Ian McKellen -- Hear Ian McKellen at a Royal Shakespeare Company workshop provide a number of different possible readings of this opening line ranging from sadness to a conversation-ending irritation.
Note: Please use caution in showing clips from the Al Pacino/Michael Radford production. At least one character in the background of this speech, performed on a street in Venice, is noticeably unclothed.
Questions
In the Olivier production, the agitation of Jessica's elopement and the confrontation with Salerio and Solanio provokes a sudden epiphany here, a realization that Antonio should "look to his bond." Does that moment humanize Shylock for us? Does it make us fear his capacity for revenge?
In which production is Shylock the most visibly angry? Are we more moved to sympathy by an angry Shylock, or do we tend to distance ourselves from him emotionally?
Act V.i - The Trial Scene
Henry Goodman, Derbhle Crotty, dir. Trevor Nunn -- This Royal National Theatre production is outstanding, HOWEVER, it may need to be pre-screened for appropriateness. It is not MPAA-rated, but the implications of an intimate relationship between Bassanio and Antonio strongly suggest that specific scenes be edited for specific audiences.
One central question that arises from this speech is this: What is Portia's attitude to Shylock? The speech can be played in a multiplicity of ways ranging from the pedantic and pedagogical (i.e., "Here, let me condescendingly explain to you what mercy is") to the earnest and pleading (i.e., "Please let me find some kind of common moral ground so I can persuade you"). Which kind of persuasion was used in each of the clips?
If the presentation of the speech was pedantic in its tone, is Portia using this opportunity (as a woman dressed in man's clothing) to "mansplain" a concept for its own sake? If there is some other reason, why would Portia choose to take a condescending attitude toward Shylock?
Shylock's response
If Portia's attitude to Shylock admits of multiple possible interpretations, so does his response to her. Does he reject her speech immediately, or has Porita presented Shylock with a moment of genuine moral doubt and a true chance to reevaluate his position? Does he struggle with this moment, or know before she speaks what his answer will invariably be? In which production does Shylock struggle with his answer, and why?
Trying to Lose?
It can be argued that Portia has a substantial motivation to lose the case. For one, Antonio did, in fact, default on the loan -- a loan that he can now only pay back by using money that belonged to Portia. More importantly, before the trial is over, Portia will have heard her husband argue that he would sacrifice her for the sake of preserving Antonio. In which production does Portia seem the most or the least committed to winning? In which production do her choices of tone and approach to Shylock seem most sincere -- and which approaches to Shylock seem guaranteed to antagonize him?