Shakespeare uses the relationship of love and money throughout his plays as a subtle device that raises questions about reality. Upon deeper analysis of the relationships between characters in The Merchant of Venice, there is a distinct and recurrent theme of appearances versus reality. After delving deeper into the reality of the matter, a different perspective on characters within the play may be adopted, one that dispels stereotypes and initial conclusions about love in Shakespeare’s comedy. The characters in the drama approach relationships with overwhelming self-interest and, upon closer observation, allow economic determinism to slyly undercut their apparent motives.
First of all, under scrutiny, the supposed love of Portia and Bassanio indubitably leads one to believe that he has ulterior motives in his design to woo Portia that do not merely include the desire to be married to a respectable, intelligent and beautiful heiress. In the initial scene of the play, the audience learns that Bassanio already owes Antonio “the most in money and in love” (1.1.131). However, he has devised a plan to repay him by means of an additional loan. “‘Tis not unknown to you,” Bassanio tells Antonio, “how much I have disabled mine estate…and from your love I have a warranty to unburthen all of my plots and purposes how to get clear of all the debts I owe” (1.1.122-134). Basically, prevailing upon the generosity of his friend, and under the pretense of repaying his debts, Bassanio obtains a colossal sum of money in order to monetarily have a chance at wooing his way into even greater personal wealth and prosperity. In order for Antonio to forward his beloved friend the proposed sum of money, he must obtain a bond from the most notoriously vicious loan shark and usurer in Venice- the Jew, Shylock. The reprehensible Jew allows Antonio the desired sum free of interest; however, he stipulates that, if he does not repay him on time, then “the forfeit be nominated for an equal pound of [Antonio’s] fair flesh, to be cut off and taken in what part of the body pleaseth [Shylock],” to which Antonio willingly agrees(1.3.148-151)!
Although, upon this realization, one may decry the surreptitious method by which Bassanio scams Antonio into placing his life on the line for the sake of his personal comfort, it is judicious to take into account Portia’s role in Bassanio’s actions. First of all, solely based on the identities of her first two suitors, the Princes of Morocco and Arragon, it is apparent that, without some form of substantial monetary holdings, the casket test would not be an option for any man. As a result, in order for the messenger to even announce that “there is alighted at [her] gate a young Venetian, one that comes before to signify th’ approach of his lord,” Bassanio must procure a significant sum of money (2.9.86-88). At first notice, Portia is skeptical about Bassanio and his alleged wealth, responding to the messenger’s news, “No more, I pray thee. I am half afeard thou wilt say anon he is some kin to thee” (2.9.96-97)! Once Bassanio comes before her and she sees for herself his conspicuous wealth, the fickle Portia is quickly smitten before he even has the opportunity to choose, exclaiming, “Beshrow you eyes, they have o’erlooked and divided me: One half of me is yours, the other half yours—mine own, I would say; but if mine, then yours, and so all yours” (3.2.14-18).
Ironically, Bassanio’s reasoning during the casket test reveals to the audience some of the false pretenses under which both Portia and Bassanio operate. Bassanio’s over eagerness to undergo the test causes Portia to doubt him for but a mere moment, asking him to “confess what treason there is mingled with [his] love” (3.2.26-27). However, not willing to admit the truth that he lives on borrowed funds and thereby forfeit personal gain, Bassanio quickly assuages her with his reply, “None but that ugly treason of mistrust,” causing her to feel bad for her unbelief rather than to pursue reality. His actions thus far lead the audience to believe that Bassanio, although perhaps attracted to Portia and maybe even “in love” with her, is primarily concerned with his initial objective of accumulating great personal wealth. After contemplating the riddle Portia’s father has left to determine her husband, Bassanio ironically muses that “the world is deciev’d with ornament” (3.2.74). Although Portia does not immediately realize it, he is admitting his own deceit toward her and pointing out her enamor with wealth. Their respective love for money allows them each to be deceived by the appearance of love rather than penetrating to the reality of the matter. The unfortunate reality is they both succumb to“the seeming truth which cunning times put on to entrap the wisest,” allowing love of money to blind them towards pretentious love (3.2.100-101).
Next, upon closer observation, although apparently the most faithful and affectionate of friends, the friendship of Bassanio and Antonio is notably based also on a mutual love of money. From the beginning, it is evident that Bassanio continually borrows money from Antonio for personal profit and comfort; yet, for some unknown reason, Antonio is blinded by love for his friend, allowing him whatever he wishes, saying, “My purse, my person, my extremest means, lie all unlock’d to your occasions” (1.1.138-139). Later, in Act IV, Shylock calls in the bond, which Antonio has agreed to in order to advance Bassanio the funds he needs to woo Portia, so placing his life in jeopardy because of his friend’s love of money. At this point, Bassanio interjects before the court on Antonio’s behalf, event telling him, “Antonio, I am married to a wife which is as dear to me as life itself, but life itself, my wife, and all the world, are not with me esteem’d above thy life. I would lose all, ay, sacrifice them all here to this devil, to deliver you” (4.1.282-287).One must, however, question the sincerity of these words. Does Bassanio truly love Antonio more than even his wife (whom he has obtained under false pretense for the sake of monetary gain), or is he simply putting on a show for the sake of those observing, who undoubtedly condemn him for placing his friend in such a position? Is Bassanio truly distressed at his friend’s fate as it appears, or is he simply either distraught at the prospect of losing such a magnificent source of income or relieved that he will escape repaying the debt he owes? Although he appears to be a good friend, really he himself is as greedy of a villain as Shylock.
Another consequential relationship that may, indeed, be viewed as based on money rather than love is that of Shylock and his daughter Jessica. Shylock is a wealthy Jew, continually lending money and charging exorbitant rates of interest. As his daughter, Jessica undoubtedly receives the benefit of this wealth, although he does shut her away from the rest of the world, as denoted by his words, “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 in to the public street to gaze on Christian fools with varnishe’d faces” (2.5.29-38). Despite his warning, Jessica flees her father’s house to elope with the Christian, Lorenzo, one evening in his absence, taking with her the majority of his wealth. When Lorenzo arrives under the shroud of darkness to retrieve Jessica, revealing himself as her love, Jessica curiously responds, “my love indeed, for who love I so much? And now who knows but you, Lorenzo, whether I am yours” (2.5.29-31)? This rhetorical question leads one to consider the intentions of Lorenzo’s affection toward Jessica. Does he merely love her for her ducats? If his love is real, then perhaps her ensuing statement, “love is blind” holds some credence (2.5.36). However, if his motivation lies in obtaining her wealth, the statement further displays the overarching role of appearance as it disguises reality. Jessica thoroughly espouses her above statement, overlooking Lorenzo’s Christian faith, and perhaps even an economic disadvantage, truly loving him regardless.
When Shylock discovers that Jessica has eloped with Lorenzo and stolen a large portion of her inheritance, his response is far from passive. According to Solanio, he was heard in the street vehemently expressing his distress, saying, “My daughter! O my ducats! O my daughter! Fled with a Christian! O my Christian ducats! Justice! The law! My ducat, and my daughter...Justice! Find the girl, she hath the stones upon her, and the ducats” (2.8.12-22)! Solanio’s response toward Shylock is not that of merely a casual observer, rather that of a less than objective onlooker who embellishes the downfall of his enemy; however, one must wonder whether Shylock’s repeated words do not contain a hint of misplaced sorrow. It appears that, although Shylock shows remorse for the loss of his daughter, he harps even more upon the loss of his “Christian ducats” (Ibid).
Lastly, one must discern the significance of money in relation to what Shylock considers important in life. Even though Shakespeare’s The Merchant of Venice portrays a greedy Jew in the first few acts, in reality, Shylock is a man who loves revenge more than money. When Antonio and Shylock bring their case before the court, Shylock vehemently demands that he be repaid every ounce of flesh entitled to him according to their bond agreement. Surprisingly, instead of accepting double-recompense from Bassanio for the loaned sum, Shylock refuses this appeasement, saying, “If every ducat in six thousand ducats were in six parts, and every part a ducat, I would not draw them, I would have my bond” (4.1.85-88). If, indeed, Shylock’s sole aim were to accumulate even greater wealth by scamming Christians, he would accept the deal of ducats and forfeit the flesh. However, Shylock pursues revenge rather than money, breaking the hitherto apparent stereotype of Jews avaricious usurers. Although everyone expects him to cave in to the offer of money, Shylock surprises everyone when he proves that, in reality, money comes second, even if only to revenge. “I crave the law,” Shylock proclaims to the court, in other words desiring what he sees as the just demise of his adversary, Antonio. After all, his cause is just, as “he hath disgrace’d [him], and hind’red me half a million, laugh’d at my losses, mock’d at my gains, scorn’d my nation, thwarted my bargains, cool’d my friends, heated mine enemies; and what’s his reason? I am a Jew”(3.1.54-58). Unfortunately for Shylock, Portia, disguised as a law clerk, changes the scales on his justice, telling him, “As thou urgest justice, be assur’d thou shalt have justice more than thou desir’st. He shall have merely justice and his bond” (4.1.321-322,339). Shylock’s pound of flesh is deemed to be unlawfully taken, yet required by the law, so that he faces death in exchange for vengeance. Only when he realizes that his life is in jeopardy does he endeavor to take the proffered sum of money, saying, “I take this offer then; pay the bond thrice and let the Christian go… Give me my principal and let me go” (4.1.318-319, 336). Sadly, not only is he no longer allowed to accept repayment, but he is also required to relinquish what is left of his fortune to the state, as well as to give up his faith and convert to Christianity on penalty of death. While one might believe that such a formerly penurious and avaricious man would rather forfeit his life than life in poverty, Shylock even further dispels such misconceptions about himself, proving that, despite his eminent appearance of greed, in reality, money his true priority.
The overarching theme of appearance versus reality unfolds throughout Shakespeare’s The Merchant of Venice as evidenced through the various relationships represented above. Love and money recurrently correlate as they motivate the appearances that are so skillfully woven throughout the play, surreptitiously concealing reality, and only later much later exposed after careful observation. Relationships that appear to be based on love are, in reality, the products of self-interest, often spurred on by economic determinism.
Works Cited
Shakespeare, William. "The Merchant of Venice." The Riverside Shakespeare. 2nd ed. Boston: Houghton
Mifflin Company, 1997. 288-317. Print.
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