Portia (The Merchant of Venice)

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Portia
The Merchant of Venice character
Millais - Portia.jpg
Kate Dolan as Portia (1886), by John Everett Millais
Created by William Shakespeare

Portia is a female protagonist in The Merchant of Venice by William Shakespeare. In creating her character, Shakespeare drew from the historical figure of Porcia [1] - the daughter of Cato the Younger- as well as several parts of the Bible. [2]

Contents

Portia is fond of proverbs, frequently quoting them, which was considered a sign of wisdom and intellect in the Elizabethan era. It has been suggested that the character of Portia was based on Queen Elizabeth, who was reigning at the time the play was written. [3]

Character

Portia (1888) by Henry Woods Portia - Henry Woods.jpg
Portia (1888) by Henry Woods

In Shakespeare's play, Portia is a wealthy heiress in Belmont. She is bound by a lottery outlined in her father's will, which allows potential suitors to choose one of three caskets made of gold, silver, and lead, respectively. If they choose the correct casket containing Portia's portrait and a scroll, they win her hand in marriage. Portia is glad when two suitors, one driven by greed and another by vanity, fail to choose correctly. She favors Bassanio, a young but impoverished Venetian noble.

Later in the play, she disguises herself as a man and then assumes the role of a lawyer, Balthazar, whereby she saves the life of Bassanio's friend Antonio in court. In the court scene, Portia finds a technicality in the bond, as it does not allow for the removal of blood, thereby outwitting the Jewish moneylender Shylock and saving Antonio from giving the pound of flesh demanded when everyone else, including the Duke presiding as judge, fails. It is Portia who delivers one of the most famous speeches in The Merchant of Venice:

The quality of mercy is not strained.
It droppeth as the gentle rain from heaven
Upon the place beneath. It is twice blest:
It blesseth him that gives and him that takes.

In the end, Portia and Bassanio go on to live together along with the former's lady-in-waiting, Nerissa, and her husband, Gratiano.

Critics

La belle Portia (1886) Alexandre Cabanel LA BELLE PORTIA (1886) ALEXANDRE CABANEL.jpg
La belle Portia (1886) Alexandre Cabanel

Despite her lack of formal legal training, Portia wins her case by referring to the exact language of the law. The tactics she uses are, in modern terms, referred to as a "Philadelphia lawyer." These tactics help demonstrate her power in the court, contrasting with her earlier lack of choice in the marriage.

However, such tactics also lead to further discussions about the use and abuse of rhetoric. As a vital concept of civic life during the Elizabethan era, rhetoric often indicates an individual's wit (in a way, similar to the modern term "Intellect" [4] ), while at the same time intricately linked to moral issues as it possesses the potential to obfuscate distinctions between good and wrong. [5] For example, the abuse of rhetoric skills is brought to light by Portia – highlighting the idea that an unjust argument may win through eloquence, loopholes and technicalities, regardless of the moral question at hand – and thus provoking the audience to consider that issue.

Portrayals

Portia and Shylock, by Thomas Sully Portia and Shylock (Sully, 1835).jpg
Portia and Shylock, by Thomas Sully

Frances Abington, Sarah Siddons and Elizabeth Whitlock all played Portia in the 18th century when actresses first started appearing on stage in performances of the play. More recently, the role has been depicted in the cinema, on television, and in theatres by a number of notable actresses such as Maggie Smith, Claire Bloom, Sybil Thorndike, Joan Plowright, Caroline John, Lynn Collins, Lily Rabe, and Gemma Jones.

Cultural references

The character of Portia has had a considerable and long-lived cultural impact.

Notes and references

  1. The Merchant of Venice1.1/172–173 , Folger Shakespeare Library
  2. Drakakis 2011, pp. 163–164.
  3. Leimberg 2011.
  4. C. F. Goodey (2016). History of Intelligence and 'Intellectual Disability'. Taylor & Francis Group. ISBN   978-1-315-56483-8. OL   33584288M.
  5. Crane, William G. (31 December 1937). Wit and Rhetoric in the Renaissance. Columbia University Press. ISBN   978-0-231-89968-0.
  6. Hicks 2005, pp. 275–276.
  7. New England Law n.d.
  8. Kornstein 1993, p. 50.
  9. Martin 2004.
  10. Karkoschka 2001.
  11. Kort 2005.
  12. Delistraty 2014.

Sources

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