Analysis of The Merchant of Venice: Literary Backdrop

Introduction:

Written somewhere between 1596 and 1597, Shakespeare’s The Merchant of Venice is a cultured drama with a dark underlying theme of social critique mixed with romantic comedy. Shakespeare’s examination of human nature and society is placed in the context of Venetian culture widely different genres and literary influences from past works, including Christopher Marlowe’s Jew of Malta, New Greek Comedy, and Roman adaptations of Plautus and Terence’s comedic conventions.

A. The Jew of Malta by Christopher Marlowe

Christopher Marlowe’s The Jew of Malta, published around 1589, is one of The Merchant of Venice’s most conspicuous literary forerunners. In both plays, the antagonists just forgo victory in a dramatic twist of fate, and a marginalized Jew takes pride in seeking violent retribution “against a professedly but questionably ‘Christian’ world” (Humphreys, 1987, p. 279). (Humphreys, 1987) For instance, comprehending Christopher Marlowe’s The Jew of Malta (c. 1589) is essential to comprehending how the Jewish character Shylock is portrayed in The Merchant of Venice. Daiches states that “by creating Shylock, (Shakespeare) was probably thinking of Marlow’e Jew of Malta” (p. 253)

The main character of Marlowe’s play, Barabas, is an affluent and evil Jew who uses slyness to get revenge on the State for stripping away his wealth. Barabas establishes a literary standard for Jewish generalizations in Elizabethan theater with his extreme villainy, which is portrayed through deceit, manipulation, and murder. Similar to Shylock in The Merchant of Venice, Barabas is portrayed as a victim and a villain who endures persecution for being a Christian and eventually takes drastic measures to exact revenge. Shakespeare, however, gives Shylock more psychological depth and nuance, which humanizes him and makes him a more likable character.

While Shylock shares some of the bitterness and desire for revenge seen in Barabas, his portrayal includes the significant monologue where he asks, “Hath not a Jew eyes?” (Act 3, Scene 1), which appeals to the shared humanity between Jews and Christians. This moment of introspection presents a significant departure from Marlowe’s one-dimensional villainy. Scholars note that while Shakespeare adopts elements of Marlowe’s characterization, he transforms the Jewish figure from an object of derision into a character whose plight highlights the prejudices of Venetian society (Lehmann, 2004). Shylock’s legal pursuit of Antonio is a product of societal injustice and personal suffering, making him a complex figure who oscillates between villainy and victimhood.

Moreover, the court scenes in both plays underscore a broader commentary on justice and the limitations of legal systems. While Barabas’s revenge escalates into unbridled violence, Shylock’s fate becomes a study of the contrast between legalistic justice and Christian mercy (Bate, 1998) which resulted in the forced conversion of Jewish Shylock to Christianity. It is stated in the play

Two things provided more: that, for his sake

He presently become a christian (Shakespeare, Act IV, Scene I, line 384-385).

Thus, both plays delve into the tensions between Christians and Jews, a reflection of the broader societal anxieties of Elizabethan England, where Jews were often marginalized and demonized.

Additionally, The Merchant of Venice resonates with the Jew of Malta in the depiction of the characters of Jessica and Abigail who betray their avaricious fathers in favor of a “Christian” devotion. Abigail in Jew of Malta and  Jessica in The Merchant of Venice, are both the young, attractive daughters of wealthy and much-vilified Jews;  who “are presented as “different” from their fathers—somehow less Jewish” (Beskin, 2007, p.ii) and they both fall in love with Gentile men and run from their religion and embrace to Christianity.

I shall be saved by my husband; he hath made me a

Christian (Shakespeare, Act III, Scene V, 16-17)

B. Comedic traditions of Greek New Comedy and its Roman adaptations:

In addition to Marlowe, The Merchant of Venice also references the comedic customs of classical Greece and Rome, specifically the Greek New Comedy and its Romanticized forms. Greek New Comedy, as represented by Menander (c. 342–291 BCE), centered on domestic scenarios, paranormal happenings, and young lovers overcoming challenges, typically culminating in a joyful conclusion. (Cantor, 2014)

The romantic plot-line of Bassanio and Portia, whose romantic drama is jam-packed with challenges and eventual triumph, is influenced by New Comedy. It echoes the comedic conventions of mistaken identities and deft resolutions characteristic of works such as Menander’s Greek comedy. (Cantor, 2014) This genre eschewed Old Comedy’s political and satirical tone and instead embraced a more romanticized vision of human relationships and social mobility. Additionally, the motif of mistaken identities and disguises, such as Portia and Nerissa dressing as men to enter the court, is a direct nod to the devices commonly used in Greek Comedy to drive the plot forward (Konstan, 1995).

Greek New Comedy conventions were adopted by Roman playwrights such as Plautus and Terence, who infused their style with heightened characters and complex narratives centered around miscommunication and deft situational manipulation. In The Merchant of Venice, Shakespeare appropriates and modifies these elements, most notably the use of disguises and legal sleight of hand in the courtroom scene where Portia, disguising herself as a male lawyer, overturns Shylock’s case. Cantor (2014) Plot devices common in Roman comedies such as Terence’s Phormio and Plautus’s Pseudolus are mirrored in this deft manipulation of identity and law. Similar to Shakespeare’s plays, Plautus’ comedies frequently deal with mercantile themes, deceit, and the difficulties of love.

The use of legalistic plotting and contractual bonds is one of the most striking similarities between Roman comedy and The Merchant of Venice (Cantor 2014) The play’s pivotal court scene, in which legal scheming decides Antonio’s fate, is reminiscent of Roman comedies’ preoccupation with deceit and the use of legal frameworks as a source of suspense and humor. Furthermore, Plautus’s comedies feature quick-witted and resourceful women, much like Portia, who skillfully interpret the law to resolve the play’s conflict. (Tatum, 1997).

The Merchant of Venice, which uses its comedic structure to explore deeper issues like anti-Semitism, the repercussions of unregulated capitalism, and the ethical confines of the legal system, is mirrored in Roman comedy’s blend of humor with serious social commentary (Segal, 1987). Furthermore, the play’s examination of the dynamics of trade and commerce in a busy, international city like Venice and the merchant class also speaks to the comedic tradition’s emphasis on the urban setting. Shakespeare can explore themes of wealth, greed, and the moral implications of business in Venice, a major trading hub. These themes are reminiscent of the mercantile themes found in New Comedy, where characters frequently negotiate the complexities of trade and social mobility. (Cantor, 2014)

References:

Bate, J. (1998). The Genius of Shakespeare. Oxford University Press.

Beskin, A. (2007). Good Girl, Bad Girl: The Role of Abigail and Jessica in The Jew of Malta and The Merchant of Venice. Thesis.

Cantor.P.(August 19, 2014).The Merchant of Venice (2 of 3) [Video]. YouTube. https://www.youtube.com/watch?v=ip9-NFahqaI

Humphreys, A. (1987). “The Jew of Malta” and “The Merchant of Venice”: Two Readings of Life. The Huntington Library Quarterly, 279-293.

Konstan, D. (1995). Greek Comedy and Ideology. Oxford University Press.

Lehmann, C. (2004). Shakespeare Remains: Theater to Film, Early Modern to Postmodern. Cornell University Press.

Segal, E. (1987). Roman Laughter: The Comedy of Plautus. Oxford University Press.

Tatum, W. J. (1997). Plautus: The Darker Comedy. Johns Hopkins University Press.