Act III - Scene II
[Belmont] |
Enter Bassanio, Portia, Gratiano, and all their train. |
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Enter Lorenzo, Jessica, and Salerio. |
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Opens the letter. |
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Exeunt. |
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— Caitlin, Owl Eyes Staff
Deface the bond takes on multiple meanings here. Portia both wants to break the bond between Shylock and Antonio, but also she needs to get rid of Bassanio's indebtedness to Antonio. While Bassanio is "engaged" to Antonio, he cannot be fully bound to Portia. Thus it is important that she "deface," mar the appearance of or blot out from existence and memory, the bond.
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— Caitlin, Owl Eyes Staff
Portia's surprise at the "low cost" of the bond reveals how vast her estate is. Remember that 3,000 ducats was a lot of money in this time. It is roughly what Michelangelo was paid to paint the Sistine Chapel.
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— Caitlin, Owl Eyes Staff
Notice the language of bonds mimics the language of marriage and love. Bassanio is "engaged" to Antonio by his this bond. Thus, he cannot be truly engaged to Portia.
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— Caitlin, Owl Eyes Staff
This is a reference to the story of Jason and the golden fleece that Bassanio mentioned at the beginning of the play.
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— Caitlin, Owl Eyes Staff
An "infidel" is someone who does not believe in the "true religion"; a nonbeliever. By this, Gratiano refers to Jessica. Notice that even though Jessica has converted and married Lorenzo, she is still perceived as an "infidel."
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— Caitlin, Owl Eyes Staff
Here Gratiano bets Portia and Bassanio that he and Nerissa will have a boy before they do. Again, notice that all of the elements of human emotion are reduced to monetary exchange.
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— Caitlin, Owl Eyes Staff
Notice that all of the love in this play revolves around chance. Unlike most of other Shakespeare's love stories, which rely on confessions of love and schemes to bring about the outcome one desires, in this play the pairings rely on contracts and gambling.
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— Caitlin, Owl Eyes Staff
Portia transforms her love and her wealth into a symbol, this ring. In making a symbol for her love, Portia moves her love from a an intangible emotion to an object.
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— Caitlin, Owl Eyes Staff
Converted in this context touches on two of the play's main themes by connoting both a monetary conversion and a religious conversion. All of her things and person are now Bassanio's things. The way in which Portia describes her conversion as a change in perception rather than a change in state: nothing has changed but the title assigned to them.
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— Caitlin, Owl Eyes Staff
Notice all of the monetary terms she uses to describe herself: gross, sum, account, rich etc. Like Bassanio, Portia focuses on her external and material attributes more than her internal character makeup. Portia, too, sees this as a relatively shallow, transaction.
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— Caitlin, Owl Eyes Staff
Bassanio's language quickly turns from love to a contractual agreement. The bond between Portia and Bassanio reflects the bond between Shylock and Antonio and suggests that the action of this play revolves around monetary and legal contracts instead of love, friendship, or human emotion.
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— Caitlin, Owl Eyes Staff
Notice that Bassanio can only focus on Portia's external beauty as he looks at her portrait. This is ironic given that he has just extolled external appearances as false and shallow.
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— Caitlin, Owl Eyes Staff
By this one line, Bassanio refers to the silver casket. "Common drudge" means servant at everyone's command and probably references silver's use as a common monetary form. Notice that Bassanio does not address what the boxes say but instead focuses on the materiality of each box. This suggests that Bassanio already knows the answer to the test and uses this speech to justify his knowing.
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— Caitlin, Owl Eyes Staff
King Midas is a character from Greek mythology who turned everything he touched into gold. He prayed for this "golden touch" without thinking through the implications of his wish. Midas turns his own daughter into a golden statue before starving to death surrounded by his gold. Midas's story is a classic example of be careful what you wish for.
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— Caitlin, Owl Eyes Staff
The liver was believed to be the seat of someone's courage. As red blood symbolized strength, courage, and virility, a "white" liver meant someone was a coward. Bassanio uses this metaphor to show that someone's outward appearance may clash with their internal makeup.
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— Caitlin, Owl Eyes Staff
Mars was the Roman god of war. His symbol was used as a sign of strength, power, and masculinity.
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— Caitlin, Owl Eyes Staff
Ironically, Bassanio catalogues all of the people who deceptively look different than what they actually are when he himself has borrowed money in order to look richer than he actually is. This suggests that Bassanio may not have passed the casket test without Portia's guidance. The test is designed to deter suitors who are there for the gold, and from the beginning of the play, the audience knows that Bassanio is this kind of suitor.
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— Caitlin, Owl Eyes Staff
The song underlines the basic set up of the casket test: if one chooses a casket based on looks then they probably will love based on looks too. Love based on appearance will die where it was born because it was not true love. Essentially, the song cautions against focusing on something's appearance.
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— Caitlin, Owl Eyes Staff
In this context, "fancy" means amorous love or devotion. Notice that Morocco and Arragon tried to solve the riddle of the caskets based on external and social understandings of what the caskets represented. For example, Morocco believed that "what men desire" was Portia, so gold must be the right choice. Here, the song focuses on the internal nature of love, suggesting that other suitors failed because they interpreted the test in a shallow way.
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— Caitlin, Owl Eyes Staff
"Dardanian wives" is another way to say Trojan wives. Portia's use of this metaphor demonstrates the performed nature of her rescue as it needs spectators.
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— Caitlin, Owl Eyes Staff
In mythology, Alcides, or Hercules, saved Hesione, the princess of Troy, from a sea monster sent by Poseidon to punish Hesione's father for breaking a bond. Hesione was stripped naked and tied to a rock to await the monster when Hercules came across her. He promised her father to rescue her in exchange for a herd of magical horses. Portia compares Bassanio to Hercules and herself to Hesione. She claims that Bassanio intends to rescue her because he loves her instead of for monetary. However, this metaphor is slightly ironic as Bassanio could, like Hercules, intend to rescue Portia for the reward.
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— Caitlin, Owl Eyes Staff
A "swan-like end" means a swan song or final performance before death. It was believed that swans only sang once in their lives while they were dying. Using this metaphor, Portia emphasizes the performative nature of Bassanio's love and choice; she imagines his failure like a final performance.
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— Caitlin, Owl Eyes Staff
While Portia says that she is helpless in her father's will and that she cannot break her oath, she finds a way to surreptitiously influence the outcome of this choice. Unlike the trials of Morocco or Arragon, Portia plays Bassanio a song that will give him the answer to the question if he pays attention. This shows that Portia is not as powerless as she says she is.
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— Caitlin, Owl Eyes Staff
This exchange metaphorically positions Portia as a torturer and Bassanio as her political prisoner and offers one reason why these two claim to be so emphatically in love with each other. As the "torturer" Portia gets the power she lacks while being constrained by her father's will. Bassanio will become her prisoner in order to relieve himself of debt.
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— Caitlin, Owl Eyes Staff
This metaphor refers to both the picture of Portia locked inside the casket, and Portia's feeling of being trapped inside her father's will.
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— Caitlin, Owl Eyes Staff
With this line, Bassanio signals that he has understood the song: the caskets are designed so that their outward shells are different from their interior. While Portia did not directly tell Bassanio which casket to choose, she has given him a large clue by telling him the theme of the caskets: appearances may be deceptive.
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— Caitlin, Owl Eyes Staff
Notice that the first two lines of the song rhyme with "lead." This poetic device sets up the song to be a clue to Bassanio about which casket to choose.
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— Caitlin, Owl Eyes Staff
Bassanio uses this metaphor to dissuade thoughts of anything but love lurking in his affections. By these lines he means that treason and his love cannot coexist in much the same way that snow and fire cannot coexist.
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— Caitlin, Owl Eyes Staff
This could be seen as a playful statement that takes Bassanio's hyperbole at fact for comedic effect. However, the audience might note that there is something vain about Bassanio's love: he has ventured to woo Portia because she is a rich lady and he is a deeply indebted man. Perhaps he has fallen in love with her, or perhaps she detects this ulterior motive in his intentions.
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— Caitlin, Owl Eyes Staff
"The Rack" was an Early Modern torture device used to get prisoners to confess to political treason. This is a hyperbolic way in which to say one suffers.
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— Caitlin, Owl Eyes Staff
Portia wishes that Bassanio would stay with her longer, but she claims that it is not love that compels her to ask him to stay. This suggests that either Portia is trying to coyly hide that she loves Bassanio, or she is very blatantly saying that she wants to keep Bassanio for another purpose, like his money.
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— Caitlin, Owl Eyes Staff
Portia tells Bassanio that she wishes she could tell him which casket to choose, but she cannot break her oath to her father. Notice the juxtaposition of Portia and Jessica in this play: one holds fast to her father's will while the other disregards and abuses her father's will.
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— Caitlin, Owl Eyes Staff
Notice how confused Portia's speech is here. Scholars have read this confusion as either a sign of her affection for Bassanio or a poor attempt to affect the language of lovers. Because the speech between these two characters is so poor, some scholars have question the authenticity of their love for one another.