This play appeared in print in 1600 with the title ‘The Comical History of the Merchant of Venice’. To what extent do you think Shakespeare leaves the audience with the type of ‘happily ever after’ ending expected of a comedy?
Knowing that this play appeared in print in 1600 with the title ‘The Comical History of the Merchant of Venice’, we the audience, are entitled to be led into the impression that this play will end on a ‘happily ever after’ basis, which is often found in fairy tales and Shakespeare comedies alike. Shakespeare uses many techniques to try draw a picture of a ’happily ever after’ ending, which he uses mainly on the main romantic focus of the play - Bassanio and Portia, however, we are to discover later on in the play, that Shakespeare equally uses techniques to try and contradict this impression. These are illustrated in Act 1, Scene 1 as Bassanio‘s love for Portia is put into consideration; Act 3, Scene 2, where Bassanio is to choose out of the caskets to ‘win’ Portia; and in Act 4, Scene 1, alike when Bassanio ‘misplaces’ his ring.
It is, therefore, surprising that towards the end of Act 1, scene 1, Shakespeare conveys a sense of controversy, as the full extent of Bassanio’s love for Portia is questioned towards the end of the scene. This is as Bassanio describes to Antonio the fact that he is forced ’to be abrig’d’, and how his estate is damaged by his extravagant lifestyle that his ‘faint means’ cannot ‘grant continuance’. Furthermore Bassanio explains to Antonio why he would like to make use of the money given to him - which is to make Portia his wife. However, the first thing Bassanio describes Portia as is as a ‘lady richly left’. He later on describes her as someone ‘fair’ and of ‘wondrous virtues’, however it is clear that money is the first thing that comes to mind when Bassanio thinks of Portia - as he sets wealth, beauty and virtue in ascending order of his desirability of Portia. Yet the fact that Portia has money, and Bassanio does not, could make Bassanio unconsciously think that Portia is ‘fair’ and someone of ‘wondrous virtues‘, whereas in reality, it could be that she is far from it and that the fact that she has inherited some wealth could make Bassanio render to the thought that he is in love with her - as it seems that Bassanio is looking for love in his head rather than his heart. This could indicate that Bassanio is in love with the idea of Portia‘s money rather than the idea of Portia, as the foundations of Bassanio’s love for Portia are based on superficial reasons. Following on, Bassanio states how he wishes to get ‘clear of all the debts [he] owe[s]’ to Antonio, and puts forward his idea that when he was younger if he lost a ‘shaft’, he would throw another ‘shaft’ of the same value which would lead him to finding both. This can be interpreted in two ways, as the original shaft could symbolise the money that is owed to Antonio, and the second shaft could symbolise Portia‘s inheritance. Thus meaning that the key to finding the original ‘shaft’ (the money owed to Antonio) is down to the second ‘shaft’ (Portia’s inheritance) - meaning that once Bassanio is engaged to Portia, Bassanio is engaged to her inheritance, thus meaning that he is able to ‘clear of all the debts owe[d]’, and being able to find the ‘original shaft’ - resulting to Bassanio ‘show[ing]’ the ‘swelling port’ that Bassanio is being forced to ‘abridg‘. However, some people might argue, that this could just be a simple plea for help on the part of Bassanio - as whatever way we the audience interpret this, Bassanio ultimately is hinting to the fact that he needs Antonio‘s money to make Portia his wife, as the second ‘shaft’ could equally represent Antonio’s money, which would give Bassanio the ‘means’ to go to Belmont to try and make Portia his wife. Nevertheless, Bassanio later on refers to the world as ‘[not] ignorant of her worth’ and how if only he could ‘hold a rival place with one of [the Jasons that’s come in quest of her]’. The fact that Portia is referred to as some sort of ‘worth’, could indicate that Bassanio thinks of her as some superficial prize or consolation to be won. As well as this, Bassanio describes Portia as like a ’golden fleece’. In Greek mythology, Jason led an expedition to Colchis in search of the golden ram’s fleece. Therefore this comparison that Bassanio has made could signify that he sees Portia to some extent as gold or a trophy to be won. However, it could be argued, that the fact that Bassanio thinks of Portia as ‘gold’ or a ‘trophy’ to be won, could show the extent of Bassanio’s love for Portia - as if Bassanio thinks of Portia to some extent as ‘gold’, it could indicate how he thinks of Portia as ‘precious’. In addition to this, Bassanio lists the smallest details when describing Portia, like how her ‘sunny locks’ hang on her ‘temples’ like a ‘golden fleece’, rather than stating an obvious quality like her beauty or physical beauty. This shows how it is the small details about Portia which makes Bassanio in love with her, as he appreciates the fact that she is ‘fair’ rather than she is beautiful. This gives us the audience an impression that maybe Bassanio is deeply in love with Portia after all: and that maybe the fact that Portia’s money seems so appealing to him is that maybe it is simply a benefit, as Bassanio is struggling to find the means to ‘clear’ his debts.
