tubal to find an officer to arrest Antonio. Shylock claims that he will have Antonio’s heart, and with Antonio gone, he will be able to charge whatever interest he wishes.
Scene 2
Bassanio, Portia, Nerissa, Gratiano, and a large group of servants enter the stage. Portia begs Bassanio not to begin the test of chests. She feels that the sooner he takes the test, the sooner he may lose and have to leave, and she cherishes his company. She knows that she cannot break her oath to her late father and tell him which chest to choose, but if he chooses incorrectly, she will lose him, and in that case she would sin by wishing she had broken her oath.
In Portia’s eyes, she is already Bassanio’s, but the circumstances “Put bars between the owners and their rights.” Even ownership does not mean anything, so in this way, she is both Bassanio’s and not Bassanio’s. Bassanio feels as though he is being tortured on the rack by being unable to choose immediately. Portia playfully reasons that if he is being tortured, he must have something to confess, but Bassanio says that his only treason is fearing that he will not be able to love Portia. Rather than confess and live, Bassanio says that he will confess and love, and he then asks to see the chests.
Portia has her entourage give him some room, and she asks them to play music when he chooses: a sad song if he chooses incorrectly, and a fanfare if he chooses correctly. Portia likens Bassanio to Hercules and bids him fight the battle with the chests. The entourage begins singing about the origins of love as Bassanio considers his chests. When they finish, Bassanio reasons that gold is far too gaudy, and that one can be deceived by appearances, so he rejects the gold chest. He also observes that common coins are made of silver, and he rejects the silver chest. While he does not give a good reason for choosing the lead chest, he explains that he is moved by its paleness, and so he chooses the chest.
Portia is overwhelmed with emotion and attempts to calm herself as Bassanio opens the chest to find her picture. He comments on how beautiful the picture is and then finds a scroll in the chest, which congratulates him and instructs him to kiss Portia. Bassanio still doubts whether he won the trial and asks Portia to confirm it. Portia confirms his success and wishes she were more rich and more beautiful for Bassanio, because she is an inexperienced girl, but she acknowledges that she is intelligent and capable of learning. She gives Bassanio a ring, telling him that all in front of him is now his but that if he were ever to lose the ring, it would ruin their love. Bassanio promises that if he ever takes the ring off, it will be because he is dead. Nerissa and Gratiano congratulate the lovers, and Gratiano admits that he has fallen for Nerissa and has already confessed his love to her; they agreed to get married if Bassanio had passed the test.
Bassanio says that he would be delighted to have a double wedding, but at that moment, Jessica, Lornezo, and Salerio arrive. Bassanio asks permission to welcome Lorenzo and Salerio to their home, but Salerio hands Bassanio a letter from Antonio. As Bassanio reads the letter, Gratiano asks Nerissa to welcome Jessica and inquires about how Antonio is. Portia sees that Bassanio is becoming pale as he reads the letter and suggests a friend must have died.
Bassanio explains that he had to borrow money from Antonio to visit Belmont and that all of Antonio’s ships have been reported lost. Salerio further elaborates that Shylock plans to collect his debt, and now that three months have passed, he will likely not accept money as payment, even if Antonio could find it. Portia asks how much money Antonio owes Shylock, and when she finds out that it is three thousand ducats, she scoffs at the low number and offers to pay him back double or triple. Portia suggests they get married right away, and then Bassanio can go back to Venice, but when he reads the letter wherein Antonio’s final wish is to see Bassanio one last time, she insists that he leave immediately.
Analysis
It is in scene 1 of act 3 that we encounter what is probably the most celebrated monologue of the play. Here, Shylock builds his argument for why he deserves revenge against Antonio. He achieves this primarily by humanizing himself in the face of anti-Semitic discrimination. In particular, he cites the similarities between himself and Christians (“if you prick us, do we not bleed?”). Neither Solanio nor Salarino have a particularly strong response to this, only further denigrating Jews when Tubal arrives. With the lack of any coherent rejoinder to Shylock’s argument, the play makes a clear point: Jews and Christians are not so different, and they deserve the same treatment.
It is also during this scene that we learn Shylock had been saving his late wife’s ring and that Jessica has carelessly pawned it for a monkey. This is perhaps the scene where Shylock is most relatable to the audience.
In addition to providing more context and characterization for Shylock, act 3 also reveals more of Portia’s character. In scene 2, Shakespeare portrays Portia’s intelligence. This is important, as her cleverness becomes a key plot element in act 4. We see, for instance, that Portia can verbally spar with Bassanio, playing with his metaphors. She is also quick to call attention to the fact that she is both clever and adept at picking up new knowledge. Intelligence, then, emerges as a central feature of Portia’s character.
Expert Q&A
In The Merchant of Venice, how does Bassanio describe Portia's portrait in the lead casket?
In act 3, scene 2 of The Merchant of Venice, Bassanio describes Portia's portrait in the lead casket as almost divine, referring to it as a "demigod" with beautiful, lifelike eyes, sweet lips resembling sugar, and golden hair like a "mesh t' entrap the hearts of men." Despite its beauty, he acknowledges it as merely a "shadow" compared to Portia's real presence.
What does Shylock mean by "The villainy you teach me, I will execute— and it shall go hard but I will better the instruction" in Act 3, Scene 1?
In Act 3, Scene 1 of "The Merchant of Venice," Shylock's statement "The villainy you teach me, I will execute— and it shall go hard but I will better the instruction" conveys his intent to retaliate against Antonio's mistreatment of him, as a Christian would. Shylock argues that Jews and Christians are alike in their capacity for feelings and revenge. Shylock's plan to claim a pound of Antonio's flesh is his way of outdoing the Christian example of retaliation he's been shown.
In The Merchant Of Venice, what are the meanings of 'bankrupt' and 'prodigal'? Why is the person referred to as such?
In The Merchant of Venice, Shylock refers to Antonio as "bankrupt" and "prodigal" in Act 3, Scene 1. "Bankrupt" means someone unable to repay debts, while "prodigal" refers to being wasteful and extravagant. Shylock uses these terms to highlight Antonio's financial ruin and perceived irresponsibility after losing ships at sea, as well as to express his animosity towards Antonio, who has mistreated him and is now unable to fulfill his bond obligations.
What is the meaning of Bassanio's speech in Act 3, Scene 2 of The Merchant of Venice?
"How many cowards whose hearts are all as false as stairs of sand wear yet upon their chins the beards of Hercules and frowning Mars?"
Bassanio's speech in Act 3, Scene 2 of The Merchant of Venice reveals his belief that appearances can be deceptive. He reflects on how cowards may appear brave by resembling Hercules or Mars, but are actually cowardly inside. This realization helps him choose the lead casket over the gold and silver ones, as he believes true worth is often hidden beneath a plain exterior.
What is written in Antonio's letter to Bassanio in The Merchant of Venice?
Antonio's letter to Bassanio in The Merchant of Venice explains his dire situation regarding the loss of his merchant ships and the inevitable forfeiture of his bond. The letter also states that Shylock grows cruel and that Antonio wishes to see Bassanio before he dies.
Is Antonio's ship really wrecked in The Merchant of Venice?
In "The Merchant of Venice," Antonio's ship is indeed wrecked, as confirmed by characters like Salarino and Tubal. Rumors of the wreck contribute to Shylock's determination to claim his pound of flesh from Antonio. However, by the play’s end, after Portia's intervention in court saves Antonio, he metaphorically thanks Portia for "saving" his ships, meaning she has restored his fortunes, not that the ships literally returned safely.
How does Bassanio's casket choice in Act 3, Scene 2 show vice assuming virtue's appearance?
Bassanio's choice of the lead casket in Act 3, Scene 2 exemplifies the theme of vice assuming virtue's appearance. He understands that appearances can be deceiving, as expressed in his reflection that vice often wears the guise of virtue. This awareness leads him to reject the gold and silver caskets, which represent deceptive allure, and choose the unadorned lead casket, recognizing that true value often lies beneath a humble exterior.
Why does Bassanio call "the ornament" a "guiled shore to a most dangerous sea" in The Merchant of Venice, Act 3, Scene 2?
Bassanio calls "the ornament" a "guiled shore to a most dangerous sea" to warn against judging based on outward appearances. In Act 3, Scene 2, he reflects on the deceptive allure of the gold and silver caskets, realizing that true value often lies beneath unassuming exteriors, like the lead casket. This metaphor highlights the peril of being misled by superficial beauty.
What does the quote from Act 3, Scene 1 of The Merchant of Venice mean?
"The curse never fell upon our nation till now; I never felt it till now."
The quote from Act 3, Scene 1 of The Merchant of Venice reflects Shylock's deep resentment towards Christians for their historical persecution of Jews. Shylock compares his desire for revenge to Christian behavior, claiming he will execute it even better. He connects his personal losses and suffering to the broader suffering of the Jewish people, emphasizing the enduring impact of prejudice and the "curse" on his "sacred tribe."
In Act 3, Scene 2 of The Merchant of Venice, who has the "crisped snaky golden locks" and who is their owner?
The "crisped snaky golden locks" in Act 3, Scene 2 of The Merchant of Venice refer to the hair of a wig made from the hair of dead women. Bassanio uses this imagery to highlight the deceptive nature of outward appearances, emphasizing that true value lies beneath the surface, aligning with the play's broader themes of inner worth versus external beauty.
Explain the lines "let music sound while he doth make his choice...And summon him to his marriage" from Act 3, Scene 2 of The Merchant of Venice.
In this passage, Portia instructs for music to play as Bassanio makes his casket choice, symbolizing both potential outcomes. If he chooses incorrectly, the music will be akin to a "swan song," a final, beautiful farewell, as swans were believed to sing only at death. Conversely, if he chooses correctly, the music will herald a joyous occasion, akin to a king's coronation, resonating with the happiness of a wedding day.
In Act 3, Scene 2 of The Merchant of Venice, what does "Beshrew your eyes, / They have overlooked me and divided me" mean?
"Beshrew your eyes, / They have overlooked me and divided me" means Portia feels bewitched by Bassanio's eyes, which have metaphorically divided her soul, leaving her entirely captivated by him. Portia expresses that she belongs wholly to Bassanio, reflecting her deep love and vulnerability. This line illustrates Shakespeare's use of the Renaissance belief that eyes reflect the soul, using it as a plot device to show Portia's emotional conflict and devotion.
What do "howling Troy," "bleared visages," and "the issue of the Exploit" mean in Act 3, Scene 2 of The Merchant of Venice?
In Act 3, Scene 2 of The Merchant of Venice, "howling Troy" refers to the grief of the Trojans over Hesione's sacrifice to a sea monster, due to her father's deceit. "Bleared visages" describes the tear-streaked faces of onlookers, while "the issue of the exploit" means Hesione's role as a sacrificial victim due to her father's actions. Portia likens herself to Hesione, expressing her anxiety about Bassanio's choice of casket.
Where was the scroll in act 3, scene 2 of The Merchant of Venice, and what was written on it?
In Act 3, Scene 2 of The Merchant of Venice, the scroll is inside the lead casket chosen by Bassanio. The scroll reads: "You that choose not by the view, Chance as fair and choose as true..." It praises those who do not judge by appearances, advises contentment with the choice, and instructs Bassanio to claim Portia with a loving kiss, emphasizing that he has made the right choice by not being swayed by outward appearances.
Who is Midas in this quote from The Merchant of Venice, and what was his "hard food"?
"Therefore thou gaudy gold, / Hard food for Midas, I will none of thee, / Nor none of thee, thou pale and common drudge ..."
Midas was a character from classical mythology who, after receiving a wish from Dionysus, wished that everything he touched would turn to gold. Shakespeare's reference regarding "hard food" refers to the consequences of Midas's wish, as all the food and drink he attempted to consume was affected by his power, turning into gold whether he wanted it to or not.
What element of humor is present in the exchange of rings in The Merchant of Venice?
In "The Merchant of Venice," humor arises from dramatic irony during the ring exchange. Portia and Nerissa give rings to Bassanio and Gratiano, who promise never to lose them. Disguised as men, the women later trick their husbands into giving the rings away. In a humorous twist, Portia and Nerissa reveal their identities, leaving Bassanio and Gratiano shocked to learn they unwittingly gave the rings back to their wives.
How does Shakespeare make Act 3, Scene 2 of The Merchant of Venice dramatic and emotional?
Shakespeare creates drama and emotion in Act 3, Scene 2 by depicting Bassanio's risky choice among the caskets to win Portia's hand. The tension builds as Bassanio and Portia's love faces the threat of separation if he chooses incorrectly. The joy of Bassanio's success and Graziano's proposal to Nerissa is interrupted by news of Antonio's financial ruin and impending danger from Shylock, compelling Bassanio to leave for Venice, heightening the emotional stakes.
Explain the lines from Act 3, Scene 2 of The Merchant of Venice: "What find I here? / Fair Portia's counterfeit!" through "Doth limp being the substance."
In this passage, Bassanio discovers Portia's portrait in the lead casket, confirming his successful choice and winning her hand in marriage. He marvels at the lifelike depiction, questioning if the eyes move and admiring the parted lips. Bassanio compares the painter to a spider weaving an intricate web and suggests the portrait, though beautiful, is merely a "shadow" of Portia's true beauty, which the real Portia far exceeds in substance.
Why was Bassanio and Portia's marriage a double celebration and what marred its joy?
Bassanio and Portia's marriage is a double celebration because Gratiano and Nerissa also decide to wed after Bassanio successfully chooses the lead casket, winning Portia's hand. However, the joy is marred by the arrival of a letter from Salerio, revealing Antonio's financial ruin due to lost ships, which puts his life in danger as he cannot repay Shylock, casting a shadow over the festivities.
In The Merchant of Venice, why does Shylock repeatedly say "Let him look to his bond" in act 3, scene 1?
In Act 3, Scene 1 of The Merchant of Venice, Shylock repeats "Let him look to his bond" to emphasize his obsession with revenge against Antonio. Shylock has lost his daughter and wealth, leaving him desolate and focused on the "ancient grudge" he holds against Christians. The repetition underscores his determination to exact revenge and highlights each grievance he has against Antonio, reinforcing the inevitability of the judgment he anticipates.
What makes Act 3, Scene 1 of The Merchant of Venice significant?
Act 3, Scene 1 of The Merchant of Venice is significant because it humanizes Shylock, challenging the audience's perception of him as merely a villain. Through his famous speech, "Hath not a Jew eyes?" Shylock expresses his humanity and vulnerability, highlighting his persecution by Christians. Additionally, his genuine hurt over Jessica selling his late wife's ring for a monkey further evokes sympathy, presenting him as a complex character capable of love and emotion.
In The Merchant of Venice, what is the mood at the end of act 3, scene 1? How does it compare to scene 2?
The mood at the end of Act 3, Scene 1 is foreboding, as Shylock is distressed over his daughter Jessica's elopement and spending, yet slightly uplifted by Tubal's news of Antonio's financial ruin. In contrast, Scene 2 is lyrical and happy, with Bassanio successfully choosing the correct casket and Portia accepting his proposal amidst music. Thus, while Scene 1 is tense due to the bond plot's complications, Scene 2 ends joyfully with the resolution of the casket plot.
Why does Tubal believe Antonio is undone in The Merchant of Venice?
Tubal believes Antonio is undone because Antonio's ship, carrying valuable cargo, has been lost, making him unable to repay his debt to Shylock. This information is crucial to Shylock, who has a bond with Antonio that allows him to claim a pound of Antonio's flesh if the debt is unpaid. Tubal shares this news with Shylock to highlight Antonio's misfortune and to bolster Shylock's hopes for revenge.
In The Merchant of Venice, what rumor do Salarino and Solanio seek confirmation from Shylock?
Salarino and Solanio discuss the rumor that the Rialto, Antonio's ship, has been wrecked at sea. They try to confirm this rumor when they run into Shylock.
What is Tubal's relationship with Shylock in the second half of 3.1 in The Merchant of Venice?
Tubal is an associate of Shylock, sent to Genoa to find Shylock's daughter, Jessica, who fled with his money. Tubal contrasts sharply with Shylock's emotional volatility, remaining calm and matter-of-fact as he delivers bad news. He seems indifferent to Shylock's tantrums, suggesting familiarity with Shylock's nature. Tubal's role is not to placate Shylock but to report his findings, indicating a professional, albeit detached, relationship.
How much does Jessica pay for a monkey in The Merchant of Venice?
In The Merchant of Venice, Jessica pays for the monkey with a ring she stole from Shylock that was given to him by his late wife.
What is the dramatic function of Act 3, Scene 1 in The Merchant of Venice?
Act 3, Scene 1 of The Merchant of Venice heightens suspense by revealing Antonio's financial ruin and Shylock's increasing animosity. It deepens sympathy for Antonio while showcasing Shylock's complexity, highlighting his desire for revenge and his humanity. Shylock's powerful speech emphasizes his request for dignity and reflects on his mistreatment, contrasting with Portia's later plea for mercy. The scene explores themes of justice, revenge, and the human condition.
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