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.
Portia from Merchant of Venice, disguised as a young lawyer
named Balthasar who rescues Antony from Shylock. |
(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
The beautiful, lissome tragic Portia from Julius Caesar who
fails to extricate her husband’s plot to assassinate Caesar,
commits suicide rather than be ashamed
|
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. |