Inside Shakespeare's Mind:

The two Portias, each different to the other

Portia from the Merchant of Venice is a young heiress whose wit and wisdom permeates her to prevent death on Antonio when she argues his case, disguised as a young lawyer, Balthasar and accompanied by her gentlewoman, Nerissa who is also dressed as a youth as 'his' clerk to fight the case for Antonio. Shakespeare selected a comedy as well as a tragedy to introduce the two Portias and they both play very trying roles.

One matches wits with her opponents while other chides her husband, warning him of the impending calamities. Both are placed in very volatile circumstances; while Portia of Merchant of Venice is supported by her 'clerk', Portia of Julius Caesar struggles by herself with no one beside her.

She is mentally and physically fatigued with what faces her unable to change his mind. Both women defend their men fiercely knowing that is the circumstances that got them into where they are. While Portia of Julius Caesar is a highly tensed character who ultimately sacrifice her life unable to handle the issue, Portia of Merchant of Venice, comes out unscated through her wit and humour.

(An apartment in Portia's house) Enter Bassanio and Portia who will test whether Bassanio is worthy of her hand by selecting the right casket (the leaden one).

Portia - I pray you tarry; pause a day or two before you hazard; for in choosing wrong. I lose your company, therefore forbear awhile. There's something tells me but it is not love. I would not lose you....

Bassanio - Let me choose, for as I am, I live upon the rack

P - Upon the rack? Bassanio; then confess what treason there is mingled with your love.

B - None, but that ugly treason of mistrust which makes me fear the enjoying of my love. There may be amity and life 'tween snow and fire, as treason my love. ACT II Sce. 11

After choosing the correct casket, Bassanio prepares to wed Portia but he has a problem on hand because he needs money for the wedding and after appealing to his friend, Antonio for 3,00 ducats which he in return, obtains from Shylock, the money lender for the wedding.

The time given to return the money which he cannot, all meet in courthouse to settle the matter.

Portia being briefed in the matter by Bassanio who is responsible for the mess, she agrees to defend Antonio. Dressed as a young lawyer calling herself, Balthasar along with her companion, Nerissa who is also dressed as a youth, she argues his case.

(A court of justice, enter Duke, everyone) Enter Shylock

Duke - Make room and let him stand before our face......

Bassanio - Good cheer, Antonio, what man courage yet.

The jew shall have my flesh bones and blood and all, ere thou shall lose for me one drop of blood.

(Enter Portia like a doctor of law and Nerissa following)

Duke - Give me your hand. Came you from old Bellario?

Portia - I did my Lord

D - You are welcome, take your place, are you acquainted with the differences that holds the present question in court?

P - I am informed thoroughly of the cause. Which is the merchant here and which the jew?

D - Antonio and old Shylock both stand forth

P - Is your name Shylock?

Shylock - Shylock is my name.

P - Of a strange nature is the suit you follow, yet in such rule that the Venetian law cannot impungne you, as you do proceed. (to Antonio) You shall stand within....

P - And you must this flesh from off his breast, the law allows it and the court awards it.

S - Most learned judge, a sentence, come prepare.

P - Tarry a little. There is something else. This bond doth give thee here no jot of blood. The word expressed are a pound of flesh. Take then thy bond..... One drop of Christian blood thy lands and goods are under the State of Venice.....

Act IV, Sce 1 (and Portia walks out of court, triumphant)

In performance

Visibly a popular play for the stage. In 1965 RSC mounted the play at Stratford with Eric Porter play Shylock but between 1605 to 1741, there is no record of the play being staged but in 1786 with Sarah Siddons as Portia, had it mounted at Drury Lane. The twentieth century brought many versions that were hysterical, extravagant,and quiet theatrical and so the play continued to date with different versions. The play also inspired composers to score on it.

And to Portia from Julius Caesar

A more serious Portia whom we meet in this famed tragedy. She is dignified, learned, honest and much concerned about her husband, Brutus and she is Casca's daughter. She overhears the plan to assassinate Caesar the following day which is the Ides of March and confronts her husband about it;

Portia - Brutus, my lord;

Brutus - Portia, what means you; wherefore rise you now? It is not for your health thus to commit your weak condition to the raw cold morning............... Kneel not gentle Portia.

P - I should not need if you were gentle Brutus. Within the bond of marriage, tell me Brutus, is it expected, I should know no secrets that appertain to you. Am I yourself but as it were in sort, or limitation. To keep with you at meals, comfort your bed and talk to you sometimes; Dwell but in the suburbs of your good pleasure; if it be no more, Portia is Brutus' harlot, not his wife........ Act II, Sce. 1.

Portia retreats from the play and towards the end, commits suicide rather than face shame. Within the tent of Brutus, Titinus and Messala enter with the sad news.

Brutus - Why ask you? Hear you aught of her in yours?

Messala - No, my lord.

B - Now, as you are a Roman, tell me true.

M - Then like a Roman bear the truth I tell, for certain she is dead and by strange manner.

B - Why, farewell Portia. We must die, Messala with meditating that she must die once. I have the patience to endure it now.......

Act. IV, Sce. 111

In Performance

A play in great demand for its histrionic excellence as well as its powerful dialogue. Some of Shakespeare's best, especially the oration of Mark Antony after Caesar's assassination in the Capitol on the Ides of March. All Thespians on screen or stage makes a desperate bid to act in the play.

This tragedy is of two men; the murdered Caesar and one of his liberal patricians, Marcus Brutus. Between 1812 and 1817 John Kimble acted Brutus at Covent Garden after which steady performances continued. Old Vic mounted it 1930 and the Olivier Theatre boarded it in 1977. The play first arrived in America in 1774 at Charleston, South Carolina and New York revived it in 1817.

There is no stopping for this great historical tragedy. In films, it has been filmed seven times over and the best remembered movie was where Marlon Brando acted as Antony. An English film in 1969 had Charlton Heston as Antony. In television, BBC had Richard Pasco as Brutus in 1978 and hailed as the best ever version of the play.