How is power and control displayed in The Merchant of Venice?
Set in the city of what one critic calls "psychic dark corners," there are three major relationships in which power and control are exerted in The Merchant of Venice as the play is constructed around contrasting value systems and relationships.
Clearly there is great animosity between the money-lenders, one of whom does not charge interest and the other who does exact interest on all his loans. This difference is at the heart of Shylock's hatred for Antonio
I hate him for he is a Christian;
But more for that in low simplicity
He lends out money gratis, and brings down
The rate of usance here with us in Venice. (1.3.)
2. Christian/Jew
Certainly, there are controls exerted upon Shylock in Venice as the Jews were confined to a certain area of the city; in fact, this area called ghetto is the derivative of the modern word. It is derived from the Italian word "gheto" or "ghet", which means slag or waste, for the slag was on the same part of the island as the Jews were forced to live. So, the relationship between Antonio and Shylock is not only religious, but it is also one of class.
The value systems of each theology/social class is also one of marked contrast. During the climactic trial of Act IV, Portia speaks of the Christian quality of mercy,
It is an attribute of God himself
And earthly power doth then show likest God's
When mercy seasons justice. (4.1.195-197)
In contrast, Shylock believes in the Old Testament's concept of revenge. For, the Duke of Venice characterizes Shylock as
A stony adversary, an inhuman wretch,
Uncapable of pity, void and empty
From any dram or mercy (4.1.4-6)
Of course, when Antonio defaults upon his loan, Shylock is eager for his pound of flesh, although he knows cutting this from Antonio will kill him. Further, it is Bassiano who wins Portia's hand with his demonstration of Christian values and true worth as does Portia in her famous speech.
At the end of the trial, Shylock not only loses against Antonio, but he is forced in retributive oppression to convert to Christianity a religion that is anathema to him.
3. Father/Daughter
The dominant position of male/female in Venetian society is best exemplified in the paternal relationship of Portia with her father, who controls her even after his death--"so is the will of a living daughter curbed by the will of a dead father" (1.2.24-25). For, she must marry the man who chooses the correc one from the three caskets that the father leaves, or she will lose her inheritance. Yet, Portia does not surrender to this male dominance as she acts on her own and disguises herself as a lawyer in order to defend Antonio against Shylock's revenge.
Shylock's daughter Jessica also disguises herself as a man, but she does so for ignoble reasons as she wishes to avoid notice after she steals her father's money and jewels when she elopes with Lorenzo. Also, in defiance of her culture as well as her father, Jessica converts to Christianity.
How is Shylock's controlling nature displayed in The Merchant of Venice?
Shylock's controlling nature is first displayed when he addresses his daughter, Jessica, before he leaves for a dinner hosted by Bassanio. He gives her very specific instructions in Act 2, scene 5:
...Jessica, my girl,
Look to my house......Hear you me, Jessica:
Lock up my doors; and when you hear the drum
And the vile squealing of the wry-neck'd fife,
Clamber not you up to the casements then,
Nor thrust your head into the public street
To gaze on Christian fools with varnish'd faces,
But stop my house's ears, I mean my casements:
Let not the sound of shallow foppery enter
My sober house......Well, Jessica, go in;
Perhaps I will return immediately:
Do as I bid you; shut doors after you:
Fast bind, fast find...
The fact that Shylock repeats his original instruction makes it clear that he wants to control his daughter's freedom, and he forbids her to even look out of the window once the street festival has begun. He is adamant that she should protect herself and his property. It is, therefore, quite ironic that Jessica later elopes with Lorenzo, not only escaping her father's control but also freeing him of some of his money and precious jewels.
Further evidence of Shylock's controlling nature is evidenced in Act 3, scene 1, when, whilst conversing with Salarino, he insists that Antonio must settle his debt. He has learnt that the merchant has suffered unfortunate disaster at sea when he lost his ships and, thus, his precious cargo. Antonio is bankrupt as a result and cannot repay the debt. Shylock ruthlessly demands that Antonio has to 'look to his bond.' He is not prepared to negotiate any further terms.
Shylock later instructs his servant, Tubal, to hire an officer to arrest Antonio for forfeiting the bond. He is desperate to punish the Christian merchant for all the wrongs he believes Antonio has done him and is quite insistent that Tubal act immediately:
...Go, Tubal, fee
me an officer; bespeak him a fortnight before. I
will have the heart of him, if he forfeit; for, were
he out of Venice, I can make what merchandise I
will. Go, go, Tubal, and meet me at our synagogue;
go, good Tubal; at our synagogue, Tubal.
Act 3, Scene 3 provides further evidence of Shylock's desire to be in control. When Antonio asks to speak with him he bluntly refuses the distraught merchant's request:
I'll have my bond; speak not against my bond:
I have sworn an oath that I will have my bond...I'll have my bond; I will not hear thee speak:
I'll have my bond; and therefore speak no more.
I'll not be made a soft and dull-eyed fool,
To shake the head, relent, and sigh, and yield
To Christian intercessors. Follow not;
I'll have no speaking: I will have my bond.
Shylock knows that he has Antonio at a disadvantage and relishes the idea of being in control of his destiny. This is further proven when he also questions the jailer about assisting Antonio by giving him the freedom to speak to him.
The pleasure Shylock derives from being in charge is pertinently illustrated in the courtroom scene in Act 4. In the first scene, he makes his intentions clear when he addresses the duke:
I have possess'd your grace of what I purpose;
And by our holy Sabbath have I sworn
To have the due and forfeit of my bond:..
He refuses to negotiate even when the duke asks him to be merciful. He wants things done his way since he believes his cause is just. When Portia also asks him to show mercy, he rejects her plea and demands to have what he believes is justice. It is clear that he wants to hurt Antonio by cutting out a pound of his flesh. Even when Bassanio offers him twice the amount of the original bond, he is unrelenting.
What judgment shall I dread, doing
Were in six parts and every part a ducat,
I would not draw them; I would have my bond.
When Portia offers him thrice the amount, he still refuses to accept her offer. He will have his revenge and nothing will stop him from getting what he wants.
Shylock's malice, stubborn insistence, and controlling nature are what eventually trip him up. These negative attributes count against him, and the court, because of Portia's intelligent intervention, later finds him guilty of a crime. Shylock loses not only his claim but also his dignity, his property, and his religion.
In The Merchant of Venice, how does power shifting affect character behavior and what commentary does Shakespeare make?
Shakespeare uses The Merchant of Venice as a tool to reveal the often confusing and contradictory nature of justice and compassion such as it exists in a Christian context. At the outset, Antonio laments his position; perhaps it is his "hopes abroad"(I.i.15) as his fortune rests on the safe return of his ships to port although he denies this and believes that maybe on the "stage, were every man must play a part" his is ".. a sad one."(76)Antonio is unable to justify his sadness but later will be in a position of control against Shylock and will cleverly manipulate the situation, all thoughts of sadness banished.
Portia enters the plot early and feels basically powerless to disobey her late father's wishes of finding a suitor for her: "I cannot choose one, nor refuse none."(23) As an intelligent, strong-willed woman, this need to submit to filial (family) loyalty is not rational but required of her. The power her father has over her is very real but Portia cleverly manages her suitors to hopefully ensure a result in her favor. Later, Portia will outwit Shylock in her handling of the bond payable by Antonio in the form of a "pound of flesh." Portia's behavior then shows her control over situations by using rational arguments.
Shylock is ecstatic that Portia, disguised as Balthazar, a lawyer who will judge the case against Antonio, will not "alter a decree established"(IV.i.214) and intends to uphold his bond of "a pound of flesh to be by him cut off." (227)He feels justified and redeemed and can barely contain his excitement at the thought of taking his bond "nearest his heart"(249) until Portia uses the same system of justice against him and, beaten he attempts to take "my principal and let me go" ( 231)which is no longer an option open to him as he "shall have nothing but the fofeiture."(338) Psychologically, Shylock's oneupmanship has been completely destroyed without any need to resort to violence or unjust measures. All is as it is meant to be.
The audience of Shakespeare's day would have been happy at the clever manipulation and would have felt vindicated against "the Jew" whom they considered a social outcast, even "a devil." Psychologically, the audience feels that it is the right outcome as it appears that the Christian values have been upheld and any attempt to interfere - from any other source - has been minimized. The audience itself would have felt empowered as Shylock was forced into submission.
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