The Merchant of Venice: Shylock: Relationship between Shylock and Jessica
by contrast the exemplary relationship of Portia and Bassanio: "The relation- ship of Jessica and Lorenzo to the primary lovers, Portia and Bassanio, consis- .. marriage and conversion of one young woman whose most admirable goals. When Lancelot leaves Shylock's "hell" house to serve Bassanio, we're reminded of how awful it is to live with Shylock (for Lancelot and for Jessica). or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of .. tion but also highlights the contrast between her behavior tween Jessica and Lorenzo probably would have ended in. calamity.
When she arrives, Shylock gives her the keys to his house and the responsibility of keeping it safe while he dines with Antonio and Bassanio.
Villain or victim, Shakespeare’s Shylock is a character to celebrate
Upon learning there will be a masqueradehe enjoins her to shutter the windows and not "gaze on Christian fools with varnished faces". Having no other option, Gobbo whispers to Jessica to "look out at window for all this. Shylock catches the interaction and asks Jessica what Gobbo said, but Jessica deceives him and claims he was simply saying goodbye.
Shylock then complains of Gobbo's sloth and vociferous appetite, claiming he is well rid of him and glad he now serves Bassiano, whom he dislikes. He leaves for the dinner, and Jessica soliloquises: Farewell, and if my fortune be not crossed, I have a father, you a daughter, lost. Jessica, The Merchant of Venice  In the following scene—Act 2, Scene 6—Lorenzo and his friends come to Shylock's house, and Jessica greets them from a window, dressed as a boy.
She asks Lorenzo to confirm his identity before lowering a casket of her father's Ducats. Lorenzo bids her descend, but Jessica demurs, ashamed of her disguise. Lorenzo persuades her, and she goes inside to bring more of Shylock's Ducats. Lorenzo praises her to his friends: Antonio then arrives to tell Gratiano that the winds are propitious for sailing and that Bassanio is leaving immediately for Belmont to woo Portia.
Gratiano expresses his desire to leave the city immediately.
Jessica next appears at Belmont in Act 3, Scene 2, accompanying Lorenzo and Salerio, a messenger delivering a letter to Bassiano from Antonio.
The letter informs him that all Antonio's business ventures have failed, such that he has defaulted on the bond to Shylock, and that Shylock intends to collect on the "pound of flesh".
Then announces that she and Nerissa, her maid, will stay in a nearby convent while their husbands are away. In her absence she asks Lorenzo and Jessica to manage her estate.
In Act 3, Scene 5, Jessica and Gobbo banter in the gardens of Belmont; Gobbo claiming that she is tainted by the sins of her father, and she can only hope that she was an illegitimate child and not actually related to Shylock. Jessica protests that then she would be visited by the sins of her mother, and Gobbo concurs that she would be damned either way. Jessica argues that she has been saved by her husband who has converted her to Christianity, to which Gobbo replies that Bassanio of contributing to the raised price of pork by the conversion of Jews who may not eat pork to Christians who do.
Lorenzo joins them and Jessica recounts their conversation, leading to further banter between Lorenzo and Gobbo, until Gobbo leaves to prepare for dinner. In response to questioning by Lorenzo, Jessica praises Portia as great and peerless. The moon shines bright Watercolor on paper by John Edmund Buckley. Act 5, Scene 1—the final scene of the play, and following on from the courtroom scene in Act 4—opens with Jessica and Lorenzo strolling in the gardens of Belmont.
They exchange romantic metaphors, invoking in turn characters from classical literature: No sooner has Stephano informed them that Portia and Nerissa will soon arrive than Gobbo comes with the same news for Bassanio and Gratiano.
They decide to await the arrivals in the gardens, and ask Stephano to fetch his instrument and play for them. The man that hath no music in himself, Nor is not moved with concord of sweet sounds, Is fit for treasons, stratagems, and spoils; — Lorenzo, The Merchant of Venice  Portia and Nerissa enter, followed shortly by Bassanio, Antonio, and Gratiano. After they are all reunited, Nerissa hands Lorenzo a deed of gift from Shylock, won in the trial, giving Jessica all of his wealth upon his death.
Fled with a Christian! O, my Christian ducats! In this version it is Munday's Jessica analogue, Brisana, who pleads the case first in the courtroom scene, followed by Cornelia, the Portia analogue.
The Christian in love with a Jewess appears frequently in exemplum from the 13th to the 15th century. However, in this story the Christian lover flees alone with the treasure. His daughter, Floripas, proceeds to murder her governess for refusing to help feed the prisoners; bashes the jailer's head in with his keychain when he refuses to let her see the prisoners; manipulates her father into giving her responsibility for them; brings them to her tower, and treats them as royalty; does the same for the remaining ten of the Twelve Peers when they are captured too; helps the Peers murder Sir Lucafere, King of Baldas when he surprises them; urges the Peers to attack her father and his knights at supper to cover up the murder; when her father escapes and attacks the Peers in her tower, she assists in the defence; then she converts to Christianity and is betrothed to Guy of Burgundy; and finally, she and her brother, Fierabras decide that there is no point trying to convert their father to Christianity so he should be executed instead.
The reason for the cruelty of the Sultan's two children is quite obvious.Dq4equis Relationship Goals 2018
In the romances there are two sides: Once Floripas and Ferumbras had joined the 'good' side, they had to become implacable enemies of the Sultan. There was no question of filial duty or filial love; one was either a Saracen or a Christian, and that was all there was to it.
There is not any other moral standard for the characters. Religion, race, and gender[ edit ] Critical history[ edit ] Literary critics have historically viewed the character negatively, highlighting her theft of her father's gold, her betrayal of his trust, and her apparently selfish motivations and aimless behaviour. Only moments before, they had been speaking of spitting. It takes someone very quick on his feet to change the tone with such dexterity. Perhaps most actors, weighed down by their Jewish gabardine and the supposed mannerisms of a Jew made old by the antiquity of his faith, find it hard to put the requisite verve into this.
Did Jews castrate themselves? Did Jewish men bleed like women? But dark as well as comic forces are in play here, the darker, perhaps, for being comic, because what Shylock is making merry with is inchoate Christian terror.
Jessica (The Merchant of Venice) - Wikipedia
To play him as a consummate comedic provocateur, then, as I saw him played by a young and juiced-up actor in Venice, is not at all to rescue him from obloquy. But it is to give him the vitality that I believe Shakespeare intended for him. I am not convinced that Shakespeare was ever interested in such abstract, academic mapping. But it is part of his greatness to allow unworked significance and unsorted old material to have their way without him in a play.
DH Lawrence wrote astutely about what happens to a living work when the artist puts his finger in the pan, forcing its outcome.
Villain or victim, Shakespeare’s Shylock is a character to celebrate | Books | The Guardian
It ceases to be a living work. Much of what we make of Shylock is determined by the age of the actor, the clothes he wears and the curve of his nose It has always seemed wrong to me to talk of The Merchant of Venice as an anti- or a pro-semitic play.
Were it either it would be less the play it is.