Than is thy strange apparent cruelty.
A life-long training in avarice would not easily resist an offer of nine thousand ducats. But further, the alternatives between which Shylock has to choose are not so simple as the alternatives of Antonio's money or his life. On the one hand, Shylock has to consider the small chance that either the law or the mob would actually suffer the atrocity to be judicially perpetrated, and how his own life would be likely to be lost in the attempt. Again, turning to the other alternative, Shylock is certainly deep in his schemes of vengeance, and the finesse of malignity must have suggested to him how much more cruel to a man of Antonio's stamp it would be to fling him a contemptuous pardon before the eyes of Venice than to turn him into a martyr, even supposing this to be permitted. But at the moment when the choice becomes open to Shylock he has been maddened by the loss of his daughter, who, with the wealth she has stolen, has gone to swell the party of his deadly foe. It is fury, not calculating cruelty, that makes Shylock with a madman's tenacity cling to the idea of blood, while this passion is blinding him to a more keenly flavoured revenge, and risking the chance of securing any vengeance at all[3].
The Jessica Story assists the interweaving of the main stories.
From the mechanical development of the main plot and the reduction of its difficulties, we pass to the interweaving of the two principal stories, which is so leading a feature of the play. In the main this interweaving is sufficiently provided for by the stories themselves, and we have already seen how the leading personages in the one story are the source of the whole movement in the other story. But this interweaving is drawn closer still by the affair of Jessica: It is thus a Link Action,technically described the position in the plot of Jessica's elopement is that of a Link Action between the main stories. This linking appears in the way in which Jessica and her suite are in the course of the drama transferred from the one tale to the other. At the opening of the play they are personages in the Story of the Jew, and represent its two antagonistic sides, Jessica being the daughter of the Jew and Lorenzo a friend and follower of Bassanio and Antonio. First the contrivance of the elopement assists in drawing together these opposite sides of the Jew Story, and aggravating the feud on which it turns. iii. ii, from 221.Then, as we have seen, Jessica and her husband in the central scene of the whole play come into contact with the Caskets Story at its climax. From this point they become adopted into the Caskets Story, and settle down in the house and under the protection of Portia. helping to restore the balance between the main stories,This transference further assists the symmetry of interweaving by helping to adjust the balance between the two main stories. In its mass, if the expression may be allowed, the Caskets tale, with its steady progress to a goal of success, is over-weighted by the tale of Antonio's tragic peril and startling deliverance: the Jessica episode, withdrawn from the one and added to the other, helps to make the two more equal. Once more, the case, we have seen, is not merely that of a union between stories, but a union between stories opposite in kind, a combination of brightness with gloom. and a bond between their bright and dark climaxes.The binding effect of the Jessica Story extends to the union between these opposite tones. We have already had occasion to notice how the two extremes meet in the central scene, how from the height of Bassanio's bliss we pass in an instant to the total ruin of Antonio, which we then learn in its fulness for the first time: the link which connects the two is the arrival of Jessica and her friends as bearers of the news.
Character effects. Character of Jessica.
So far, the points considered have been points of Mechanism and Plot; in the matter of Character-Interest the Jessica episode is to an even greater degree an addition to the whole effect of the play, Jessica and Lorenzo serving as a foil to Portia and Bassanio. The characters of Jessica and Lorenzo are charmingly sketched, though liable to misreading unless carefully studied. To appreciate Jessica we must in the first place assume the grossly unjust mediæval view of the Jews as social outcasts. ii. v.The dramatist has vouchsafed us a glimpse of Shylock at home, and brief as the scene is it is remarkable how much of evil is crowded into it. The breath of home life is trust, yet the one note which seems to pervade the domestic bearing of Shylock is the lowest suspiciousness. 12, 16, 36.Three times as he is starting for Bassanio's supper he draws back to question the motives for which he has been invited. He is moved to a shriek of suspicion by the mere fact of his servant joining him in shouting for the absent Jessica, 7.by the mention of masques, by the sight of the servant whispering to his daughter 28, 44.Finally, he takes his leave with the words
52.
Perhaps I will return immediately,
a device for keeping order in his absence which would be a low one for a nurse to use to a child, but which he is not ashamed of using to his grown-up daughter and the lady of his house. The short scene of fifty-seven lines is sufficient to give us a further reminder of Shylock's sordid house-keeping, which is glad to get rid of the good-natured Launcelot as a 'huge feeder'; 3, 46.and his aversion to any form of gaiety, which leads him to insist on his shutters being put up when he hears that there is a chance of a pageant in the streets 28.Amidst surroundings of this type Jessica has grown up, a motherless girl, mingling only with harsh men (for we nowhere see a trace of female companionship for her): ii. iii. 20.it can hardly be objected against her that she should long for a Christian atmosphere in which her affections might have full play. Yet even for this natural reaction she feels compunction:
ii. iii. 16.