Written between 1596-1598, The Merchant of Venice is one of Shakespeare’s most famous comedies. However, it seems erroneously categorised, as despite comedic moments it is largely a tragic play.
Definition of Comedy
When considering this it is worth remembering that traditionally the classification of comedy merely denotes that the play ends with one or more marriages. In addition, tragedy in the classical sense indicates the inevitable downfall of the protagonist.
Therefore, The Merchant of Venice fits more neatly into the genre of comedy. However, it is often referred to as one of Shakespeare’s ‘problem’ plays because it is not easily defined by these terms alone.
Synopsis of The Play
Antonio, the eponymous merchant, sets about borrowing money for his friend Bassanio, so that the latter may travel to Belmont to woo Portia. Antonio approaches Shylock, a Jewish usurer, and requests three thousand ducats.
Shylock agrees on condition that if Antonio is unable to return the money the forfeiture will be a pound of flesh. Antonio agrees to the bond, believing he will easily be able to pay the money back. However, soon Antonio receives disastrous news of his ships.
Shylock also has troubles: His daughter, Jessica, has run away with the a friend of Antonio’s, Lorenzo. This leaves Shylock heartbroken, and in no mood to be chartable towards Antonio.
Shylock: Victim or Villain?
Undoubtedly the most interesting character of the play, and subject to most debate, is Shylock. There are those who believe that The Merchant of Venice is an inherently anti-Semitic play. However, it is important to remember that the term anti-Semitism wasn’t coined until around 1879.
It’s also worth considering that in Elizabethan England Jews were a rarity. Most of Shakespeare’s audience would never have encountered a Jew. They were also a rarity on the stage. The only other well known representation of a Jewish man is Barabas, in Marlowe’s The Jew of Malta.
Compared to Marlowe’s caricature, Shylock is a much more naturalistic portrayal. He is a complex character and unlike Marlowe, Shakespeare does not play upon stereotypes for comedic value.
The play was most irrevocably damaged by its use as Nazi propaganda and this is a stigma difficult to shake.
However, in performance, Shylock is often portrayed as a sympathetic character; a victim rather than a villain. This, it seems, is a much more interesting angle to approach the play. Shakespeare has invested much in the character of Shylock, he is given the finest speeches, and is articulate and lyrical.
During Shylock’s first appearance on stage we learn that Antonio has treated him appallingly. He states that “…many a time and oft/In the rialto you have rated me/About my usances;/Still I have borne it with a patient shrug…You call me misbeliever, cut-throat dog,/And spit upon my Jewish gaberdine”(I.iii)
Rather than deny the accusations, Antonio claims that he is likely to repeat these offences. Therefore, it could be argued that Shylocks agreement to lend Antonio money is indeed, as he claims, a “kindness”.
It is also possible, as it suggest in the text, that the penalty of a pound of flesh is a “merry bond”. It is only after Jessica’s disappearance that Shylock displays any of the hatred that he has received from the Christians.
In Shylock’s famous speech he tells Solanio and Salerio “If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge. The villainy you teach me I will execute.”(III.i) It is very possible to argue that Shylock is a victim, and if his circumstances are viewed sympathetically it is difficult to dispute his actions.
