The Merchant of Venice How to Read The Merchant of Venice Without Being Heterosexist
by William Shakespeare

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(Shakespearean Criticism)

How to Read The Merchant of Venice Without Being Heterosexist

Alan Sinfield, The University of Sussex

It has been recognized for a long time that The Merchant of Venice is experienced as insulting by Jewish eople, who constitute a minority in Western Europe and North America. So powerful, though, is the reputation of Shakespeare's all-embracing 'humanity' that this scandal has often been set aside. Nevertheless, in 1994 a newspaper article entitled 'Shylock, Unacceptable Face of Shakespeare?' described how directors were acknowledging that the text requires radical alterations before it can be produced in good faith.1 David Thacker at the Royal Shakespeare Company was changing some of Shylock's most famous lines and moving scenes around. And Jude Kelly at the West Yorkshire Playhouse was presenting a Portia ready to embrace racist attitudes in her determination to be worthy of her father and a Jessica weeping inconsolably at the end as she laments her loss of her Jewish heritage.

For some commentators, it is sign of the deterioration of our cultures that minority out-groups should feel entitled to challenge the authority of Shakespeare. Christopher Booker, writing in the Daily Telegraph in 1992, complained bitterly about an English Shakespeare Company production of The Merchant set in 1930s Italy, with Shylock as a suave, sophisticated modern Jewish businessman confronted by fascists. 'In other words,' Booker writes, 'the producer had given up on any distasteful (but Shakespearean) idea of presenting Shylock as an archetypal cringing old miser. He really had to be more sympathetic than the "Christians".' To Booker this was 'bleatings about racism', whereas 'Shakespeare so wonderfully evokes something infinitely more real and profound . . . a cosmic view of human nature which is just as true now as it was in his own day' (Booker 1992).

The problem is not limited to Jewish people. The Prince of Morocco is made to begin by apologizing for his colour—'Mislike me not for my complexion,' he pleads (II. i. 1), taking it for granted that Portia will be prejudiced. And he is right, for already she has declared her distaste: 'if he have the condition of a saint, and the complexion of a devil, I had rather he should shrive me than wive me' (I. ii. 123-5); and after Morocco has bet on the wrong casket she concludes: 'Let all of his complexion choose me so' (II. vii. 79). And how might gay men regard the handling of Antonio's love for Bassanio, or the traffic in boys that involves Launcelot, the disguised Jessica, the disguised Nerissa and the disguised Portia?

The question of principle is how readers not situated squarely in the mainstream of Western culture today may relate to such a powerful cultural icon as Shakespeare. In a notable formulation, Kathleen McLuskie points out that the pattern of 'good' and 'bad' daughters in King Lear offers no point of entry to the ideas about women that a feminist criticism might want to develop; such criticism 'is restricted to exposing its own exclusion from the text' (McLuskie, 1985: 97).2 This challenge has caused some discomfort: must exclusion from Shakespeare be added to the other disadvantages that women experience in our societies? But it has not, I think, been successfully answered. In this essay I pursue the question as it strikes a gay man.

I Antonio vs. Portia

(Shakespearean Criticism)

As W. H. Auden suggested in an essay in The Dyer's Hand in 1962, the The Merchant of Venice makes best sense if we regard Antonio as in love with Bassanio (Auden 1963; see also Midgley 1960). In the opening scene their friends hint broadly at it. Then, as soon as Bassanio arrives, the others know they should leave the two men together—"We leave you now with better company. . . . My Lord Bassanio, since you have found Antonio / We two will leave you' (I. i. 59, 69-70). Only Gradano is slow to go, being too foolish to realize that he is intruding (I. i. 73-118). As soon as he departs, the tone and direction of the dialogue switch from formal banter to intimacy, and the cause of...

(The entire section is 6,608 words.)