In his review of Janet Adelman’s book Blood Relations: Christian and Jew in “The Merchant of Venice,” Andrew Hayfield points out that the play is often misread or misunderstood. People commonly associate Shylocks’ religion as the outsider quality and with this Hayfield agrees. However, he goes on to say that “theologically, the knowledge that Merchant simultaneously gestures toward and defends against us is that the Jew is not the stranger outside Christianity but the original stranger within it” (413). Which is it? How can Shylock be the stranger inside the Christian faith? No one would deny that Shylock was the marginalized character, but apparently the debate comes to what side of the fence he lies on. Another instance of an outsider in The Merchant of Venice is Jessica, Shylock’s daughter who escapes the Jewish religion through conversion. Finally—depending on interpretation of the character—Antonio represents a marginalized character due to his homosexual intentions.
Much of the play’s action centers on Shylock’s dilemma as the Jewish merchant. Kaplan notes, “The Jew was the primary [religion] other Christians needed to separate themselves from in order to establish an alternative and autonomous religion” (244). The Jewish religion was seen as a threat the Christian world, which leads to the obvious hatred exhibited between Shylock and Antonio. Not until Shylock delivers his famous speech do people begin to relate to his position as the misunderstood, Jewish money-lender:
“Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian is?” (III. I. 44-47).
Shylock’s monologue continues, comparing Jews to Christians. He makes a very real plea for Salerio to understand his position; his religion has brought ridicule and mockery to his life and, by punishing Antonio, he is punishing the Christian religion. That is not to say that some of the punishment is not directly aimed at Antonio, but there is a larger goal behind it all. Because of his marginalized status, Shylock feels he must prove his worth and define his equal status. As Paula Cohen suggests, because of these lines, readers accept that Shylock is “a human being.” He is an outsider character who tries to show why he belongs on the inside, demonstrating proof for Hayfield’s statement.
In Venice at this time, being Jewish was one thing, but converting was a level all its own. Jessica makes a very difficult decision through the course of The Merchant of Venice, placing her in a group of her own. She was a Jewish who chose to convert; in some instances, Jews did not have a choice. Conversion was forced upon them. As Kaplan says, “The choice that the Jews are ostensibly offered in the narrative, either death (disguised as religious freedom) or conversion, amounts to the same thing, as Jewish tradition considers apostasy a kind of death” (248). Jessica represents the idea that Jews could escape persecution by changing to a religion more widely accepted, leaving behind their own beliefs; as a result, she would kill part of herself. In hopes to “end this strife,” Jessica claims she will do what she must to rid herself of her Jewish father, thus also eliminating the Jewish religion (II. III. 19). Mary Metzger states that, “though Jessica clearly prefers a Christian life, she is save not so much by her choice as by Lorenzo’s choice to marry her” (56). Her status as a converted Jew will stay with her even after her marriage. However, she is seen in a different light than her Jewish father (she chose it, he was forced). She exists somewhere in the middle; as long as there are Jews in Venice, the attention will not rest on her.
Finally, depending on interpretation, Antonio could represent a marginalized character in The Merchant of Venice. The idea that homosexuality exists because our culture allows it to exist; what we often forget is this play is centered in Elizabethan culture where homosexuality is viewed differently. A reader focuses on Antonio’s references to love and assume he meant it in an intimate manner. In fact, “had not once a love” is referring to a friend-love (IV. I. 272). However, assuming Antonio was a homosexual and had deep feelings for Bassanio, he would be marked as an outside character. Evidence could point that, since Bassanio did not return these feelings, he marked Antonio as different. For this particular marginalized character, the final decision is based on reader’s preference. For me, I do not feel he had homosexual intentions. Antonio did love Bassanio, but as a best friend—one whom he would do anything for.
The Merchant of Venice provides excellent looks at the marginalized character because two of the central figures (i.e. Shylock and Antonio) fit the criteria. Hayfield mentioned, however, that the misconception falls when one tries to categorize the outsider. This task is difficult to accomplish; in this particular play, the characters can either be accepted or rejected. In fact, as stated by Gary Rosenshield, “the question…is not whether Shylock can become a Christian but whether Antonio can be both a Christian and a merchant; that is, a merchant and not in some way also a Jew” (29). Deciding where the margin is for these characters is what gives this play depth, and as I’ve already mentioned, this decision comes down to a reader’s preference.
Works Cited
Cohen, Paula M. "Shylock, My Students, and Me: What I've Learned from 30 Years of Teaching The Merchant of Venice." American Scholar 79.1 (2010). MasterFILE Premier. 4 Oct. 2010.
Hadfield, Andrew. Rev. of Blood Relations: Christian and Jew in "The Merchant of Venice", by Janet Adelman. Comparative Drama (2009): 412-14. MasterFILE Premier. 4 Oct. 2010.
Metzger, Mary. “’Now by My Hood, a Gentle and No Jew’: Jessica, The Merchant of Venice, and the Discourse of Early Modern English Identity.” Modern Language Association 113.1 (1998 January): 52-63. JSTOR. 18 November 2010.
"Religion." The Merchant of Venice: Texts and Contexts. William Shakespeare. Ed. M. Lindsay Kaplan. Boston: Bedford/St. Martin's, 2002. 241-310.
Rosenshield, Gary. "Deconstructing the Christian Merchant: Antonio and The Merchant of Venice." Shofar: An Interdisciplinary Journal of Jewish Studies 20.2 (2002): 28-52. Academic Search Premier. 4 Oct. 2010.
Shakespeare, William. “The Merchant of Venice.” David Bevington, Ed. Boston: Bedford/St. Martin’s. 25-119.
Hayfields statement that the Jew is the original stranger within Christianity is very interesting even beyond the context of this play. You ask how Shylock can be the stranger inside the Christian faith and I am wondering if this statement is alluding to the fact that Christianity stems from Judaism. To me the Jew certainly seems the outsider in what you have brought to light in this post, particularly with Shylocks monologue. Also, the fact that Shylock was forced to convert as a part of his punishment emphasizes that religion was certainly a point of contention for these two.
ReplyDeleteAs far as Antonio’s possible homosexual feelings for Bassanio, while certainly plausible I would argue that it is irrelevant to the play. Other characters did not react to him in the negative way that would have been expected at the time. I take this to mean that if he was gay, Shakespeare had characters reacting to it in a utopian manner rather than a realistic one for the times. And what would that then say about the author? Are the rumors about him true or was he simply a good humanitarian? As you stated, it comes down to readers’ preference. Good post with lots to think about.
Kyle,
ReplyDeleteI can understand how Shylock is the stranger within the Christian religion. Everyone around him is basically connected through their religious beliefs. What I don’t understand is how Shylock avoided conversion and chose to remain the outside on the inside. Even his own daughter, Jessica, ended up converting.
I am so surprised you even mentioned Antonio’s possible homosexual tendencies considering you get so mad every time Dr. Dahlberg brings it up! I am kidding of course; it is actually really good of you to try look at every angle possible.
Good use of sources here Kyle! I enjoyed reading your quotes.
Kyle,
ReplyDeleteI find that once again you've gone over and beyond in your way of defining the assignment we were given. It is interesting how you brought in Shylock and Hayfield for they're opinion on the topic although i think it would be interesting to get more of your take on the "other" in this play.
Nice Work all the same!
Kyle, I honestly believe with Steph about how above and beyond you went. Not a bad thing, but it makes me feel like I'm slacking...
ReplyDeleteAnyway, To THE MERCHANT OF VENICE. I'm not a fan of this play, and I know I've said that a few times. However, I've found similarities between our two plays--at least with the religion theme. Shylock is Jewish, and is therefore the outsider. Othello is a Moor--although he converted like Jessica--he's still identified as a Moor. This is kind of interesting and I've noticed it's kind of a common theme among Shakespeare's plays.
I love how you incorporated job status as "otherhood" (to use the word you used in conversation today) as well. It sheds light upon another facet that I didn't think about while I was writing about Othello. Of course, each play has to have different forms of "otherdom" so things do not get boring.
Good job and an interesting read!