The Role of Money in The Merchant of Venice

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Abstract

This study explores the intricate relationship between money and human identity in
Shakespeare's "The Merchant of Venice." The play delves into how wealth influences
characters' decisions and behaviors, encompassing themes of power dynamics,
morality, and marriage. The narrative centers around wealthy merchant Antonio and
his financial support for Bassanio's courtship of Portia. However, a conflict with the
Jewish moneylender Shylock over a debt exposes money's corrosive potential. The
research emphasizes Shakespeare's keen insight into human nature and society. By
analyzing how money shapes characters' identities and relationships, the study
highlights the enduring relevance of wealth's influence on individual and societal
dynamics.

Keywords: Money, Identity, Power Dynamics, Moral Complexities, Interpersonal

Relationships, Wealth and Status, Character Development, Love, Justice, Human
Nature, Societal Norms, Greed, Ambition

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 Table of Contents

Abstract.........................................................................................................................2
1. Introduction...............................................................................................................4
2. Money and Power......................................................................................................5
2.1 Stingy Sherlock's morbid obsession with financial power..........................................6
2.2 Noble Antonio who disregarded money and power....................................................8
2.3 Courageous Portia subverts the authority of money and power.................................11
2.4 Bassanio resists the temptation of wealth and power on the way to pursue true love...13
3. Money and Morality................................................................................................15
3.1 Are there rich and absolutely good people?.............................................................15
3.2 Is Shylock an absolutely evil person?.....................................................................17
3.3 Morality may win money too.................................................................................19
4. Money and Marriage...............................................................................................21
5. Relationship between Antonio and Bassanio............................................................23
5.1 Homosexual Desire for Bassanio...........................................................................23
5.2 Subtle Expressions of Affection.............................................................................24
5.3 Societal Constraints and Repressed Desires in The Merchant of Venice.....................25
6. Relationship between Antonio and Shylock（financial relationship）.....................26
7. Relationship between Bassanio and Portia (marriage)..............................................28
7.1 The Power of Wealth in Courtship.........................................................................28
7.2 Love Beyond Wealth............................................................................................28
7.3 Deception, Wealth, and Power Dynamics...............................................................29
7.4 Conflict, Resolution, and the Interplay of Love and Money......................................29
8. Conclusion...............................................................................................................30
Bibliography................................................................................................................31

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1. Introduction

Since ancient times, the far-reaching influence of money has been considered not only
to shape personal, social, and relational structures, but in the classic tragedy The
Merchant of Venice, money is endowed with the power to penetrate the power, moral,
and emotional spheres. As embodied by the characters in this story, money becomes
an influence that transcends the boundaries of time and shapes the structures of
individuals, societies, and relationships. Whether it is the wealthy businessman
Antonio or the Jewish moneylender Shylock, they all operate under the guidance of
money. Money plays a decisive role in marital decisions, friendship tests, and moral
tangles. These characters are not just slaves to money, their choices and decisions
push them to the intersection of power, responsibility, and emotion. In this dramatic
context, money becomes a symbol, a mirror to peek into the desires and contradictions
deep in human nature.

The intricate interplay between money and human identity is explored in depth in The
Merchant of Venice. Through a rich narrative, the play delves into the multifaceted
ways in which wealth affects characters' decisions and actions, resulting in a series of
themes that revolve around the core concept of money. Among these themes, the play
delves into how money would affect power dynamics, moral dilemmas, and the
institution of marriage in the sixteenth century.1 Meanwhile, Shakespeare's elaborate
narrative weaves intricately together themes of power, morality, and marital love, all
interwoven in a tapestry of financial transactions. The core of the story revolves
around the wealthy businessman Antonio, who provides financial support to his
companion Bassanio in order to attract the wealthy heiress Portia. However, Antonio's
inability to repay the funds he borrowed from Shylock, a Jewish usurer, sparked a
violent conflict in which Shylock demanded a pound of Antonio's flesh as
compensation. This dramatic climax starkly illustrates the corrosive power of money
and how it can fuel individual greed.

1
Jonathan Dollimore, ‘Review of Radical Tragedy: Religion, Ideology and Power in the Drama of
Shakespeare and His Contemporaries.’, Shakespeare Quarterly, 38.4 (1987), 522–24 (pp. 171–75)
<https://doi.org/10.2307/2870432>.

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William Shakespeare was a keen observer of human nature and social dynamics. In
fact, Shakespeare's works are often seen as a mirror of the society of his time, as the
phrase "Sherlock is Shakespeare" is often used to emphasize the complexity of
Shakespeare's characterization and the ability of his characters to reflect human
complexity and society Dynamic.2

This dissertation examines Shakespeare's account of the role money plays in shaping
characters' identities, behaviors, and relationships in The Merchant of Venice. By
delving into the show's nuanced depiction of power dynamics, moral complexities,
and interpersonal bonds, this study seeks to uncover the inner meaning of the presence
of money in The Merchant of Venice. As characters navigate the tides of business,
love, and justice, their trajectories reflect the timeless interplay between wealth and
status in our world. In unraveling these narratives, we aim to gain insight into how the
themes of this 16th-century drama continue to resonate in modern human experience,
urging us to consider the enduring significance of money in shaping who we are. 3

2. Money and Power

Shakespeare's The Merchant of Venice delves deeply into the relationship between
wealth and political influence.4 The Jewish moneylender Shylock has a disagreement
with the famous Antonio, a wealthy merchant, about money. Bassanio, an influential
and rich friend of Antonio's, has his sights set on the wealthy heiress Portia, whose
fortune gives her a position of authority. Wealth and influence are intertwined
throughout The Merchant of Venice's wide group of characters and their complex
relationships. It is also a prestige and authority sign. Characters like Shylock and
Antonio utilise their riches to exert power over others, while wealthy characters like
Portia and Bassanio use their wealth to advance themselves socially and politically.
2
Kenneth Gross, ‘Shylock Is Shakespeare’, in Shylock Is Shakespeare (University of Chicago Press, 2008), p.
164 <https://doi.org/10.7208/9780226309927>.
3
Gross, p. 165.
4
Min Jiao, ‘The Melancholy of Antonio in The Merchant of Venice: From the Perspectives of Usury and
Credit’, Theoretical Studies in Literature and Art, 42.4 (2022), 172–80 (p. 175).

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The corrupting influence of riches and the temptation of power are highlighted by the
characters' fixation on these two factors.

2.1 Stingy Sherlock's morbid obsession with financial power

The stormy connection between Antonio and Shylock is emblematic of the play's
examination of the nexus of wealth, prestige, and privilege. To retain their position at
the top, people at the top will frequently abuse those at the bottom, as shown in the
play, which highlights this relationship between wealth and power accumulation and
systemic inequality.5 The play's protagonist and antagonist both exploit their financial
status as a means of power and manipulation.6 Jewish moneylender Shylock uses
money as a means of maintaining his position and gaining dominance over others. The
fight between the smart usurer Shylock and the kind merchant Antonio shows how
money can hurt a person's freedom, ties with other people, and job goals. An
complicated tango of power relations influenced by money, contracts, and grudges.
Numerous pathways to authority and control are revealed by examining the intricate
relationship between power and financial influence.

Shylock, the Jewish moneylender, is a classic example of the corrupting influence of

wealth. He was a Jewish moneylender, a "bizarre master of thrift" who made a killing
off of people's misfortune and whose business model relied on the kind of usury that is
forbidden by Christians.7 Although the fortune he amassed afforded him some sway in
Venetian society, the standing of Jews was low against a backdrop of intense anti-
Semitism. Jews in Venice were required to wear red hats in public and were
prohibited from owning property. And they are not allowed to leave or access certain
areas. This is a form of abuse against people's freedoms. Shylock, a very religious
Jew, is denied the liberties accorded to Christians despite his enormous riches. “Has
not a Jew eyes?”, Sherlock asks in his heartfelt monologue, “What kind of person does

5
Adeline A. Allen, ‘Sperm and Eggs in Consideration of Money: A Pound of Flesh for Three Thousand
Ducats?’, Indiana Health Law Review, 19 (2022), 275 (p. 171).
6
Filip Krajník, ‘Reading Shylock’s Dream: A Pathological Miser or an Anxious Dream Interpreter?’, 2021,
43–50 (pp. 46–48).
7
Gross, p. 165.

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not have hands, organs, dimensions, perceptions, emotions, and passions?”. His
speech in Act 3, Scene 1 reveals his dissatisfaction with money, power,
discrimination, and a profound reflection on the intersection of common humanity by
expressing his displeasure with the unequal treatment of Jews and Christians and his
belief that all people are the same human beings and should enjoy the same rights.

The intricate link between financial power and social prestige is reflected in Shylock's
speech, which he delivers as a Jewish moneylender in a society afflicted by religious
discrimination in both the 16th century and the present day. As a Jew, Shylock faced
prejudice and discrimination, and his job as a moneylender only solidified his social
isolation.8 Shylock, a moneylender, possessed economic power (sometimes linked
with influence) yet was nevertheless influenced by his bigotry. This demonstrated how
vulnerable Jewish power was at the time, especially when compared to the long-
lasting effects of societal prejudice. Sherlock, despite his marginalisation and social
disgrace, defends his religious views by exercising his legal right to manipulate
commercial commitments. He made it clear in the contract that he expected Antonio
to give him a pound of flesh and blood in court, and declare, "You snuff out my
existence when you cut off my oxygen supply." When Shylock insists on abiding by
the letter of his agreement to extract a pound of flesh (Shylock, Act 4, Scene 1).

Because he feels Antonio and other Christians have insulted and discriminated against
him, and because he is now in a position of power, he wants to exact retribution by
doing this, his comments convey his desire for his rights. And to let out steam on
behalf of all Jews and their superior, discriminated-against ideals in general. Shylock
represents the pinnacle of Jewish liberties at this juncture. Since he is Jewish, he is the
first person who has the moral high ground to condemn Antonio, a Christian who had
hitherto kept his distance. Shylock would sacrifice anything for his hard-won power.
He flatly rejects Bassanio's proposal of double pay in exchange for executing the
power he seeks. This not only depicts Sherlock's social marginalisation in a world full
of prejudice and hatred, but also his insensitivity to money and desire for power un the

8
Allen, p. 221.

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culture of the period. Taking what he sees as a justifiable and cruel revenge on
Antonio. Here, financial leverage and legal authority come together to show how
dramatically money can swing the scales of justice. In the story's finale, Portia,
however, dressed as a man, emerges and somehow reverses Sherlock's legal privileges
with her amazing cleverness and courage, compelling him to give up himself despite
the fact that he is obviously a Jew who stands at the pinnacle of money and power.
Liberty, wealth, and one's very convictions. The play ultimately shows that while
money may be a potent instrument, it must be used cautiously to prevent undesirable
outcomes.9

2.2 Noble Antonio who disregarded money and power

Sherlock utilises money as a means to immense power. If Shylock's authority stems

from his financial resources rather than his social rank, then the other characters in the
play, most notably the play's protagonist Antonio, are aware of this and often take
advantage of it.10 Antonio's character holds a singular place in the play's power
dynamic, with influence deriving from his recognised social rank, status among
merchants, and respected connection, in contrast to Shylock's, who derives his power
from his money. He was a respected member of the commercial elite and was much
admired by his contemporaries. That put him in contact with powerful people and
allowed him to have a say in important matters, including business dealings. The
credibility of his established social standing gives his comments added weight, which
contributes to his overall influence. This differentiates him from other characters like
Sherlock and highlights the diverse nature of power within a societal context,
illustrating how various manifestations of power embody and affect the trajectories of
their respective subjects. The intricacies of power and influence in the play's social
structure are encapsulated in Antonio's role and responsibilities.

9
Huey-ling Lee, ‘The Social Meaning of Money in Dekker’s The Shoemaker’s Holiday and Shakespeare’s
The Merchant of Venice’, Comparative Drama, 49.3 (2015), 335–66 (p. 336)
<https://doi.org/10.1353/cdr.2015.0035>.
10
Jonathan Baldo, ‘Economic Nationalism in Haughton’s Englishmen for My Money and Shakespeare’s The
Merchant of Venice’, Multicultural Shakespeare, 13 (2016), p. 27 <https://doi.org/10.1515/mstap-2016-
0005>.

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Antonio's approach to power, in contrast to Shylock's use of money as a weapon, is
based on his connections and his standing in the community. Antonio's influence
throughout the play comes from his status and relationships throughout the business
community. Antonio, in contrast to Shylock's penchant for hoarding his fortune,
invests it in a number of various enterprises, as seen by his declaration,
"Believe me, no: I thank my fortune for it,
My ventures are not in one bottom trusted,
Nor to one place; nor is my whole estate
Upon the fortune of this present year:
Therefore my merchandise makes me not sad." (Act 1, Scene 1)
This monologue shows Antonio expressing his confidence in his diverse business
ventures, showing that his wealth is not concentrated in one business or one location.
His statements reflect his sense of financial security and independence, which is also a
manifestation of unconscious power and authority. He does not tie his entire well-
being to a single enterprise. At the same time, he is willing to ask his friends
(especially Bassanio) to borrow money without interest, which also reflects that he
puts friendship above money. In the original text, Antonio said:
"Shylock, albeit I neither lend nor borrow
By taking nor by giving of excess,
Yet to supply the ripe wants of my friend,
I'll break a custom. Is he yet possess'd
How much ye would?" (Act 1, Scene 3)
This shows his generosity and emphasizes his position of authority. He puts the
happiness of his friends first, abandons money, and even entrusts Shylock with his
own life and death, which reflects the sharp contrast between Antonio's selflessness,
disregard for money and power, and Shylock's rich and powerful character. Indeed,
the contrast between these two characters is resoundingly clear. Antonio, though
undoubtedly possessing the means and potential for amassing wealth and wielding
power, consciously eschews their pursuit. On the other hand, Shylock exhibits a
compulsive and almost pathological desire for monetary wealth and the control that
accompanies it. The divergence in their values and motivations serves to place them at

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diametrically opposing ends of the spectrum. What's intriguing is how effortlessly
Antonio could wield both money and power, yet remains nonchalant about their
allure, while Shylock becomes consumed by their pursuit, to the detriment of his
humanity. Intriguingly, Antonio's willingness to employ his resources for the
betterment of those he holds dear not only underscores his moral compass but also
reveals the driving force behind his influence. 11 His power is not anchored in the
accumulation of riches, but rather in his ability to positively impact the lives of others.
This subtle yet impactful application of power is a testament to his character's depth
and serves as a compelling commentary on the nuanced relationship between power,
ethics, and the human spirit.

However, Antonio's strength is not without its weaknesses. His wealth is intrinsically
linked to the success of his business venture, as evidenced by the loan he takes from
Shylock to aid Bassanio. The correlation between his finances and influence is a
reminder that his power depends on his financial stability. The challenges he faced
subsequently, including the threat of losing his wealth and well-being over the terms
of his loans, exposed the fragility of a power that rests solely on economic prosperity.
Antonio's character is a microcosm of the show's broader social power dynamics. His
interactions with Sherlock highlight the tension between social status and financial
influence, and Sherlock embodies a different form of power through money lending. 12
Antonio's character prompts the reader to think about the complex interplay between
these two sides of power, and the extent to which they shape his actions and
interactions.

The exploration of Antonio's powers transcends the show's Renaissance setting to

resonate with contemporary discussions of the dynamics of authority and influence.
The relationship between social status, relationships, and financial stability is still
relevant in modern society. Antonio's character in The Merchant of Venice invites

11
Maxine MacKay, ‘The Merchant of Venice: A Reflection of the Early Conflict Between Courts of Law and
Courts of Equity’, Shakespeare Quarterly, 15.4 (1964), 371–75 (p. 372)
<https://doi.org/10.2307/2868095>.
12
Alice N. Benston, ‘Portia, the Law, and the Tripartite Structure of the Merchant of Venice’, Shakespeare
Quarterly, 30.3 (1979), 367–85 (p. 379) <https://doi.org/10.2307/2869472>.

10
readers to reflect on the complex nature of power, its intersections and vulnerabilities
and ultimately encourages reflection on the true sources of lasting influence in a world
shaped by both wealth and reputation.

2.3 Courageous Portia subverts the authority of money and power

"However, it's not just the show's plutocrats who use money to gain power. Portia was
a wealthy heiress who also used her wealth to manipulate those around. 13 The
character of Portia's father employs a clever strategy, interweaving concepts of money
and power. During his succession, he devised a test for potential suitors, forcing them
to choose a casket with Portia's picture out of three coffins, and whoever chose it
would win her heart. By doing so, Portia is able to assert her power and control the
situation, a deceptively romantic challenge at its core that demonstrates the power of
wealth and inheritance over personal choices and relationships. A vast legacy of
wealth is itself an expression of power—a legacy that gives Portia the power to shape
her own destiny, and the play also emphasizes the role of money in maintaining social
hierarchies.14 This act of arranging a marriage trial underscored the social norms of the
time that economic considerations and favorable alliances were essential to forming a
marital union. Seduced by Portia's vast wealth and the power associated with her
position, the suitor is forced to make a life-altering decision. Each box is inscribed
with a cryptic message, suggesting the deceitfulness of appearances and emphasizing
the potential consequences of their choices. In this case, money becomes the key to
power, as suitors face the challenge that their choices will determine whether they
gain wealth, status, and the privilege of marrying Portia. In the end, Bassanio, who
chose the most common lead casket, won Portia's hand, money, and rights. This plot
challenges the concept that money equals power and implies that real power comes
from one's own heart.15 Moreover, this test, orchestrated by Portia's father, shows that
money can perpetuate social hierarchies. In the play, characters' relationships with

13
Richard Harp, ‘Love and Money in The Merchant of Venice Modern Age’, 52 (2010), 37–44 (p. 39).
14
Lee, p. 338.
15
Carlos Rodriguez Braun, ‘Money and Contract in The Merchant of Venice’, Journal Des �conomistes et
Des �tudes Humaines, 15.1 (2009), p. 22 <https://doi.org/10.2202/1145-6396.1219>.

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money reveal their true nature and motivations.16 His challenge designs are based on
seemingly arbitrary choices that reflect the superficial judgments that often underpin
power dynamics and the true motivations of suitors. Suitors have the opportunity to
prove their worth and true love to Portia through their decision, implicitly
acknowledging that wealth and social status are factors in their marriage eligibility. In
a wider context, Portia's father's legacy echoes the pervasive influence of money and
power in both historical and contemporary society. Marital unions based on economic
considerations are still a reality, albeit with varying degrees of subtlety. This narrative
thread reflects the intricate interplay of personal choices, social norms, and power
wielded by economic resources.

Essentially, the coffin test in The Merchant of Venice embodies the inseparability of
money and power. This episode starkly highlights how the wealth that surrounds us
can have a profound impact on personal decisions, relationships, and personal destiny.
Through this narrative, Shakespeare deftly weaves together themes of inheritance,
choice, and social dynamics shaped by financial resources, showing how money and
power warp human judgment and thinking so that those who are seduced do not lead
to tragedy. This plot not only depicts the complex relationship between money and
power but also sublimates it into a profound discussion of desire, choice, and human
nature. Through the test of the coffin, Shakespeare explains how money and power
become the temptation of human will, and how desire and reality are entangled, thus
revealing that the pursuit of true self-worth is the ultimate destination.17

At the play's climax, Portia acquires power not just via financial means, but also
through her cunning and intelligence.18 Because of her disguise, Portia is able to
practise law in court despite the sexist attitudes of the day. She pretends to be a man
so that she can use her inheritance and power in industries that have historically been
controlled by men. This interplay exemplifies how her financial status gives her the

16
Lee, p. 363.
17
Barbara K. Lewalski, ‘Biblical Allusion and Allegory in “The Merchant of Venice”’, Shakespeare Quarterly,
13.3 (1962), 327–43 (p. 336) <https://doi.org/10.2307/2866826>.
18
Qi Sun, ‘An Interpretation of Multiple Values in Shakespeare’s The Merchant of Venice’, Journal of
Higher Education Research, 76 (2022), p. 21.

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freedom and influence to ignore normative expectations. Inequality in society is a key
theme in The Merchant of Venice, and the play finally demonstrates that financial
resources are not the sole means to an end. 19 Wisdom and forethought are also
essential. Portia's ruse and intervention, in the grand scheme of the show is themes,
highlight the ways in which wealth can be a source of power and influence, providing
a narrative thread that encourages contemplation of the ways in which wealth may be
used to alter social relations and even to create a whole new social order. Establish
proper legal processes. Portia's deeds in this respect show the transformational power
of money and the manner in which it can be used to control power structures.

2.4 Bassanio resists the temptation of wealth and power on the way to pursue true love

Bassanio's role in The Merchant of Venice is a compelling outlet for exploring the
narrative's intricate dance between money and power. Bassanio's pursuit of Portia
undeniably exemplifies the fusion of pecuniary means and the pursuit of power. He
decides to compete for her affection because he realizes that marrying her not only
fulfills his love but also enhances his social status. In the original text, Bassanio once
said to his friend Antonio:
"In Belmont is a lady richly left,
And she is fair, and, fairer than that word,
Of wondrous virtues."(Act 1, Scene 1)
The power dynamic between Bassanio and Antonio is reflected in his dependency on
Antonio's wealth. He has a noticeable impact on Antonio. Bassanio's love for Portia
may not have been so pure at the beginning, what with all his peeking and Missing, as
suggested by the phrase "a woman richly left." This reflects the value placed on
wealth and authority at the period and might even alter people's concepts of romantic
love. Bassanio, a poor nobleman, finds the ideal wife in Portia because of her wealth,
influence, and attractiveness. Through the ages, authors have inspired readers with
many tales of love that were motivated by wealth and influence. Such is the case with
Pamela, the protagonist of a story written in the 18th century, who defies her wealthy
19
Simon Critchley and Tom McCarthy, ‘Universal Shylockery: Money and Morality in The Merchant of
Venice’, Diacritics, 34.1 (2004), 3–17 (p. 15) <https://doi.org/10.1353/dia.2006.0017>.

13
employer Mr. B.'s attempts to pursue her and ultimately wins his heart. The narrative
examines the conflict between wealth, influence, and true love. 20 Money and power
have the potential to warp love, or even destroy it. They might end up being the acid
test that reveals who each person really loves under pressure. The lure of material
success and social advancement, along with Bassanio's genuine feelings for Portia,
may cause him to mislead others about his true intentions. Bassanio is put through a
crucible that will reveal his actual character and the depth of his love. To represent the
many layers of decision-making impacted by material and emotional considerations,
the Coffin Test is selected from among gold, silver, and lead coffins. The ultimate
selection of the lead coffin represents his understanding that material success and
attractiveness are not prerequisites for romantic success. 21 This incident highlights his
understanding of the peril of allowing wealth and status to influence his personal
relationships.

Money's influence on power dynamics is examined concisely in Bassanio's decisions

and their results, which may be read about with ease in The Merchant of Venice. His
persona grounds the drama in both its historical setting and the ever-present
importance of money in determining social standing. As Bassanio's story progresses,
the reader is challenged to reflect on the repercussions of power and the costs of
pursuing it. An in-depth analysis of the complex relationships between wealth,
authority, and the human psyche.

3. Money and Morality

3.1 Are there rich and absolutely good people?

The Merchant of Venice continues a historical trend in which the intersection of

wealth and morality is central to the plot. The play examines the effects of placing
one's financial interests ahead of all others and the link between money and moral

20
John S. Coolidge, ‘Law and Love in The Merchant of Venice’, Shakespeare Quarterly, 27.3 (1976), 243–63
(p. 252) <https://doi.org/10.2307/2869499>.
21
Lewalski, p. 330.

14
behaviour.22 Many of the characters' choices are motivated by financial concerns, yet
the issue remains: Is it possible to be wealthy and charitable? Even on his best day,
Sherlock is evil, selfish, and stubborn in "The Merchant of Venice." He is filthy rich,
yet has no redeeming qualities whatsoever. The goal of Flesh and Flesh shows how
people will do immoral things to make money. He was a Jewish moneylender in a
Christian culture, and he felt he had been treated unfairly. This desire for retribution
drove his acts. In the play, he says:
Signior Antonio, many a time and oft
In the Rialto you have rated me
About my moneys and my usances.
Still have I borne it with a patient shrug,
For suffering is the badge of all our tribe.
You call me misbeliever, cutthroat dog,
And spit upon my Jewish gaberdine,
And all for use of that which is mine own.
Well then, it now appears you need my help.
Go to, then. You come to me, and you say
'Shylock, we would have moneys.' You say so,
You that did void your rheum upon my beard
And foot me as you spurn a stranger cur
Over your threshold. Moneys is your suit.

What should I say to you? Should I not say

'Hath a dog money? Is it possible
A cur can lend three thousand ducats?' Or
Shall I bend low and in a bondman's key,
With bated breath and whispering humbleness, Say this—
'Fair sir, you spit on me on Wednesday last;
You spurned me such a day; another time
You called me dog; and for these courtesies
22
Robin Russin, ‘The Triumph of the Golden Fleece: Women, Money, Religion, and Power in Shakespeare’s
The Merchant of Venice’, Shofar, 31.3 (2013), 115–30 (p. 127).

15
 I'll lend you thus much moneys'(Act 1, Scene 3)
In this passage, Shylock emphasizes the mistreatment, insults, spit and other immoral
behaviors he suffered from Antonio and his accomplices because of his Jewish
identity. He questions the morality of their actions, while also revealing his own views
on the loan and his rationale for this relative to Antonio's immoral approach. Personal
ethics, cultural prejudice, and the power of money all come into conflict in this
scenario. Antonio and Sherlock's behavior that they think they can vent their anger
seems reasonable in their own cognition, but the positions of these two characters are
completely opposite, so in the cognition and understanding of the other party, the
behavior of the other side is immoral.23 Antonio is a Christian businessman standing
on the high ground of morality. He has great kindness to his friends and colleagues,
and even has the noble and selfless spirit of being willing to sacrifice himself for the
happiness of his best friend Bassario. This seems to reflect that Antonio is a rich and
kind person, but Antonio’s kindness is targeted and limited. It can be seen from his
ruthless insults to Shylock and immoral behavior such as spitting that he has deep
discrimination against Jews. and disgust. Antonio's behavior of religious
discrimination cannot be regarded as kind and moral. Antonio may be rich and kind to
Christians but he must be immoral in the eyes of Jews who are discriminated against
by him, so Antonio is not a rich and absolutely kind character. 24 There are also many
rich and kind but not absolutely kind characters in the history of literature, such as Mr.
Darcy in Pride and Prejudice, who has a kind and compassionate nature but is
arrogant and indifferent because of his wealth and social status and the loving, helpful,
good-natured Laurie Laurence in Little Women. who showed some reckless behavior
because of a failed marriage proposal. Both of these wonderful characters prove that
rich and kind people Absolutely virtuous and moral people who exist and are rich do
not exist.

3.2 Is Shylock an absolutely evil person?

Since Antonio is not an absolutely good and moral character, is Sherlock absolutely
23
Braun, p. 4.
24
Critchley and McCarthy, p. 12.

16
evil and immoral? The answer is obviously no, as Shylock is a very devout Jew,
which is reflected in what he once said:
I will buy with you, sell with you, talk with you,
walk with you, and so following, but I will not eat
with you, drink with you, nor pray with you. [Act 1, Scene 3]
In this passage, Shylock expresses his firm adherence to the Jewish faith. He
expresses openness to business dealings and interactions with the likes of Antonio but
draws a line when it comes to sharing meals, drinks, and prayers with them. This
distinction underscores his dedication to upholding the boundaries of his religious
identity and beliefs, demonstrating his piety as a Jew. Can a devout believer be a
heinous person? For example, the historical figure and philanthropist Rebecca Gratz,
known for her philanthropic work and dedication to the Jewish faith. 25 In the play,
although Shylock seems to be very harsh and stingy with his daughter, he also places
her under house arrest. From the reader's point of view, this behavior is very selfish
and hateful. However, if we consider Shylock's point of view, we can see that this is to
prevent her from eloping with the Christian Lorenzo and converting to Christianity.
One can imagine how broken he would be as a father when his closest daughter
eloped with a Christian. Perhaps, in his opinion, house arrest is the best way to protect
his daughter and prevent her Jewish faith from being shaken. In Act 2, Scene 5,
Shylock expresses distress over Jessica's elopement, saying: “My own flesh and blood
to rebel!”

While Sherlock does not show apparent kindness to Jessica, his grief over Jessica's
departure somehow humanizes him and adds a layer of complexity to his character
even standing. The father's point of view might be seen as twisted and unyielding
devotion to his daughter. Charlotte may have to resort to house arrest if she wants to
keep her daughter close by, as factors such as one's family, religious affiliation, and
societal bias all influence an individual's ability to do so.

25
Judith Lewin, ‘Legends of Rebecca: Ivanhoe, Dynamic Identification, and the Portraits of Rebecca Gratz’,
Nashim: A Journal of Jewish Women’s Studies & Gender Issues, 10 (2005), 178–212 (p. 182)
<https://doi.org/10.1353/nsh.2005.0024>.

17
As a devout Jew, Shylock respects the Jewish Pentateuch, manages money reasonably
and earns interest. But he was insulted by Antonio as a "heretic" and a ferocious dog.
This raises the question of whether one's pursuit of wealth can be morally justifiable. 26
It is obviously reasonable for Jews with huge cash to make usury for profit, but usury
is not benevolent with Christianity. Persecution runs counter to the canon of others.
While Shylock's actions are motivated by a desire for money, they also raise important
ethical questions about the role of justice and kindness in society. 27 The circumstances
of Christian sixteenth-century Venice led to the appearance that his lending was
reprehensible. If there is a written contract or an oral agreement, it is reasonable and
reasonable even at the legal level to lend money and collect interest. 28 Therefore,
Shylock, who was misunderstood and discriminated against, deliberately wanted to
cut Antonio's "one pound of flesh and blood" as revenge and proud of Judaism, but the
final result was that Shylock did not get his wish in court. At the end of the fourth act,
the old man lost the money symbolizing power, his only daughter, and even the
devout Sherlock was forced to convert to Christianity and thus lost his most important
faith and soul as a Jew. shows that money is neither inherently good nor evil, but a
tool that can be used for any purpose.29 These many unfair and tragic experiences
reflect the "resentment" and "hate" behind Sherlock's "evil". The Jewish moneylender
Sherlock looks like a heinous "violent dog" and these details reflect the human touch
of this character, but in the eyes of Jews, Sherlock, who piously maintains the
underground status of Judaism, is a lonely "hero". It was just that the social
environment at that time did not understand his various behaviors and defined him as
a person without good intentions. Only from the perspective of Sherlock can we
discover the faint display of humanity.

3.3 Morality may win money too

26
Russin, p. 125.
27
James A. Arieti, ‘Magical Thinking in Medieval Anti-Semitism: Usury and the Blood Libel’, Mediterranean
Studies, 24.2 (2016), 193–218 (p. 197) <https://doi.org/10.5325/mediterraneanstu.24.2.0193>.
28
Braun, p. 5.
29
E. J. Hundert, ‘Money, Language and Thought. Literary and Philosophical Economies From the Medieval
to the Modern Era, by Marc Shell’, Canadian Journal of History, 18.3 (1983), 401–3 (p. 402)
<https://doi.org/10.3138/cjh.18.3.401>.

18
Another important character is Bassanio, who acts as a conduit for the investigation of
how money and morals have evolved through time. Shakespearean and modern
audiences alike will recognise this plot device as he pursues Portia at first for selfish
reasons. This highlights the everlasting allure of having a safe financial future. The
drama asks us to question the morality of wealth and the significance of money in our
own lives and in the world at large.30 But there is a catch to this ambition: can love and
integrity survive if one sacrifices their values for the sake of financial success? The
performance prompts thought-provoking discussions regarding the morality of riches
and the function of money in our daily lives. 31 Bassanio, the protagonist of the play, is
the most successful winner in life because of his charisma and distinctive personality.
The first connection between wealth and decency is established through Bassanio's
friendship with Antonio. Wanting money motivates the characters' actions, even if it
means sacrificing relationships and integrity to get it. 32 As an illustration, Bassanio
frequently begs Antonio for money:
BASSANIO:
So do I too, if it be not too much.
Brings me Antonio? (Act1, Scene1)
Bassanio's straightforward question "Bring me Antonio?" In the simple question
"Bring me Antonio?" This demonstrates Bassanio's deep bond with his friend Antonio
emotion. This inquiry is more than a casual inquiry; it demonstrates a deep connection
between them, marked by mutual understanding, loyalty and dependence. The
directness of Bassanio's questions reveals his unpretentious nature. He doesn't beat
around the bush and embodies authenticity -- a quality he's had throughout the play.
This transparent communication highlights his openness and lack of affectation. The
very fact that Bassanio sought Antonio showed an implicit trust in his friend's
unwavering support. It also introduces themes of dependency, hinting at the intricate
balance of friendship and financial concerns that underpin the narrative. In those
words lay the ambition that fueled Bassanio's desires—this was a year in which he

30
Hundert, p. 407.
31
Richard Halpern, ‘Bassanio’ s Bailout: A Brief History of Risk, Shakespeare to Wall Street’, SEDERI:
Yearbook of the Spanish and Portuguese Society for English Renaissance Studies, 24, 2014, 27–46 (p. 11).
32
Thomas C. Bilello, ‘Accomplished with What She Lacks’, Law & Literature, 16.1 (2004), 11–32 (p. 23)
<https://doi.org/10.1525/lal.2004.16.1.11>.

19
required the financial means to pursue his romantic aspirations. One of the central
themes of The Merchant of Venice is the idea of justice and fairness. The characters in
the play are constantly thinking about what is right and what is wrong, and how to
balance the desire for money and the sense of morality. 33 "So do I too, if it be not too
much," a seemingly innocuous line that foreshadows the show's broader themes --
money, friendship, morality and the intertwining of personal bonds and financial
pursuits. It was a subtle but powerful precursor to the complex moral volume that
came later.

To woo wealthy heiress Portia, his plea underscores the complex dynamics of
financial dependence and friendship. In order to win Portia's heart, Bassanio faces the
choice of three coffins. His decision to choose a lead coffin containing Portia's portrait
reflected his moral virtues. He follows Portia's father's riddle, which emphasizes the
importance of going beyond appearances and material possessions. This shows that
Bassanio values moral character over wealth, even in love. And because the Moroccan
prince who is distorted by money distorts his sense of morality, he also said in Act 2
and Scene 7: "All that glisters is not gold." (Act 2, Scene 7) These words come from a
speech given by the Prince of Morocco when he contemplates the coffin in Portia's
test of suitors. It's a reminder that appearances can be deceiving and that material
wealth isn't always the true measure of worth. This proves that the influence of money
can distort people's moral sense. It reminds us that while wealth and financial success
may be important, they should not come at the expense of our moral sense and
compassion.34 没写完

Portia：

The Merchant of Venice prompts us to engage in introspection over the influence of

wealth on our ethical principles and convictions. There is a delicate balancing act to
be struck between the pursuit of financial prosperity and the obligation to defend
33
Lewin, p. 12.
34
Arieti, p. 196.

20
ethical and moral ideals as we navigate the intricacies of today's society. 35

4. Money and Marriage

In William Shakespeare's The Merchant of Venice, money plays a significant role in

shaping the outcomes of several relationships. Portia's dealings with her suitors serve
as an example. In order to earn Portia's hand in marriage, her father has devised an
evaluation exam that includes picking a coffin from a set of three. 36 Each tombstone is
handcrafted and bears an individual inscription. However, the would-be newlyweds
must make a financial commitment before selecting a casket. This demonstrates the
correlation between the play's themes of love and marriage and material prosperity.
The financial situation has an impact on Jessica and Lorenzo's relationship. There is
an elopement between Shylock's daughter and Lorenzo, a poor Christian. Jessica is
from a prosperous merchant family. By fleeing with Lorenzo, she rejects her parents'
authority, abandons her religious beliefs, and loses her privileged social position. The
fundamental theme of the narrative is the destructive power of money, and the
protagonist's decision to reject her family's legacy and choose love over money is a
perfect example of this. One of the main characters in Draper (1934), Bassanio, places
a stress on money. Bassanio adores Portia and hopes to wed her someday. However,
he needs Antonio's help in borrowing money to see Portia at her home. In the play,
money is a central theme because of Bassanio's fixation on Portia's fortune. Bassanio's
romantic aspirations necessitate financial stability, therefore money plays a significant
role in the plot.37

Shakespeare addresses the economic problems of marriage at length in The Merchant

of Venice. The drama explores how one may use money to buy influence, popularity,
and even love. Because of her affluence, Portia receives interest from potential suitors.
In need of funds, Bassanio approaches Jewish moneylender Shylock. He plans on
35
Halpern, p. 3.
36
Peter Holland, ‘The Merchant of Venice and the Value of Money’, Cahiers Élisabéthains, 60.1 (2001), 13–
31 (p. 29) <https://doi.org/10.7227/CE.60.1.2>.
37
Ali Zaiter and Walid, ‘The Representation of the Jews and Others in Marlowe’s The Jew of Malta and
Shakespeare’s the Merchant of Venice on the Elizabethan Stage: Convention, Rhetoric , Sources and the
Spirit of the Age’ (Rochester, NY, 2020), p. 4 <https://doi.org/10.2139/ssrn.3616383>.

21
courting and eventually marrying Portia with the funds. Using money as a bribe to win
someone is heart is fraught with danger, as the play demonstrates. Shylock's daughter
Jessica runs away with Christian Lorenzo and takes much of his money with her.

This act not only leads to a strained relationship between Jessica and her father, but
also highlights the tension between different religions and social classes in the play.
Furthermore, the marriage between Bassanio and Portia is not without its
complications, as Bassanio's financial troubles and his dependence on Portia's wealth
threaten to strain their relationship. Overall, The Merchant of Venice suggests that
while money can provide opportunities and advantages in the pursuit of love and
marriage, it is not a guarantee of happiness or stability. The play raises important
questions about the ethics of using money to manipulate and control others, and about
the role of wealth in shaping social hierarchies and relationships. As such, the play
remains a thought-provoking exploration of the complex interplay between money and
marriage in Renaissance society.

Marriage in The Merchant of Venice is heavily influenced by financial status.

Bassanio wants to marry Portia since she is an heiress to a fortune. But Bassanio needs
money to court her, so he borrows it from his friend Antonio. This debt, which is
ultimately guaranteed by a pound of Antonio's flesh, is important to the story's
finale.38 Jessica and Lorenzo's marriage also shows the importance of money in a
union. The play's antagonist, Shylock, sees his daughter Jessica run away with the
play's Christian protagonist, Lorenzo. However, before she leaves, Jessica takes a
large sum of money from her father, emphasising the point that in this society, a
wealthy dowry is crucial for a happy marriage.39 Shakespeare's depiction of wealth
and marriage in The Merchant of Venice is illustrative of contemporary attitudes on
these topics. In Elizabethan England, many people saw marriage more as a business
deal than a romantic union founded on love. 40 The importance of a prospective

38
Coolidge, p. 258.
39
Susan L. Fischer and Eduardo Vasco, ‘Staging The Merchant of Venice in Spain (2015): Felicitous
“Romancing” with Money and Willful Ambiguity?’, Shakespeare Bulletin, 35.2 (2017), 317–34 (p. 327).
40
Brian Weinstein, ‘Shakespeare’s Forgivable Portrayal of Shylock’, Jewish Bible Quarterly, 35.3 (2007),
187–93 (p. 191).

22
spouse's financial stability and social standing is underscored by the play's focus on
Portia's wealth and Bassanio's need for money to win her hand. As a result, the play
emphasises the role that financial stability had in ensuring happy marriages at the
time.41

5. Relationship between Antonio and Bassanio

Antonio's depression has been the topic of heated academic discussion for decades. One
theory attributes his sadness to repressed homoeroticism for Bassanio, while another suggests
it stems from a Christ-like quest for spiritual purity.42 Subtle clues throughout the play lend
credence to either reading. Antonio's offer to "give [his] flesh, blood, bones" (Act 1, Scene 1)
for Bassanio's sake is reminiscent of Christ's crucifixion and, as such, might be seen as a
spiritual sacrifice. However, the identical statement might also be read as a declaration of
deep, possibly romantic, passion for Bassanio.

5.1 Homosexual Desire for Bassanio

According to Patterson, Antonio's deep depression stems from his unrequited or suppressed
gay affections for his best buddy Bassanio. 43 Antonio's remarks to Bassanio, "My purse, my
person, my extremest means / Lie all unlocked to your occasions," (Act 1, Scene 1) lend
credence to this reading. It is clear how much Antonio cares about Bassanio since he is
prepared to put his own financial security on the line to guarantee the loan. 44 Further
supporting the idea that Antonio's sorrow derives from unrequited romantic feelings for
Bassanio is the emotional weight of his goodbye speech to him in Act IV: "Say how I loved
you, speak me fair in death."

5.2 Subtle Expressions of Affection

41
Peter D. Usher, ‘Tubal, Shylock, and the Myth of Venice’, Pólemos, 12.2 (2018), 415–28 (p. 425)
<https://doi.org/10.1515/pol-2018-0023>.
42
Lee Trepanier, ‘Jews, Christians, and Commerce: A Symposium on The Merchant of Venice’, Perspectives on
Political Science, 43.4 (2014), 181–82 (p. 181) <https://doi.org/10.1080/10457097.2014.948729>.
43
Steve Patterson, ‘The Bankruptcy of Homoerotic Amity in Shakespeare’s Merchant of Venice’, Shakespeare
Quarterly, 50.1 (1999), 9–32 (p. 9) <https://doi.org/10.2307/2902109>.
44
Patterson, p. 10.

23
Shakespeare's nuanced language and actions in "The Merchant of Venice" beautifully convey
Antonio's love for Bassanio. Antonio's description of Bassanio as the "best condition'd and
unwearied spirit" (Act 1, Scene 1), as argued by Midgley, is more than just a compliment45; it
suggests a deep emotional connection and could be indicative of romantic longing within the
play's context.46

Antonio's willingness to make major sacrifices for Bassanio is consistent with the idea that
his sadness results from unrequited love. It is clear that he cares deeply for this person since
he is willing to put everything on the line for them, even his own life and fortune. 47 This is
emphasised further by Antonio's decision to enter into the risky pact with Shylock, placing
his own life in jeopardy in order to ensure Bassanio's happiness.48

Antonio's sacrifice of his fortune, which is integral to his social status and security,
demonstrates the depth of his love for Bassanio. He put Bassanio's pleasure and success
ahead of his own by making this sacrifice. Antonio's strong love and readiness to sacrifice for
Bassanio might be read as a representation of unmet romantic impulses, as suggested by
Sharp.49

Antonio's depression is exacerbated by the agony of loving someone who can not return his
feelings. The fact that Bassanio is always there, and Antonio knows their friendship will
never develop into something romantic, makes for a tragic situation. This unrequited love
only serves to deepen his despair by reminding him of a lost opportunity.50

Antonio's strong devotion and unrequited love for Bassanio are revealed via an analysis of his
symbolic sacrifices, such as his dangerous alliance with Shylock and the surrender of his
fortune. It is clear from Antonio's acts that he is suffering because he loves someone who

45
Graham Midgley, ‘The Merchant of Venice: A Reconsideration’, Essays in Criticism, X.2 (1960), 119–33 (p.
119) <https://doi.org/10.1093/eic/X.2.119>.
46
A.H. Gagiano, ‘Relationships in “the Merchant of Venice”’, Theoria: A Journal of Social and Political Theory,
71, 1988, 61–77 (p. 243).
47
Patterson, p. 11.
48
Trepanier, p. 181.
49
Ronald A. Sharp, ‘Gift Exchange and the Economies of Spirit in “The Merchant of Venice”’, Modern Philology,
83.3 (1986), 250–65 (p. 258) <https://doi.org/10.1086/391474>.
50
James O’Rourke, ‘Racism and Homophobia in “The Merchant of Venice”’, ELH, 70.2 (2003), 375–97 (p. 375).

24
does not love him back. Shakespeare, via these deaths, reveals the inner turmoil and pain that
unrequited love may cause.51

5.3 Societal Constraints and Repressed Desires in The Merchant of Venice

Antonio's depression in "The Merchant of Venice" can only be understood by learning about
the times in which Shakespeare wrote the play. Due to the period's strict moral rules, same-
sex inclinations were commonly repressed or stigmatised throughout the Elizabethan era. 52
Shakespeare's Antonio exemplifies how societal norms shaped not just individual action but
also fictional portrayals. His deep sadness is more than a quirky personality trait; it
exemplifies the inner and outer struggles of those whose dreams must remain hidden because
of prejudice.

Antonio and Bassanio's complex relationship symbolises Elizabethan society's suppressed

passions and traditions. While male friendships were widespread, the strength of Antonio's
feelings for Bassanio hint to much more. Some commentators, like Newman, see this as a
sign of romantic love, highlighting the limits of the time that prohibited people from freely
expressing their affections for one another.53 Antonio's obvious melancholy may be traced
back to his internal conflict caused by the time's cultural expectations, which enforced
adherence to traditional heterosexual standards.54

Shakespeare's sophisticated depiction of Antonio's depression is an allegory for the societal

consequences of suppressing one's own nature. The play challenges viewers to consider the
limitations and effects of society conventions via the lens of Antonio's emotional condition. 55
Through Antonio's actions, The Merchant of Venice reflects the emotional toll that cultural
conventions have on individuals.

Antonio's depression can also be understood as stemming from his search for self-knowledge.
Antonio's passion for Bassanio, according to this view, stems not just from romantic love but
51
Michael Ferber, ‘The Ideology of The Merchant of Venice’, English Literary Renaissance, 20.3 (1990), 431–64
(p. 431) <https://doi.org/10.1111/j.1475-6757.1990.tb01442.x>.
52
Herbert Bronstein, ‘Shakespeare, the Jews, and The Merchant of Venice’, Shakespeare Quarterly, 20.1
(1969), 3–10 (p. 3) <https://doi.org/10.2307/2868968>.
53
Karen Newman, ‘Portia’s Ring: Unruly Women and Structures of Exchange in The Merchant of Venice’,
Shakespeare Quarterly, 38.1 (1987), 19–33 (p. 27) <https://doi.org/10.2307/2870399>.
54
Gagiano, p. 61.
55
Holland, p. 13.

25
also from a desire to find meaning and fulfilment in his relationship with Bassanio. 56
Antonio's undying loyalty to Bassanio is an indication of his desire for purpose, as seen by
his readiness to risk all for him. According to Russin’s research, Antonio's strong relationship
to his family gives him a sense of self-worth and belonging.57

However, when compared to Bassanio's obvious feelings for Portia, Antonio's unrequited
love becomes more heartbreaking. This unrequited love is a sobering reminder of how same-
sex impulses were not just frowned upon but actively suppressed in Elizabethan society. 58
The deep depression that Antonio experiences in the play is symbolic of the inner strife and
suffering felt by those who struggle to achieve their dreams in a restrictive society. Antonio
has emotional and social issues because of his strong affections for Bassanio, which are at
odds with Bassanio's pursuit of Portia. The drama explores the complexity of love, cultural
expectations, and the inner pain of unrequited emotions via the figure of Antonio. 59
Unfulfilled goals are emphasised by the contrast between Antonio's secret wishes and the
reality of Bassanio's feelings for Portia, highlighting the existential agony and emotional
misery that such a mismatch might cause.60

6. Relationship between Antonio and Shylock（financial relationship）

The complex financial dealings between Antonio and Shylock in Shakespeare's "The
Merchant of Venice" are a microcosm of the larger social and economic dynamics of
Renaissance Venice. Their dealings with one another, which revolved mostly around loan and
borrowing, exemplified the development of economic ideology at the period.61

Antonio, a notable Venetian trader, is a model of the Renaissance merchant ideal. Trust,
personal reputation, and the importance of word-of-mouth agreements in commercial
transactions are all given high significance by this ethos, which has its origins in the customs
of the period.62 Antonio's willingness to forego interest and rely on verbal agreements when

56
James Shapiro, ‘Notes’, in Notes (Columbia University Press, 2016), pp. 231–88 (p. 248)
<https://doi.org/10.7312/shap17866-013>.
57
Russin, p. 119.
58
Bronstein, p. 4.
59
Shapiro, p. 232.
60
O’Rourke, p. 382.
61
Braun, p. 16.
62
Coolidge, p. 252.

26
lending shows his dedication to these time-honored methods. Such actions emphasised the
greater good of the community and mutual trust, and were not only monetary schemes.63

Shylock, by contrast, personifies the rising capitalist way of thinking. His lending philosophy
is defined by a dedication to the letter of the law, an emphasis on profit maximisation, and a
steadfast adherence to written contracts.64 Shylock's inflexible, profit-driven mindset, as seen
by his insistence on the "pound of flesh" as collateral in his contract with Antonio, is
indicative of the rising influence of capitalist ideals in Renaissance culture.65

Antonio and Shylock's divergent views on money reflect a larger cultural conflict between
established and innovative economic models. Shylock's strategies focus on private gain and
stringent contractual commitments, in contrast to Antonio's priorities of communal welfare
and interpersonal interactions.66 This contrast is an allegory for the tensions that arise
between the needs of the group and those of the individual in the business world.67

The broader cultural and social repercussions of these economic exchanges are also explored
in the play. These commercial contacts take place against the backdrop of Antonio's overt
anti-Semitism towards Shylock and the larger confrontation between Christian and Jewish
civilizations.68 Antonio and Shylock's business activities have deep cultural, theological, and
political implications beyond their surface level.

7. Relationship between Bassanio and Portia (marriage)

7.1 The Power of Wealth in Courtship

Portia's immense riches play a crucial role in Shakespeare's "The Merchant of Venice,"
particularly in her relationship with Bassanio. Love and monetary wealth are inextricably

63
Gagiano, p. 247.
64
Alessandra Marzola, ‘Which Is the Woman Here, and Which the Man? Economy and Gender in the Merchant
of Venice’, European Journal of English Studies, 1.3 (1997), 291–309 (p. 296)
<https://doi.org/10.1080/13825579708574393>.
65
Shapiro, p. 262.
66
Alexander Leggatt, The Cambridge Companion to Shakespearean Comedy (Cambridge University Press,
2002), p. 182.
67
Frederic Chapin Lane and Reinhold C. Mueller, Money and Banking in Medieval and Renaissance Venice:
Volume I: Coins and Moneys of Account (JHU Press, 2020), p. 289.
68
Janet Adelman, ‘Blood Relations: Christian and Jew in The Merchant of Venice’, in Blood Relations (University
of Chicago Press, 2008), p. 4 <https://doi.org/10.7208/9780226006833>.

27
linked in the casket challenge, in which suitors must select between gold, silver, and lead
caskets to win her hand.69 Portia's wealth is both a magnet for admirers and a litmus test for
those whose intentions are more purely monetary than romantic.

When Bassanio first pursues Portia, he does it out of financial desperation. He wants to marry
her so that he might inherit her money and end his financial difficulties (Braun, 2009).
Portia's comment to Bassanio, "So do I too, if it be not too much. / Bring me Antonio,"
reveals this economic foundation (Act 3, Scene 2). Portia thus admits the material side of
their connection, implying she is prepared to help Bassanio financially.

7.2 Love Beyond Wealth

As the play progresses, though, Bassanio's true feelings for Portia become clear. By selecting
a lead coffin, which implies placing a higher value on the worth of the individual than on
worldly belongings, he shows that his love for Portia goes beyond her riches. 70 The depth of
Portia's appreciation is matched by her own. Her boldness in posing as a lawyer to defend
Bassanio's best friend Antonio displays her undying devotion to him. Bassanio's lines,
"Madam, you have robbed me of all words; / Only my blood talks to you in my veins," are a
lovely summation of their deep emotional connection. (Act 2, Scene 3). This remark
emphasises how much more there is to their relationship than just money.71

7.3 Deception, Wealth, and Power Dynamics

The issue of deception is also explored in the play, with Portia and her maid Nerissa hiding
their identities during the trial. This elaborate charade, made possible by their means,
exemplifies how easily the wealthy may manipulate and control events. 72 "Wait a bit; there is
more. / This connection gives thee here not a drop of blood," Portia, posing as the lawyer

69
Lutz Berger, ‘From Universalism to Regionalism: The Question of the Break-Up of the Abbasid Empire
Revisited’, in The End of Empires, ed. by Michael Gehler, Robert Rollinger, and Philipp Strobl, Universal- Und
Kulturhistorische Studien. Studies in Universal and Cultural History (Wiesbaden: Springer Fachmedien, 2022),
pp. 281–91 (p. 285) <https://doi.org/10.1007/978-3-658-36876-0_12>.
70
Katharine Cleland, Irregular Unions: Clandestine Marriage in Early Modern English Literature (Cornell
University Press, 2021), p. 121 <https://doi.org/10.7298/3jgk-sh74>.
71
Newman, p. 28.
72
Marzola, p. 297.

28
Balthazar, tells Shylock. (Act 4, Scene 1) are examples of how her wealth allows her to make
strategic use of her legal expertise.73

7.4 Conflict, Resolution, and the Interplay of Love and Money

In "The Merchant of Venice," Bassanio's amorous hopes for Portia, a wealthy heiress, are
inextricably entwined with his financial position. In order to pay for his courtship of Portia,
he borrows money from his buddy Antonio's moneylender, Shylock. This choice, motivated
by Antonio's intense need to gain Portia's love, puts him in a dangerous position when he
finds himself unable to repay the obligation. Portia's money is what first attracts Bassanio to
her, but it is her brains and cunning that ultimately save Antonio from Shylock's fury as the
story progresses. The play examines the positive and negative effects that money can have on
interpersonal relationships, and this contrast between luxury and wit exemplifies this theme.
While Portia's wealth is obviously alluring, it is her wit and devotion to Bassanio that really
stand out, notably in her courtroom strategy for defeating Shylock. The play's happy ending
—where love and devotion ultimately prevail—strikes a sombre note by highlighting how
fleeting material success can be. Shakespeare seems to be implying that while money may
open doors and affect outcomes, real connections are forged over time via mutual respect and
appreciation. At the play's conclusion, we are reminded that true love is founded not on riches
but on respect and affection.

73
Coolidge, p. 251.

29
8. Conclusion

30
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Shakespeare, William, The Merchant of Venice, First Avenue Classics (Minneapolis, MN: First
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Relations (University of Chicago Press, 2008)
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Allen, Adeline A., ‘Sperm and Eggs in Consideration of Money: A Pound of Flesh for Three
Thousand Ducats?’, Indiana Health Law Review, 19 (2022), 275

Arieti, James A., ‘Magical Thinking in Medieval Anti-Semitism: Usury and the Blood Libel’,
Mediterranean Studies, 24.2 (2016), 193–218
<https://doi.org/10.5325/mediterraneanstu.24.2.0193>

Baldo, Jonathan, ‘Economic Nationalism in Haughton’s Englishmen for My Money and

Shakespeare’s The Merchant of Venice’, Multicultural Shakespeare, 13 (2016)
<https://doi.org/10.1515/mstap-2016-0005>

Benston, Alice N., ‘Portia, the Law, and the Tripartite Structure of the Merchant of Venice’,
Shakespeare Quarterly, 30.3 (1979), 367–85 <https://doi.org/10.2307/2869472>

Berger, Lutz, ‘From Universalism to Regionalism: The Question of the Break-Up of the
Abbasid Empire Revisited’, in The End of Empires, ed. by Michael Gehler, Robert
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Banking in Medieval and Renaissance Venice. Volume I. Coins and Moneys of Account.”
The Economic History Review 39 (1986): 489. doi:10.2307/2596378

Baldo, Jonathan, 2016. Economic Nationalism in Haughton’s Englishmen for My Money

and Shakespeare’s The Merchant of Venice. Multicultural Shakespeare.
doi:10.1515/mstap-2016-0005

Simon Critchley, Tom McCarthy, 2004. Universal shylockery: Money and morality in
The Merchant of Venice. Diacritics. doi:10.1353/dia.2006.0017

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Braun, Carlos Rodriguez, 2009. Money and contract in the merchant of venice. Journal
des Economistes et des Etudes Humaines 15, 1–23. doi:10.2202/1145-6396.1219

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Perspectives of Usury and Credit. Theoretical Studies in Literature and Art 42, 172–
180.

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doi:10.1353/cdr.2015.0035

Allen, Adeline A., 2022. Sperm and Eggs in Consideration of Money: A Pound of Flesh
for Three Thousand Ducats? Indiana Health Law Review 19, 275–314.
doi:10.18060/26406

Russin, Robert I., 2013. The Triumph of the Golden Fleece: Women, Money, Religion,
and Power in Shakespeare’s The Merchant of Venice. Shofar: An Interdisciplinary
Journal of Jewish Studies 31, 115–130. doi:10.1353/sho.2013.0070

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doi:10.31902/fll.42.2022.12

Halpern, Rick, 2014. Bassanio’s bailout: A brief history of risk, Shakespeare to Wall
Street. SEDERI 24, 27–45. doi:10.34136/sederi.2014.2

Hundert, E.J., 1983. Money, Language and Thought. Literary and Philosophical
Economies From the Medieval to the Modern Era , by Marc Shell. Canadian Journal of
History 18, 401–403. doi:10.3138/cjh.18.3.401

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the blood libel. Mediterranean Studies 24, 193–218.
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Élisabéthains: A Journal of English Renaissance Studies 60, 13–31. doi:10.7227/ce.60.1.2

Ali Zaiter, Walid, 2020. The Representation of the Jews and Others in Marlowe’s The
Jew of Malta and Shakespeare’s the Merchant of Venice on the Elizabethan Stage:
Convention, Rhetoric , Sources and the Spirit of the Age. Arab World English Journal
For Translation and Literary Studies 4, 69–81. doi:10.24093/awejtls/vol4no2.5

Weinstein, Brina., 2007. Shakespeare’s Forgivable Portrayal of Shylock. Jewish Bible

Quarterly 35, 187–191.

Usher, Peter D, 2018. Tubal, Shylock, and the Myth of Venice. Pólemos 12, 415–428.
doi:10.1515/pol-2018-0023

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Fischer, Susan L., 2017. Staging The Merchant of Venice in Spain (2015): Felicitous
“Romancing” with Money and Willful Ambiguity? Shakespeare Bulletin 35, 317–334.
doi:10.1353/shb.2017.0020

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of English Studies 21, 12–25. doi:10.1080/13825577.2016.1274540

Shakespeare. (2015). The merchant of Venice. First Avenue Editions, a division of

Lerner Publishing Group.

Auden, W.H (1965). Love and Usury in The Merchant of Venice. Four Centuries of

Shakespeare Criticism New York: Avon Books, 240-252.

(Jonathan, Dollimore. "Radical Tragedy: Religion, Ideology and Power in the Drama of
Shakespeare and His Contemporaries. " 1986. 71-75,5 pages)

(Gross, Kenneth. "Shylock is Shakespeare." University of Chicago Press, 2006. page164)

. He was a Jewish moneylender, the strange master of thrift, the profiteer of loss, and wealth
derived from usury which Christianity deems intolerable (Gross, Kenneth • 165).

Hath not a Jew eyes? Hath not a Jew hands, organs,

Dimensions, senses, affections, passions? "(Act 3, Scene 1)

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 "You take my life when you do take the means therefore by I live." - (Shylock, Act 4, Scene
1)

Therefore my merchandise makes me not sad." ( Act 1, Scene 1. )

Shylock, although I neither lend nor borrow

By taking nor by giving of excess,
Yet to supply the ripe wants of my friend,
I'll break a custom. Is he yet possess'd
How much ye would?" (Act 1, Scene 3)

"In Belmont is a lady richly left,

And she is fair, and, fairer than that word,
Of wondrous virtues."(Act 1, Scene 1)

(Richardson, S. 1740)

Signior Antonio, many a time and often

In the Rialto you have rated me
About my moneys and my usances.
Still have I borne it with a patient shrug,
For suffering is the badge of all our tribe.
You call me misbeliever, cutthroat dog,
And spit upon my Jewish gaberdine,
And all for use of that which is mine own.
Well then, it now appears you need my help.
Go to, then. You come to me, and you say
'Shylock, we would have moneys.' You say so,
You that did void your rheum upon my beard
And foot me as you spurn a stranger cur
Over your threshold. Moneys is your suit.

What should I say to you? Should I not say

39
'Hath a dog money? Is it possible
A cur can lend three thousand ducats?' Or
Shall I bend low and in a bondman's key,
With bated breath and whispering humility, Say this—
'Fair sir, you spit on me on Wednesday last;
You spurned me such a day; another time
You called me dog; and for these courtesies
I'll lend you thus much money'(Act 1, Scene 3)?

(Jane Austen's "Pride and Prejudice"1970)

(Louisa May Alcott', "Little Women", 2017)

I will buy with you, sell with you, talk with you,
walk with you, and so following, but I will not eat
with you, drink with you, nor pray with you. [Act 1, Scene 3]

(Lewin, Judith. 2005. Legends of Rebecca: Ivanhoe, Dynamic Identification, and the
Portraits of Rebecca Gratz. Nashim: a journal of Jewish women’s studies & gender issues.
10(10), pp.178–212.)

My own flesh and blood to rebel!(Act 2, Scene 5)

So do I too, if it be not too much.

Brings me Antonio? (Act1, Scene1)

And because the Moroccan prince who is distorted by money distorts his sense of morality,
he also said in Act 2 and Scene 7: "All that glisters is not gold." (Act 2, Scene 7)

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