Nerissa enters, disguised as a lawyer’s clerk, and gives the duke a letter from Bellario. Shylock whets his knife, anticipating a judgment in his favor, and Gratiano accuses him of having the soul of a wolf. Shylock ignores these slurs and states resolutely, “I stand here for law.” The duke alludes to the fact that Bellario’s letter mentions a learned young lawyer named Balthasar, and orders the disguised Nerissa to admit the young man to the court. The duke then reads the letter in its entirety. In it, Bellario writes that he is ill and cannot come to court, but that he has sent the learned young Balthasar to judge in his stead.
Portia enters, disguised as Balthasar. The duke greets her and asks whether she is familiar with the circumstances of the case. Portia answers that she knows the case well, and the duke calls Shylock and Antonio before her. Portia asks Antonio if he admits to owing Shylock money. When Antonio answers yes, Portia concludes that the Jew must be merciful. Shylock asks why he must show mercy, and, in one of the play’s most famous speeches, Portia responds that “[t]he quality of mercy is not strained,” but is a blessing to both those who provide and those who receive it. Because mercy is an attribute of God, Portia reasons, humans approach the divine when they exercise it. Shylock brushes aside her pretty speech, however, by reiterating his demands for justice and revenge.
Portia asks whether Antonio is able to pay the money, and Bassanio offers Shylock twice the sum owed. If need be, Bassanio says, he is willing to pay the bond ten times over, or with his own life. Bassanio begs the court to bend the law slightly in order to exonerate Antonio, reasoning that such a small infraction is a little wrong for a great right. Portia replies, however, that the law shall not be broken—the decrees of Venice must stand. Shylock joyfully extols Portia’s wisdom, and gives her the bond for inspection. She looks it over, declares it legal and binding, and bids Shylock to be merciful. Shylock remains deaf to reason, however, and Portia tells Antonio to prepare himself for the knife. She orders Shylock to have a surgeon on hand to prevent the merchant from bleeding to death, but Shylock refuses because the bond stipulates no such safeguard.
Antonio bids Bassanio farewell. He asks his friend not to grieve for him and tells Bassanio that he is happy to sacrifice his life, if only to prove his love. Both Bassanio and Gratiano say that, though they love their wives, they would give them up in order to save Antonio. In a pair of sarcastic asides, Portia and Nerissa mutter that Bassanio’s and Gratiano’s wives are unlikely to appreciate such sentiments. Shylock is on the verge of cutting into Antonio when Portia suddenly reminds him that the bond stipulates a pound of flesh only, and makes no allowances for blood. She urges Shylock to continue collecting his pound of flesh, but reminds him that if a drop of blood is spilled, then he will be guilty of conspiring against the life of a Venetian citizen and all his lands and goods will be confiscated by the state. Stunned, Shylock hastily backpedals, agreeing to accept three times the sum, but Portia is insistent, saying that Shylock must have the pound of flesh or nothing.
Pretty juicy stuff! But we had to stop right in the middle of the excitement . . . so next week, we'll re-read what we read last week, beginning with Nerissa's entrance with Bellario's letter.
A few bits we noticed, learned, or wondered about:
We wondered why, as Gratiano is condemning Shylock, he mentions Pythagoras — and learned that Pythagoras thought that people who died could be reincarnated into animals.
O, be thou damn'd, inexecrable dog!
And for thy life let justice be accused.
Thou almost makest me waver in my faith
To hold opinion with Pythagoras,
That souls of animals infuse themselves
Into the trunks of men: thy currish spirit
Govern'd a wolf, who, hang'd for human slaughter,
Even from the gallows did his fell soul fleet,
And, whilst thou lay'st in thy unhallow'd dam,
Infused itself in thee; for thy desires
Are wolvish, bloody, starved and ravenous.
Robin pointed out that as lovely as Portia's famous "Mercy speech" is, all the work done with the bulk of the passage is undercut with the last three-and-a-half lines — as if to say "Mercy is great and all that, but if you just keep pursuing the plea you've filed, the Court has to decide in your favor. . ."
The quality of mercy is not strain'd,
It droppeth as the gentle rain from heaven
Upon the place beneath: it is twice blest;
It blesseth him that gives and him that takes:
'Tis mightiest in the mightiest: it becomes
The throned monarch better than his crown;
His sceptre shows the force of temporal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But mercy is above this sceptred sway;
It is enthroned in the hearts of kings,
It is an attribute to God himself;
And earthly power doth then show likest God's
When mercy seasons justice. Therefore, Jew,
Though justice be thy plea, consider this,
That, in the course of justice, none of us
Should see salvation: we do pray for mercy;
And that same prayer doth teach us all to render
The deeds of mercy. I have spoke thus much
To mitigate the justice of thy plea;
Which if thou follow, this strict court of Venice
Must needs give sentence 'gainst the merchant there.
Jerry said he was struck by how, in this play, interaction in the male-female relationships seems to be all about courtly ritual while in the same-gender friendships, the interaction is much more casual and intimate. (Consequently, Bassanio's exchanges with Portia are much less intimate than those of his with Antonio.)
Portia, entering the courtroom as Balthazar, immediately sets the tone for her next several lines setting up Shylock (and giving the sense that she is impartial — Justice is blind?—while also letting us know that Shylock didn't look that different than anybody else in the courtroom) when she says:
Which is the merchant here, and which the Jew?
Takeaway Quotes of the Week
See if you can use these in conversation this week!
We turned o'er many books together: he is furnished with my opinion. . .
—Bellario, in a letter to the Court, speaking of the young lawyer "Balthazar"
I never knew so young a body with so old a head . . .* * *
—Bellario, in a letter to the Court, speaking of the young lawyer "Balthazar"
Join us next time as we jump back into action with Act 4, scene 1!
Above image: Ellen Terry as Portia in an 1885 production of Merchant of Venice
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