The Merchant of
Act 2.6 - Jessica escapes from her father
- Leaves with Lorenzo
Act 2.7 - The 3 caskets are revealed
- Discovers a skull with a scroll and leaves
Act 2.8 - Solerio and Solanio talking about Shylock
- “My daughter! O my ducats!”
- Antonio also mentioned, may have lost his ship.
- Scene is humorous when talking about Shylock
- Mood changes to anxiety when talking about Antonio’s ships.
Motifs & Connotations
· Repeated Casket Task throughout the play > Appearance and Reality & Men’s Control over women Casket task > Portia is controlled by the casket and her father), She is unable to choose her own husband > her life is controlled by her father & the casket
· Casket also mentioned when Jessica escapes from Shylock’s house > Money and wealth: “Here, catch this casket” [Act 2.6, line 33]
Gods & Heavens:
Appearances as deceiving:
· Casket task reinforces that what looks good on the outside may not be the same on the inside: the Gold casket contains a skull and scroll that condemns his judgment on the casket he picked. The message is that one should not judge based on exterior as the interior may be different from what is expected.
· Other examples reinforced through the Silver and Lead caskets
· Also when Jessica, Portia and Nerissa dress up as men
Gold, Silver and Lead:
· Materials, Outward appearance.
· Gold > beauty, angels, wealth and goodness
· Silver > Not as valuable as gold
> “Virgin Hue” associated with the colour silver
> “Virgin Hue” also associated with the goddess of the moon, Diana > Purity
> “Immured” - shut away, silver is not good enough
· Lead > Ugly and unworthy
· His character judges based on appearance, shown through the choosing of the Gold casket. He is very arrogant and is the stereotype of a macho man. He compares himself to Phoebus, the sun god [Act 2.1 line 5]. He is also humorous as he is supposed to be wooing Portia but instead uses violent imagery [fire, blood]. His character does not change or progress throughout the play. He makes a big entrance in Act 2.1 and also makes a big fuss when he leaves at the end of Act 2.7 “Cold indeed and labour lost; Then, farewell, heat, and welcome, frost! Portia, adieu!...” [Act 2.7 lines 74 onwards]. Although violent imagery is more discreet in Act 2.7, his arrogance is shown through his choice of the golden casket, as he states that he should deserve more than what he deserves (in reference to the silver casket).
Portia’s character is more
developed in Act 2.7. First impression of Portia is that she is under control
of men (her father), although her power over
Belmont, A room in Portia’s house.
Associated with Love and
fantasy > contrast with
· Where the women live
The Women only have power
Relation of Part to Whole
The casket task is
introduced earlier in act 1 scene 2. In between Act 1 scene 2 and Act 2 scene
7, Bassanio travels to