Abstract
Prayer does indeed seem ‘bootless’ (3.3.20) as the peril for Antonio mounts: ‘These griefs and losses have so bated me / That I shall hardly spare a pound of flesh’ (3.3.32-4). Shakespeare probably intends a pun on ‘bated’, recalling Shylock’s earlier response that Antonio’s flesh was good ‘to bait fish withal; if it will feed nothing else, it will feed [his] revenge’ (3.1.42-3). Shakespeare powerfully coalesces the idea of the inner consumption of Antonio’s flesh and life, due to biting usury, with the idea of literally cutting off the same flesh and life, due to sharp-edged revenge. The problems of usury and free lending, enemy and friend, hate and love, folly and wisdom, appearance and reality, safety and risk, keeping the law and violating the law (man’s as well as God’s law), giving and forgiving, justice and mercy are all ‘bound up’ in the formulation of the flesh bond and its resolution in the trial.
This is a preview of subscription content, log in via an institution.
Preview
Unable to display preview. Download preview PDF.
Notes
See T. Wilson, A Discourse upon Usury [1572], ed. R. H. Tawney (New York: Harcourt Brace, 1925) pp. 288, 289, 278, 254, 290.
See P. Stubbes, The Anatomy of Abuses … (London: Richard Jones, 1583) sig. K7r.
See N. Coghill, ‘The Basis of Shakespearian Comedy: A Study in Medieval Affinities’, E&S, 3 (1950) p. 21.
A shortened, revised version appears in Shakespeare Criticism: 1935–1960, ed. Anne Ridler (London: Oxford University Press, 1963).
For Declamation 95 from Alexander Silvayn’s The Orator (1596), trans. by L. P[iot]
see G. Bullough (ed.), Narrative and Dramatic Sources of Shakespeare, 8 vols (1957); 5th imp. (London & Henley: R&KP and New York: Columbia University Press, 1977) vol. 1, pp. 482–6
G. Midgley, ‘The Merchant of Venice: A Reconsideration’, Essays in Criticism, 10 (1960) pp. 122–3.
Quoted in J. R. Brown (ed.), The Merchant of Venice (New Arden Shakespeare) (1955; rpt. London: Methuen, 1969) p. xxxv.
For the use of this idea, see Israel Gollancz, Allegory and Mysticism in Shakespeare (London: G. W. Jones, 1931) pp. 38–9.
See L. Danson, The Harmonies of ‘The Merchant of Venice’ (New Haven and London: Yale University Press, 1978) pp. 121–2.
This same theological idea and image help to explain the ‘old man’ in Chaucer’s The Pardoner’s Tale (F. N. Robinson (ed.), The Works of Geoffrey Chaucer (Cambridge: Riverside Press, 1961) ll. 713–67).
See M. M. Mahood (ed.), The Merchant of Venice, New Cambridge Shakespeare (Cambridge: Cambridge University Press, 1987) 4.1.153 n.
For the biblical source identification of Portia’s assumed name, see Norman Nathan, ‘Balthasar, Daniel, and Portia’, N&Q, n.s. 4 (1957) pp. 334–5.
For Portia’s assumption of the names Balthazar and Daniel, cf. B. Lewalski, ‘Biblical Allusion and Allegory in The Merchant of Venice’, SQ, 13 (1962) pp. 340–1
Harry Morris, ‘The Judgment Theme in The Merchant of Venice’, Renascence, 39 (Fall 1986) pp. 304–6
For a study emphasising Portia’s role as ‘a born and incorrigible teacher’, not as ‘a judge administering the law’, see Robert Hapgood, ‘Portia and The Merchant of Venice: The Gentle Bond’, MLQ, 28 (1967) pp. 19–32, esp. 21.
For the scales and sword as a symbol of justice, see Samuel C. Chew, The Pilgrimage of Life (New Haven & London: Yale University Press, 1962) pp. 124, 125, 137, 138.
For the knife or dagger as an attribute of wrath, see Spenser, The Faerie Queene, ed. T. P. Roche, Jr (Harmondsworth: Penguin, 1978) I.iv.33.8 and 35.3-4.
D. McPherson, ‘Lewkenor’s Venice and Its Sources’, RenQ, 41 (1988) p. 459.
See David C. McPherson, Shakespeare, Jonson, and the Myth of Venice, (Newark: University of Delaware Press and London and Toronto: Associated University Presses, 1990) pp. 51, 62–7.
Such a ‘historical’ idea of Venice might qualify the opposite argument (‘Love in Venice generally has a poor record’) presented by Catherine Belsey in her far-ranging article, ‘Love in Venice’, Shakespeare Survey, 44 (1992) pp. 41–53.
See G. K. Paster, The Idea of the City in the Age of Shakespeare (Athens: University of Georgia Press, 1985) p. 179.
See E. F. J. Tucker, ‘The Letter of the Law in The Merchant of Venice’, ShS, 29 (1976) pp. 93–101.
For another interpretation that the concept of equity is extralegal in the play, see Richard A. Posner, Law and Literature: A Misunderstood Relation (Cambridge, MA and London: Harvard University Press, 1988) pp. 96–7.
For a helpful article on the definition of equity and the problematic relationship between equity and law in the Renaissance, see Roger T. Simonds, ‘The Problem of Equity in the Continental Renaissance’, in Renaissance Payers 1989, eds Dale B. J. Randall and Joseph A. Porter (Durham, NC: The Southeastern Renaissance Conference, 1989) pp. 39–49.
See A. Benston, ‘Portia, the Law, and the Tripartite Structure of The Merchant of Venice’, SQ, 30 (1979) p. 378.
See T. Cartelli, Marlowe, Shakespeare, and the Economy of Theatrical Experience (Philadelphia: University of Pennsylvania Press, 1991) p. 153.
See, e.g., H. B. Charlton, ‘Shakespeare’s Jew’, Shakespearian Comedy (London: Methuen, 1938) pp. 123–60
M. J. Landa, The Jew in Drama, intro. Murray Roston (1924; New York: Ktav Publishing House, 1969) pp. 76–7
For ‘quibble’, see, e.g., E. M. W. Tillyard, ‘The Trial Scene in The Merchant of Venice’, A Review of English Literature, 2 (1961) pp. 51–9, esp. p. 51.
For the statute’s language, see N. Jones, God and the Moneylenders: Usury and Law in Early Modern England (Oxford and Cambridge, MA: Basil Blackwell, 1989) p. 64.
Alexander Pope, An Essay on Criticism, in Poetry and Prose of Alexander Pope, ed. Aubrey Williams (Boston: Houghton Mifflin, 1969) p. 51, 1. 525.
G. W. Keeton, Shakespeare’s Legal and Political Background (New York: Barnes & Noble, 1968) p. 145.
See Henry Campbell Black, Black’s Law Dictionary, rev. 4th edn (St Paul, MN: West Publishing, 1968) ‘Equity’, p. 634.
See G. K. Hunter, ‘The Theology of Marlowe’s The Jew of Malta’, JWCI, 17 (1964) p. 214;
A. C. Dessen, ‘The Elizabethan Stage Jew and Christian Example: Gerontus, Barabas, and Shylock’, MLQ, 35 (1974) p. 243.
For examples, see J. R. Brown, Shakespeare and His Comedies, 2nd edn (London: Methuen, 1962) p. 74
Albert Wertheim, ‘The Treatment of Shylock and Thematic Integrity in The Merchant of Venice’, ShakS, 6 (1970) pp. 85–6
Anne Barton (ed.), The Merchant of Venice, in The Riverside Shakespeare, ed. G. Blakemore Evans et al. (Boston: Houghton Mifflin, 1974) p. 252
Jan Lawson Hinely, ‘Bond Priorities in The Merchant of Venice’, SEL, 20 (1980) p. 228
Barbara Tovey, ‘The Golden Casket: An Interpretation of The Merchant of Venice’, in Shakespeare as Political Thinker, eds John Alvis and Thomas G. West (Durham: Carolina Academic Press, 1981) pp. 233–6.
This legal phrase does not refer to usury or the taking of interest, as has been suggested by Richard A. Levin, Love and Society in Shakespearean Comedy: A Study of Dramatic Form (Newark: University of Delaware Press; London and Toronto: Associated University Presses, 1985) p. 76.
Mark Edwin Andrews, Law Versus Equity in ‘The Merchant of Venice’: A Legalization of Act IV (Boulder: University of Colorado Press, 1965) pp. 74–5
John D. Eure, ‘Shakespeare and the Legal Process: Four Essays’, Virginia Law Review, 61 (1975) pp. 402–11, esp. p. 409
Cf. also H. H. Furness (ed.), The Merchant of Venice, New Variorum Edition, 23 vols (Philadelphia: J. B. Lippincott, 1888) vol. 7, pp. 227–8 notes.
See Miles Mosse, The Arraignment and Conviction of Usury … (London: Widow Orwin, 1595) sig. B4V, pp. 4–5.
See N. Rabkin, ‘Meaning in The Merchant of Venice’, Shakespeare and the Problem of Meaning (Chicago: University of Chicago Press, 1981) pp. 12–14.
See A. J. Cook, Making a Match: Courtship in Shakespeare and His Society (Princeton: Princeton University Press, 1991) p. 217.
Cited in S. W. Baron, A Social and Religious History of the Jews, 2nd edn, 16 vols. (New York: Columbia University Press, 1952–76) vol. 15, p. 128.
For a valuable interpretation of the judgement of Shylock in terms of ‘the symmetrical aequalitas of Aristotelian justice’, see D. N. Beauregard, ‘Sidney, Aristotle, and The Merchant of Venice: Shakespeare’s Triadic Images of Liberality and Justice’, ShakS, 20 (1988) pp. 46–7.
Leo Kirschbaum, ‘Shylock in the City of God’, in Character and Characterization in Shakespeare (Detroit: Wayne State University Press, 1962) p. 30
John F. Hennedy, ‘Launcelot Gobbo and Shylock’s Forced Conversion’, TSLL, 15 (1973) pp. 405–10
H. Morris, ‘The Judgment Theme in The Merchant of Venice’, Renascence, 39 (Fall 1986) pp. 293, 306–8.
For some interpretations that oppose my argument, see, e.g., J. W. Lever, ‘Shylock, Portia and the Values of Shakespearian Comedy’, SQ, 3 (1952) pp. 383–6
A. D. Moody, Shakespeare: ‘The Merchant of Venice’ (London: Edward Arnold, 1964) pp. 43–4
R. Chris Hassel, Jr, ‘Antonio and the Ironic Festivity of The Merchant of Venice’, ShakS, 6 (1970) pp. 68–9
D. Lucking, ‘Standing for Sacrifice: The Casket and Trial Scenes in The Merchant of Venice’, UTQ, 58 (1989) pp. 370–2
W. Cohen, ‘The Merchant of Venice and the Possibilities of Historical Criticism’, ELH, 49 (1982) p. 780.
Bishop Gervase Babington, Certain Plain, Brief, and Comfortable Notes upon every Chapter of Genesis (London: A. Jeffes and P. Short, 1952) sig. O8r.
For the difference between ‘enjoyment’ and ‘use’ of things, see St Augustine, On Christian Doctrine, trans. D. W. Robertson, Jr (New York: Bobbs-Merrill, 1958) p. 9.
See, e.g., Thomas Lodge, An Alarum against Usurers (1584) in The Complete Works of Thomas Lodge (New York: Russell & Russell, 1963) sig. F4
John Jewel, An Exposition upon the Two Epistles of the Apostle Saint Paul to the Thessalonians (London: R. Newberie, 1583) pp. 124, 128–29, 192
Philippus Caesar, A General Discourse Against the Damnable Sect of Usurers, trans. T. Rogers (London: John Kyrgston, 1578) fols 5, 6V, 7V
R. Porder, A Sermon of gods fearful threatenings for Idolatry …: with a Treatise against Usury (London: Henry Denham, 1570) fols. 87v-88, 100v, 104, 105v, 107v-08v
See N. Nathan, ‘Shylock, Jacob, and God’s Judgment’, SQ, 1 (1950) pp. 257–8.
See Wayne A. Meeks (ed.), The Writings of St Paul (New York: W. W. Norton, 1972) p. 118.
See René Girard, ‘“To Entrap the Wisest”: A Reading of The Merchant of Venice’, in Literature and Society, ed. E. W. Said (Baltimore and London: Johns Hopkins University Press, 1980) pp. 100–19
Copyright information
© 1995 Joan Ozark Holmer
About this chapter
Cite this chapter
Holmer, J.O. (1995). ‘A Daniel come to judgement’: The Trial. In: The Merchant of Venice. Palgrave, London. https://doi.org/10.1007/978-1-349-23846-0_5
Download citation
DOI: https://doi.org/10.1007/978-1-349-23846-0_5
Publisher Name: Palgrave, London
Print ISBN: 978-0-333-52264-6
Online ISBN: 978-1-349-23846-0
eBook Packages: Palgrave Literature & Performing Arts CollectionLiterature, Cultural and Media Studies (R0)