Money & treasure show TMOV sexism

In The Merchant of Venice, Shakespeare repeatedly associates female characters with items of treasure to emphasize the viewpoint that women are merely possessions. When justifying why he thinks the gold box holds Portia’s portrait, the Prince of Morocco reasons that “never so rich a gem/Was set in worse than gold.” (2.7.54-55). In referring to Portia as a “gem” in this metaphor, he dehumanizes her and makes her simply a piece of property that is good for only money and beauty. While he seems to be complimenting her, his choice of the word “rich” also calls into question his motivations for the marriage, suggesting that he really only wants Portia for her wealth and status. Another suitor, the Prince of Arragon, calls the silver box a “silver treasure-house” when he believes that it is the box with Portia’s portrait inside (2.9.33). By saying that the box contains a “treasure,” the Prince hints that Portia, as a wife, is a “treasure.” Although he is not necessarily interested in her for the money, he still treats her as more of a prize than a person, reinforcing the idea that women are objects and really only valuable as political, bargaining tools. However, Shakespeare shows that it is not only potential wives who are objectified. Solanio recounts how Shylock also relates his daughter Jessica to coins, saying, “My daughter! O my ducats! O my daughter!/Fled with a Christian! O my Christian ducats!” (2.8.15-16). While Shylock is understandably angry about both the loss of his daughter and the loss of his ducats, he has trouble separating the two problems from each other, going back and forth between “daughter” and “ducats” and even transitioning from “Fled with a Christian” to “Christian ducats.” Since Shylock cannot distinguish which situation he is more upset about and uses very similar sentence structure for each outburst, Shakespeare implies that Shylock considers his daughter to be on the same level of value as the money stolen. Just like the stolen money, Shylock considers her to be his property and his possession to use and manipulate as he sees fit. By using the motif of money and treasure, Shakespeare calls attention to the unfair attitude of women as objects, as well as how that type of thinking justifies the lack of female power in Venetian, and by extension, Elizabethan society.

Hierarchy of religion

Devon Pollock
Merchant of Venice

In The Merchant of Venice, Shakespeare uses precise yet conflicting words in his interactions between Shylock and Antonio in order to portray society's perception of Judaism as inferior to Christianity. In response to Shylock using Holy Scripture to back up his belief that the use of interest in money lending is not sinful, Antonio warns Bassanio that, “The devil can cite Scripture for his purpose” (1.3.93). This remark compares Shylock and the Jewish people to the devil. Antonio is trying to point out that charging interest is evil and he believes that Shylock trying to defend sin with scripture doesn't stop him from being unholy. Antonio's view of Jews as "devil[ish] shows the disrespect he and other Christians have for the Jewish faith. This is contrasted to how Antonio treats and refers to Shylock after he agrees to lend “ducats” without interest.  Antonio calls Shylock a “ gentle Jew” (1.3.173). Shakespeare’s specific word choice of “gentle” is a play on words. Antonio is calling him gentle as in the kind, good-hearted meaning of the word because Shylock is being friendly about the business deal. This way of describing Shylock strictly contradicts being seen as the devil. But, also, the word gentile that is very closely related, means a non-Jewish person. This wordplay represents how being gentle, and good is directly related with being non-Jewish and more precisely being Christian  like lending money without interest. This contradiction depicts the strict hierarchy of religion that makes Jews inferior and "justifying" the poor treatment of Jews in Venice. The conflicting nature of those words conveys the conflicting perceptions of favorable Christianity vs. negative view of Judaism.

Shakespeare's use of Dog imagery in Shylock's monolouge

Shakespeare has Shylock demonstrate how Christians equate Jews with dogs to show that Jews were successful and needed members of society despite the fact that they were taken advantage of and treated as less than human. Shylock stresses how Antonio has come to him for a favor even though he “foot[s] Shylock as [he] spurn[s] a stranger cur.”(124). Here, Shakespeare shows how Antonio treats Shylock as a “cur” to convey that Jews were treated as sub-human; In Christian eyes they were less than beggars, they were the dog equivalent to baggers. Also, how Antonio dehumanizes Shylock and then asks for money shows that Antonio expects Shylock to be like a dog in that he would be ready to do anything to please someone who is “dominate,” that Jews should be at the beck and call of Christians. Shylock then emphasizes the problem of the Christian’s dehumanization of and then reliance on the Jews: you cannot ask a “dog” for a human favor, like money, and expect them to pay up and to even have the money n the first place. Shylock says, “What should I say to you? Should I not say/Hath a dog money? Is it possible/A cur can lend three thousand ducats?”(124). When Shylock highlights that dogs cannot lend money but he can, Shakespeare demonstrates that Jews were better than dogs, than how Christians saw them. Jews, even though they were dehumanized, rose above society’s views and restrictions on their community and became successful businessmen. At the end of his speech about Antonio’s mistreatment of him, Shylock gives a sarcastic reply to Antonio’s request for a favor to illustrate how Antonio is undeserving of any favor from him. “You spurned me such a day; another time/You called me dog; and for these courtesies/I’ll lend you thus much money?”(124). Antonio treats Shylock like a dog, worthless and insufficient, and then Shylock is just supposed to fork over the money. This highlights the bigotry that the Jews suffered, how they were taken advantage of and viewed as lesser and thus could be pushed around without penalty. In addition, in this passage, Shylock stands up for himself by pointing out the absurdity of Antonio’s request for a favor, illustrating that he is not like a dog at all; when a dog is kicked it shies away, Shylock, on the other hand, stands up for himself. Through using the imagery of the dog and its incongruity to Jews, Shakespeare conveys how Jews were clever and prosperous in the face of adversity.

Portrayal of Jews through repetition

Tara Guleri

Shakespeare's portrayal of Jews through repetition

Shakespeare uses repetition to suggest that Jews, namely Shylock, are greedy and more interested in business relationships than in personal ones. Christians like Antonio are shown to lend money to loved ones without interest, or hope to gain anything in return, where as Shylock is only interested in his money gain. Usury is one of the only jobs available to Jews, so Shylock is clearly very protective over his money. After Jessica elopes with Lorenzo, Shylock roams the streets looking for her and the wealth she stole from him. Solanio describes Shylock as a “villain Jew” (2.8, 4),  which demonstrates the negative light that is shone upon Jews by Christians, however over the course of the first two acts, Shylock does not make a good impression for Jews. Shylock cries, “O my ducats! O my daughter!” (2.8, 15) , implying that he values his money more than he values his daughter. His greed clearly overrides his family and his love. Shylock is agonized by the fact that Jessica stole his “jewels, two stones.” (2.8 20) The use of “stones” is a double meaning, implying both Shylock’s actual jewels and his testicles, which would describe his feelings of emasculation. Solanio mentions that he has never “heard a passion so confused” (2.8, 12), meaning that Shylock is distressed over the lose of his money. He does not seem express the same concern for his daughter. Shylock is also miserable about he fact that  his daughter “fled with a Christian! O [his] Christian ducats!,” who, also has access to his money. “Christian ducats” refers to ducats now owned by Christians. While Shylock is upset that his daughter fled with a Christian, he is much more upset about losing his money than losing Jessica.

Solanio/Shylock/diction$$$$$

Whitner Grange
English
          In act 2, scene 8 of "The Merchant Of Venice", Shakespeare, through the character Solanio, is able to utilize mocking and repetitive diction in order to portray an image of Shylock that is both vivid, and pokes fun at him for being a Jew.  By speaking through a somewhat unimportant and average character, Shakespeare gives the viewer a clear view of the anti-Semitic nature of the common person.  By having Solanio call Shylock a "villain" and "dog Jew", the viewer immediately recognizes that Solanio's hatred of Shylock is due entirely to the fact that he is Jewish and prepares the viewer for Solanio's upcoming slander of Shylock (2.8.4/.14).  Solanio then goes on the recount a scene that unfolded earlier when Shylock discovered that his daughter not only stole his money, but had also ran off with Lorenzo, a Christian.  By repeating words like "Christian", "daughter", and "ducats", Solanio attempts to mock Shylock for not only losing his daughter to a Christian, but losing his money as well (playing off of the stereotype that Jews are greedy).  Solanio tops off his slander of Shylock by saying that his "jewels, two stones, two rich and precious stones,/ [were] Stol'n by [his] daughter" (2.8.20-.21).  Solanio's repetition of the word "stones" leads the viewer to believe that Shylock's "stones" are a metaphor for his testicles.  By running away with a Christian, Shylock's daughter has emasculated him.  Shakespeare includes this metaphor to humiliate Shylock for the viewer's entertainment, showing the hatred of Jews at the time the play was written.  By having Solanio utilize repetition and a metaphor to poke fun at Shylock, Shakespeare both depicts Shylock's emasculation and provides a look into the religious prejudice of the time.

Shakespeare's view on Jews through repetition

​Through the repetition and use of the word “two” Shakespeare demonstrates his anti-Semitic view on Shylock by emasculating him.  Solanio first uses the word “two” in order to describe Shylocks financial loss by losing his daughter to a Christian “two sealéd bags of ducats/Of double ducats stol’n from me by my daughter” (153.2.8.19).  Solanio interprets this as Jessica not only taking away Shylocks money but also his manhood.  The fact that Shylocks daughter falling for a Christian man is considered emasculatory demonstrates Shakespeare’s demeaning view of Jews.   The word “two” is then used to describe stones “And jewels, two stones, two rich and precious stones/Stol’n by my daughter” (153.2.8.20).  Solanio is further debilitating Shylock by saying that a woman has the power to take away his machismo.  Shakespeare has Solanio make this erotic pun to further the point that he believes Jews are of lower class.  Shakespeare uses the word “two” to serve as a means to enervate and debilitate Shylock in a bawdy and, humorous manner.  

Religious Ridicule Through Critical Stereotypes

Alex Laubscher

Merchant of Venice Portfolio A

Through the mockery and religious stereotypes Antonio and Shylock have for one another’s religion, Shakespeare reveals that their desire to ridicule the opposing religious group is stronger than their desire to be fully cooperative business partners. In the beginning of the scene, Bassanio is looking to lend money from Shylock, a Jew. Because Bassanio wants to lend the money under Antonio’s credit, Shylock wants to meet with Antonio first. Bassanio offers a meeting over dinner to Shylock, but Shylock responds saying, “Yes, to smell pork” (1.3.31). Shylock responds with sass to Bassanio’s offer, saying that Bassanio and Antonio would serve pork at dinner, obligating him smell the pork throughout dinner. Not only is Shylock expressing Bassanio and Antonio as inconsiderate and insensitive, but he is also stereotyping Christians to all be like this. Shylock is not willing to attend Antonio’s business dinner, since he believes the Christians would disregard his religious, dietary customs. Later, Shylock continues by explaining that “suff’rance is the badge of all our tribe, / You call me misbeliever, cut-throat, dog / … Well then, it now appears you need my help” (1.3.107-108, 110). Shylock says that the suffering is now an identifying label for “[his] tribe,” all Jewish people, who have become inured to the disdain from Christians. When he says “you,” he is not only referring Antonio and his disparagements but all of the Christians’ as well. Shylock says that although the Christians cause him and fellow Jews suffering, he knows that in the end they will come back to him needing financial help, poking fun specifically at Antonio and Bassanio. After Antonio and Shylock have agreed to the loan, Antonio says, “Hie thee, gentle Jew / The Hebrew will turn Christian: he grow kind” (1.3.174-175). Because Shylock was kind enough to loan money to Antonio and Bassanio, Antonio says Shylock is becoming more Christian. Mocking Jewish people, Antonio states that by simply being Jewish a person has room to grow into a better, kinder person by becoming a Christian. Even after the two have agreed to work together, Antonio cannot resist the chance to jab at Shylock and Jewish people in general. Shakespeare uses Shylock and Antonio’s insulting exchange to show that a partnership with mutual respect between is quickly spoiled by any chance to mock the other person or his religion.

Sympathetic Portrayal of Jews through Shylock

Through Shylock and Antonio’s heated dialogue and Antonio’s cruel treatment of Shylock, Shakespeare illustrates the harsh discrimination of Jews during the 16th century and portrays Shylock and other Jews in more a sympathetic light, as the Christians’ hatred of Jews is unjustified. Shylock states, “You call me misbeliever, cut-throat, dog, / And spit upon my Jewish gaberdine, / And all for use of that which is mine own” (1.3.108-110). Antonio has repeatedly insulted Shylock, calling him a “dog,” yet Antonio still asks for a loan of three thousand ducats. The Christians treat Jews like scum, but then immediately turn around and try to do business with them. Shylock feels indignant and undeserving of this terrible behavior. Shakespeare heavily emphasizes Shylock’s problems through his dialogue, as Shakespeare understands what Shylock is experiencing. Antonio, on the other hand, sees nothing wrong with these terrible actions and says, “I am as like to call thee so again, / To spit on thee again, to spurn thee, too” (1.3.126-127). Antonio openly admits that he would slander Shylock again, as the hatred of Jews was widespread and considered normal. Shylock has done nothing except identify with the Jewish religion, yet he comes under such harsh humiliation by everyone, even his business partners. Shakespeare empathizes with Shylock’s indignation and, in a larger sense, the Jews’ plight, for Shylock should not be receiving Antonio’s perpetual criticism. Earlier in his speech, Shylock comments, “Signor Antonio, many a time and oft / In the Rialto you have rated me / About my moneys and my usances. / Still I have borne it with a patient shrug, / For sufferance is the badge of all our tribe” (1.3.103-107). During business transactions, Antonio constantly “rate[s]” Shylock for his usury, while Shylock passively accepts the criticism. Jews all across Italy have experienced this animosity and quietly suffered through, and Shylock brings that to Antonio’s attention. By writing compassionately through a Jew’s perspective, Shakespeare depicts Jews positively. Shakespeare highlights the Christians’ antipathy toward Jews in order to emphasize the fault in this malice between the two religions; Shakespeare shows that the unwarranted resentment simply because of religion is absurd with his sympathetic characterization of Jews.

Don't be hatin Shakespeare

Sarah Adler

10/19/14

In The Merchant of Venice, Shakespeare uses repetition and name calling to convey the way he represents Jews as people who value money over family, communicating the general public’s view of Jews in Shakespeares time. Shylock’s daughter, Jessica, has just run off with Lorenzo, a Christian, and stolen Shylock’s ducats and jewels. As Shylock is filled with grief, Solanio overhears him crying out, “Justice! The law! My ducats and my daughter!/ A sealèd bag, two sealèd bags of ducats,/ Of double ducats, stol’n from me by my daughter!”(2.8, 18-19). Shylock repeats the word “ducats” to emphasize the weight of his loss. By mentioning “ducats” before his daughter, Shylock is showing that he puts money first and therefore equates his love of his money over his love of his daughter. Because Shakespeare has Shylock value money so greatly, he desensitizes Shylock to the loss of his daughter, encouraging a stereotype of Jews at that time. Shakespeare has Solanio call Shylock “The villain Jew” (2.8, 4) representing the hatred felt towards the Jewish people and portraying Shylock in a negative light. To further disrespect Shylock, Solanio calls Shylock “the dog Jew” on line 14, to dehumanize him and display the public bias against Jews. The repetition of “ducats” that Shakespeare has Shylock use, expresses the way Jews were thought to treasure their money even more than their loved ones. Similarly the spiteful names Shylock was called, demonstrates the ways in which people would degrade Jews, ergo depicting the anti-semitism very prevalent at the time.

Solanio and Salarino be hating on my boy Shylock up in here.

Bryce Huerta
10/20/14

     Through the specific diction used by Salarino and Solanio during their joking banter, William Shakespeare conveys the anti-Semitic nature of these Christian men as they dehumanize Shylock.  Solanio begins the ridiculing of Shylock when he says, "So variable, / As the dog Jew did utter" (Act II, Scene 7, Lines 13-14).  Solanio's use of the words "dog Jew" suggests that the Jew is "less than human," right away identifying the bigotry that exists amongst these Christian friends of Antonio.  Solanio continues the mockery by quoting Shylock, stating, "'My daughter!  O my ducats!  O my daughter! / Fled with a Christian!  O my Christian ducats!'" (Act II, Scene 7, Lines 15-16).  The pairing of Shylock yelling about his daughter and his money at the same time suggests a level of greed that Christians think of as stereotypical of Jews in general, implying that Shylock cares as much for his money as his daughter.  Solanio's aping tone as he repeats what Shylock has been heard saying adds an even more malicious twist on this dialogue, as he makes fun of him for being a crazed old Jew.  Throughout lines 15-22, Solanio's repetition and alliteration of the words "ducat" and "daughter" very strongly and memorably imprints the parodying tone and overall mockery in his telling of this story.  Near the end of his rant, Solanio inserts into his speech the double-edged word jewel, as he tells, "And jewels, two stones, two rich and precious stones, / Stol'n by my daughter...She hath the stones upon her, and the ducats!" (Act II, Scene 7, Lines 20-22).  The image of "jewels" not only continues the message of Shylock's cupidity, but also takes a dig at his manhood, as it suggests that he does not have any testicles, or "family jewels."  Salarino caps off this mean discourse when he remarks, "all the boys in Venice follow him, / Crying, 'His stones, his daughter, and his ducats!'" (Act II, Scene 7, Lines 23-24).  Salarino reveals here that most Venetians, along with he and Solanio, are united in their harsh humiliation of the poor old Jew.  Through this scorning chat between the two men, Shakespeare uses specific tone and word choice to portray Solanio and Salarino's downright hateful perception of Shylock.                    

Lancelot Gobbo sparking confusion

Leonardo Vilchez
Mr. Huntoon
In Scene 2 Act 1 in The Merchant of Venice, Shakespeare shows Lancelot Gobbo following the devil's opinion on running away from Shylock, his master, while trying to create confusion through humorous dialogue in order to run away from his father's judgment (which supports his conscience's opinion). In the beginning, Lancelot continually keeps debating whether he should follow his conscience to stay with Shylock, or follow the fiend's "more friendly counsel" (2,28) into running from Shylock due to Shylock being "the very devil incarnation" (2,24). Lancelot holds this idea of Jews bring a great evil because of the Christian opposition of Jews at the time. When Lancelot is talking with his father, old Gobbo, he tells the audience "now will I raise the waters" (2,45), which gives us an image of water being more murkier and less exposed to sunlight that is parallel to confusion. This is shown when he refers to himself humorously as "young Master Lancelot"(2,44) in order to confuse his father that he is a master, not a mere servant (which he is). This is also shown when Lancelot states to his father: "I am Lancelot, your boy that/ was, your son that is, your child that shall be." (2,80-81). He changes the order of growing up, which is actually your child, your boy, and your son, in order to mock the traditional blessing from father to son in a way to further the confusion. In lines 100-101, Lancelot notes to give Shylock a halter (a noose for horses) instead of a present because of Shylock being "a very Jew" (100). This also shows Lancelot's disgust in being a servant of a Jew and Lancelot humorously shows this by portraying Shylock as an animal, lesser than human. In the end, Shakespeare uses Lancelot's humorous dialogue to create confusion for Lancelot's father in order to "run away" from Shylock and go into Bossanio's care.

Shylock's descriptive imagery.

Michelle Griggi
MV portfolio A
In Shakespeare’s The Merchant of Venice, Shakespeare uses Shylock’s descriptive imagery in his monologues to convey conflicts in his job. Antonio and Bassanio have just come to Shylock to borrow three thousand ducats and Shylock is reluctant to give them the money. Shylock recounts that Antonio “spit upon [his] Jewish gaberdine” (109) and now they need his help. Shylock is obviously upset by being mistreated but there is a deeper feeling of conflict Shakespeare conveys. Shakespeare reveals that even though Antonio had “spit” on Shylock’s “gaberdine” and got his “rheum”(114) in his beard it is Shylock’s job to lend out money, even to the people who are rude to him. Antonio calls Shylock “dog,”(108) which Shylock questions again whether he should give the money to them. When he says, “Hath a dog money? Is it possible/ a cur can lend three thousand ducats?” (117-119). Shylock is mocking Antonio for calling him a dog by pondering whether “a cur,” which is a mongrel dog or in this case himself, can lend them money. Shakespeare adds in this sarcasm of questioning Antonio and Bassanio so Shylock can also question himself. His conflict can be exposed because even if he is asking “is it possible/ a cur can lend three thousand ducats” in a mocking tone to Antonio and Bassanio he is asking himself does he really want to lend the money. Therefore, Shakespeare uses Shylock’s tone and dog images to expose his conflicts of being a Jew who can lend money.

Come Read This It Is Very Cool

TJ Ram

A-Option 4: Dialogue

10/18/14

          Shakespeare uses irony and persuasive language during the dialogue between Nerissa and Portia to outline Portia’s upper class outlook on her issues with her suitors.Shakespeare opens up the scene with Portia’s ironic quote, “By my troth, Nerissa, my little body is aweary of this great world. (1.2.1-2)” Portia is complaining that her life is hard because so many men are in love with her and want to marry her, and Shakespeare’s use of irony highlights Portia’s spoilt attitude; for one must be very fortunate to complain of being “too desired.” Shakespeare uses Nerissa as a reality check for Portia, and she reminds Portia, “You would be, sweet madam, if your miseries were in the same abundance as your fortunes. (1.2.3-5)” Her point is thatPortia’s “struggles” are not struggles in the larger scheme;and that many women are not fortunate enough to have multiple men of status wanting her hand in marriage. In the following passage, Portia exclaims, “I may neither choose who I would, nor refuse who I dislike; so is the will of a living daughter curbed by the will of a dead father. (1.2.22-24)” Portia’s conflict is that she cannot refuse or accept anyone because of her father’s wish to have the men pick the correct chest to marry his daughter. Shakespeare presents this as a second ironic example because she is willing to be married to someone she does not love just to appease her father’s wishes; a sacrifice that need not be made at all. She technically has the ability to choose whichever man she wants, but it is her own choice to agree to her father’s terms, so she has no right to complain that his terms are unfair. Although Portia is convinced none of these noblemen are her match, Nerissa is convinced that Portia’s father’s method will be beneficial. She says, “Your father was ever virtuous, and holy men at their death have good inspirations. (1.2.27-28)” Shakespeare uses persuasive language so Nerissa can convince Portia that herfather would have known who her proper suitor was, and whoever that man is would pick the correct chest. Nerissa almost seems as if she is irritated with Portia’s complaints because she sees how ridiculous Portia’s “problems” are.Shakespeare implements the element of persuasion andirony to highlight the absurdity of Portia’s complaints.

Shakespeare be thinkin' them women simple

Sfakianos: Shakespeare's Portrayal of women through Dialogue

In The Merchant of Venice, Shakespeare portrays women through the short remarks of Portia and Nerissa. The dialogue that occurs between Nerissa, Portia, and Portia's suitors shows Shakespeare's assumption that women rush when men are around by simplifying their thoughts. When the first suitor, Morocco, arrives, Portia tells him that "one of [the caskets] contains my picture, Prince. / If you choose that, then I am yours withal" (2.7.11-12). When Portia speaks to Morocco, she is clearly rushed. She only gives Morocco a brief, 2 line description of what he is to do. Portia also uses shortened terms such as "that" and "withal". Both of these terms save her breath in her explanation. In earlier acts, Portia speaks to Nerissa in a more relaxed mood, using many lines per speech. While men are around, Portia rushes her speech. Portia continues her rushed sentences when Arragon arrives the choose a casket: "There, take it, Prince; and if my form lie there, / Then I am yours" (2.7.61-62). Portia continues to speak in shortened explanations when approached by her second suitor. Her choice of only single-syllabled words allows for the sentence to be said very quickly. Once again, Portia references the casket differently, this time by calling the casket "it". Her words drastically shorten "casket" into "it", which only has 2 letters, allowing for expedited diction. Nerissa also takes part in the rapid talk when she says, "Quick, quick, I pray thee; draw the curtain straight. / The Prince of Arragon hath ta'en his oath, / And comes to his election presently" (2.9.1-3). Nerissa uses a few words that suggest that the Prince is rushing towards them. She says "Quick, quick" and "comes...presently" to rush Portia to close he curtains. In addition, Nerissa says "ta'en" to save herself a letter that would slow down the pronunciation of the word. In earlier scenes, when Nerissa addresses Portia, she uses any necessary words to convey her ideas (ref. 1.2). Despite the relaxed matter in which a suitor is chosen for Portia, the ladies rush through their dialogues when the time comes for a suitor to choose a casket. Shakespeare uses this pattern of shortening women's lines in acts 7 and 9 of scene 2 to say that women of the time rush try to simplify and speed up their discussions when men are around.

Bassanio Speech about Portia--The Motif of $ (Sample)

I'm taking this one