Isaac Asimov - Asimov’s Guide To Shakespear. Volume 1

The name "Jessica" by the way, is not likely to strike modern readers as particularly Jewish, yet is much more so than "Shylock." Toward the end of the eleventh chapter of Genesis, the sister of the wife of Abraham's brother, Nahor, is given as Iscah. It is of this name that Jessica is a form.

That Jessica is in love with a Christian appears at once, for she loves Lorenzo, who has already appeared as a friend of Antonio's. Jessica says in a soliloquy after bidding Launcelot goodbye:

—Act II, scene iii, lines 16-21

This demonstrates that medieval prejudice against the Jew was, in theory at least, religious rather than racial. If the Jew were to consent to become a Christian he would then be accepted into the Christian community on an equal basis.

Actually, this was by no means always so. In Spain and Portugal in the fifteenth century, extreme pressures forced the conversion of many Jews, who were then nevertheless discriminated against by those who took to calling themselves "Old Christians." The converts were called "marranos" ("swine"), and no matter how they attempted to be Christian they were forever suspected of being secretly Jewish.

The opportunity for Jessica to run off with Lorenzo soon appears. Shy-lock has been invited to dinner with Bassanio, and he is going despite the fact that he will "smell pork." This means Jessica will be left alone.

Launcelot Gobbo, who has carried the invitation from his new master to his old, promises there will be entertainment (to Shylock's further discomfort, for he is puritanical in his outlook-another proof of villainy to a theatergoing audience). Launcelot says:

—Act II, scene v, lines 22-25

This is a satire against the habit of finding a premonition in everything. After all, what can a nosebleed "on Black Monday last" have to do with a masque tonight?

The adjective "black" is sometimes used to commemorate some particularly disastrous occurrence. This particular case dates back to 1360, some two and a quarter centuries before The Merchant of Venice was written. At that tune Edward III, who had won two great victories in France (see page II-257), settled down in March to lay siege to Paris itself.

The army was reduced in numbers as the result of the previous winter's campaigning and was in want of provisions besides. It was not equipped to withstand a really bad siege of weather, but it was hoped that with spring well under way and the French badly demoralized the siege would not last long.

How wrong they were! On Monday, April 14, 1360, the day after Easter Sunday, a tremendous hailstorm struck the English camp. The fierce wind and unseasonable cold, the hail and the darkness all combined to strike a superstitious fear into the hearts of those who survived the horrible day.

The siege was lifted and Edward himself was sufficiently disheartened to decide on peace. This was signed on May 8 and the rest of Edward's long reign was an inglorious anticlimax. England was not to regain the upper hand in France until the reign of Henry V and the Battle of Agincourt (see page II-498) a half century later.

This Black Monday of 1360 left enough impression on English minds to give the name to Easter Monday ever after.

But Launcelot is doing more than bringing Bassanio's invitation to Shy-lock. He is also bringing a secret message from Lorenzo to Jessica, arranging for the elopement, and he cannot resist hinting to her of this in phrases that Shylock imperfectly overhears. Shylock says sharply to Jessica:

—Act II, scene vi, line 43

Sarah, the wife of Abraham and the ancestress of the Jews, had a handmaiden named Hagar. Since Sarah herself was barren, she gave the handmaiden to Abraham in order that he might have a son by her. This, indeed, came to pass and Hagar's son was named Ishmael.

When, years later, Sarah herself bore Abraham a son, Isaac, it was this younger son who was designated as Abraham's heir. Ishmael and his mother, Hagar, were evicted from the family and sent away in order that there be no dispute over the inheritance.

Thus, one might metaphorically speak of Hagar's offspring, Ishmael, as representing those who did not really inherit the covenant God made with Abraham and over whom the mantle of the true religion did not fall. Shylock would use such a term as a contemptuous designation for any Christian.

Jessica quiets her father's suspicions and, as soon as he is gone, she disguises herself as a boy and joins Lorenzo, taking with her a good supply of her father's money.

That she should escape from her father and elope with a lover, anyone would be ready to excuse since we are all sympathetic with the drives of love. That she should also steal from her father is a less sympathetic action in modern eyes. However, to Elizabethan audiences, stealing from a Jew was not really stealing.

Meanwhile the Prince of Morocco, back in Belmont, must choose among the three caskets. The gold casket bears a legend that says:

-Act II, scene vii, line 37

Morocco does not hesitate. Surely this can only refer to Portia, for as he says:

—Act II, scene vii, lines 41-43

Regions are named which are as distant and unattainable as can be imagined. Arabia is an utterly unknown desert to Christians of Shakespeare's time, and the original home of the feared Moslems.

As for Hyrcania, that was the name of the region south of the Caspian Sea (which was therefore called the Hyrcanian Sea in Roman times). Hyrcania reached its period of greatest prominence in the time of the Parthian Empire during the first and second centuries. Parthia was then the great enemy of Rome and its Hyrcanian heartland was never reached by Roman armies.

So Morocco chooses the golden casket and finds a skull inside. Apparently many men desire gold and, in searching out their heart's desire, find death instead. He loses and must leave forthwith.

In Venice, Jessica's elopement has been carried through. Shylock has discovered the loss of his daughter, together with the money and jewels she has stolen, and is distracted.

He suspects Lorenzo and is sure that he is escaping by way of the ship that is taking Bassanio (along with his friend, Gratiano) to Belmont. A search of the ship reveals nothing, but Shylock is nevertheless convinced that Antonio, the friend of Lorenzo, is at the bottom of it.

Solanio tells the tale, mimicking the distracted Shylock, who has gone raging through Venice crying for justice against those who stole his daughter and his ducats. The boys of Venice run after him, mocking, and Solanio himself thinks it is all terribly funny, and so, no doubt, did the Elizabethan audience.

The modern audience, if Shylock is played properly as the tragic character he is, is very likely to find it not funny at all, and to find themselves sympathizing with Shylock Instead.