Merchant of Venice Act II Discussion Questions
- Has Bassanio changed his prodigal ways now that he has 3,000 ducats (158-160)? Bassanio describes himself as a "prodigal" in 1.1.129. We should pay attention to this loaded word and the way it alludes to the parable of the prodigal son in the gospels (Luke 15:11-31).
- The play alludes to this interpretation by representing Bassanio as a prodigal trying to redeem himself--"to come fairly off from the great debts/ Wherein my time, something too prodigal,/ Hath left me gaged." By cloaking Bassanio's venture in the terms of Christian redemption (and also in the terms of romantic love) doesn't the play threaten to subvert those terms? Is all the Christian talk in the play about grace, unmerited favor, largesse, forgiveness, just a lot of irresponsible prodigality parading itself as Christian virtue?
- If so, what commentary is Shakespeare making about virtue? In the famous Inferno from Dante's Divine Comedy, Dante reserves the nicest real estate in the Inferno for those great thinkers, leaders, and exemplars of ancient times who were virtuous people, yet not Christian -- the "virtuous pagans," as he calls them. Dante's placement of the virtuous pagans suggests that he sees virtue as transcending religion: in other words, you don't have to be Christian to be virtuous. Is Shakespeare recognizing the same situation, or is he making the more cynical point that religion is used as a disguise for hypocrisy?
- When Shylock proposes a "merry bond" (1.3.169) isn't he trying to trick the Christians by appearing to speak their language--a language of forgiveness of debts, a language that seems to him to make "sport" of the law and bonds and contracts? He thinks he's going to drive all these prodigal Christians into a recognition of the law in all its literal severity. Unlike the resentful older brother in the parable, Shylock hopes "to feed upon the prodigal Christian" (2.5.14-15), to have a feast of his own instead of a feast for the younger brother.
- In this act, we are also introduced to Shylock's daughter Jessica, who clearly resents the conditions under which she lives. How sympathetically are we to regard Jessica? Is she just being a typical teenager, rebelling against the strictures and confines of her parents and desiring more freedom, or is she having a fuller understanding of her status as an "other" in the society of Christian Venice?
- How isolated are Jessica and Shylock? When we meet Antonio and Portia, they are immediately surrounded by others -- by friends and petitioners in both cases. We know Jessica and Shylock are isolated from Christian society, but are they also isolated from Jewish society as well?
- Throughout Shylock's dealing with Antonio and Bassanio, his language evokes the threat of cannibalism: he will "feed upon the prodigal Christian," and will later disavow the importance of the bond by casually comparing Antonio's flesh to that of "muttons, beef, or goats," and that he will "feed fat the ancient grudge" he bears Antonio in this bond. This motif, especially to Shakespeare's audience, would immediately evoke the oft-worn and hateful anti-Semitic stereotype that Jews prey upon Christians. To what degree, though, does Shakespeare himself buy into the anti-Semitism of his characters? Are we as an audience intended to view Shylock as an anti-Semitic stereotype?
- Why does Morocco fail in his interpretation of the casket contest?
- Compare Salanio's account of Shylock's dismay after he discovers Jessica's theft with Shylock's own statements. To what degree can we trust Salanio to be giving a true and accurate account of Shylock's statements? Does Shylock confirm some of Salanio's speech? Are there elements which he does not confirm?
- Why does Arragon fail in his interpretation of the caskets?
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Some of the questions here may be taken or adapted from the following sites:
http://www.webpages.uidaho.edu/~sflores/mv.html