The Merchant of Venice The Merchant of Venice (Vol. 66)
by William Shakespeare

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(Shakespearean Criticism)

The Merchant of Venice

Among Shakespeare's most popular dramas, The Merchant of Venice remains a contentious piece to critics, who generally categorize it as a “problem play.” Its plot centers on the merchants Antonio and Shylock, a Jewish moneylender. Finding Antonio unable to repay his loan, Shylock demands a pound of the Christian's flesh, as stipulated in his contract. Portia, the drama's heroine, arrives disguised as a male law clerk at the ensuing trial, and overturns the agreement. While essentially a romantic comedy concerning Antonio, Portia and the Venetian gentleman Bassanio (whom Portia eventually marries), the drama nevertheless depicts a number of troubling aspects chiefly related to the harsh punishment of Shylock, including his forced conversion to Christianity. Additionally, the ambiguous qualities of the three major figures in the drama have led to numerous conflicting interpretations of the characters. Such varying interpretations tend to be born out by modern productions of The Merchant of Venice, as directors privilege either Portia's comic triumph or Shylock's tragic defeat. Furthermore, contemporary critics have continued to explore the play’s extensive themes, including conflicts of ethnicity, religion, and social exclusion, as well as the fundamental tensions it depicts between love, money, law, and mercy.

Over the course of its critical history, scholars have focused on the play's three principal figures—Antonio, Portia, and Shylock. Antonio, despite his status as the Venetian merchant of the work's title, has only infrequently been considered its most significant character. Cynthia Lewis confronts this exclusionary tradition in her 1997 study, which views Antonio as the locus of equivocation and contradiction in a play rife with ambivalence. More often, Antonio's character has been discussed in conjunction with Portia by commentators who emphasize the generic status of The Merchant of Venice as a romantic comedy. Characterizing Antonio and Portia as competitors for the love of Bassanio, Michael Zuckert (1996) sees this comic rivalry as providing the fundamental structure of the drama. Accordingly, Zuckert deems the bond between Antonio and Shylock as secondary to Portia's triumph. Such observations, however, are balanced by those of commentators who, captivated by the figure of Shylock, make an interpretation of the Jewish moneylender vitally important to the work. Robert Alter (1993) represents a number of critics who place Shylock at the center of The Merchant of Venice. Alter examines the range of interpretations elicited by his character: from comic villain to sympathetic and even tragic figure, vilified as an outsider for his religion and profession. Martin D. Yaffe (1997) offers an alternative to the traditional view that Shylock's depiction in The Merchant of Venice is anti-Semitic. Instead, Yaffe acknowledges perceptions of both positive and negative qualities in this complex character. Charles Edelman (1999) takes a somewhat revisionist position in regard to Shylock, contending that Elizabethan audiences would not necessarily have viewed his character as a stereotypical object of derision or a stock, comic stage villain.

The array of possible character interpretations offered by The Merchant of Venice has certainly contributed to the drama's continued theatrical popularity. In his review of Richard Olivier's 1998 staging of the play at the New Globe Theatre, John W. Mahon (1998) notes the centrality of Portia to the performance as well as its harsh portrayal of early modern anti-Semitism. Lois Potter's (1999) observations on the same Globe season include comments on Portia's asides to the audience and on the overall carnivalesque quality of the production. Director Trevor Nunn's interpretations of character for his 1999 staging of The Merchant of Venice at the Royal National Theatre, in contrast, were viewed as considerably less light-hearted than Olivier's. In his assessment, Hal Jensen (see Further...

(The entire section is 113,818 words.)