Bassanio guesses rightly and weds Portia.
Antonio fails to repay the debt, and is lodged in prison. Bassanio hears of his friend's disaster. Portia bids him fly to Antonio with money enough to pay the debt threefold. Shylock refuses the offer. He clamours for his pound of flesh. The case comes to trial.
At the hearing of the case in the Duke's court, Portia, disguised as a judge, gives sentence, that Shylock may have his pound of flesh; but that if he shed Christian blood in the taking of it, his life will be forfeit. Shylock is confounded further by a charge of endangering a Christian's life. He is fined and humbled. Portia, still in disguise, asks as her fee a ring that she has given to Bassanio. Bassanio, hesitating, at last gives the ring, and returns home without it. Portia's pretended indignation at the loss of the ring ends the last act with comedy.
The play resolves itself into a simple form. It illustrates the clash between the emotional and the intellectual characters, the man of heart and the man of brain. The man of heart, Antonio, is obsessed by a tenderness for his friend. The man of brain is obsessed by a lust to uphold intellect in a thoughtless world that makes intellect bitter in every age. Shylock is a man of intellect, born into a despised race. It is his tragedy that the generous Gentiles about him can be generous to everything except to intellect and Jewish blood. Intellect and Jewish blood are too proud to attempt to understand the Gentiles who cannot understand.
Shylock is a proud man. The Gentiles, who are neither proud nor intellectual, spit upon him and flout him. One of them beguiles his daughter and teaches her to rob him. Another of them signs a mad bond to help an extravagant friend to live in idleness. Bitter, lonely brooding upon these things strengthen the Jew's obsession, till the words, "I can cut out the heart of my enemy," become the message of his entire nature. Half the evils in life come from the partial vision of people in states of obsession. Shylock's obsession grows till he is in the Duke's court, whetting his knife upon his shoe, before what Pistol calls "incision."
Portia has been much praised during two centuries of criticism. She is one of the smiling things created in the large and gentle mood that moved Shakespeare to comedy. The scene in the fifth act, where the two women, coming home from Venice by night, see the candle burning in the hall, as they draw near, is full of a naturalness that makes beauty quick in the heart. Shakespeare enjoyed the writing of this play. The construction of the last two acts shows that his great happy mind was at its happiest in the saving of these creatures of the sun from something real.
The Taming of the Shrew.
Written. (?)
Published. 1623.
Source of the Plot. The induction and that part of the play which treats of Petruchio and Katharina is based upon a play, published in 1594, under the title The Taming of A Shrew, author not known. The other part is based on The Supposes of George Gascoigne, a comedy adapted from Ariosto's I Suppositi.