Character of Lorenzo.
Lorenzo is for the most part of a dreamy inactive nature, as may be seen in his amused tolerance of Launcelot's word-fencingiii. v. 44-75.—word-fencing being in general a challenge which none of Shakespeare's characters can resist; similarly, Jessica's enthusiasm on the subject of Portia, which in reality he shares, he prefers to meet with banter:
iii. v. 75-89.
Even such a husband
Hast thou of me as she is for a wife.
But the strong side of his character also is shown us in the play: v. i. 1-24, 54-88.he has an artist soul, and to the depth of his passion for music and for the beauty of nature we are indebted for some of the noblest passages in Shakespeare. This is the attraction which has drawn him to Jessica, her outer beauty is the index of artistic sensibility within: v. i. 69, 1-24.'she is never merry when she hears sweet music,' and the soul of rhythm is awakened in her, just as much as in her husband, by the moonlight scene. Simplicity again, is a quality they have in common, as is seen by their ignorance in money-matters, iii. i. 113, 123.and the way a valuable turquoise ring goes for a monkey—if, at least, Tubal may be believed: a carelessness of money which mitigates our dislike of the free hand Jessica lays upon her father's ducats and jewels. On the whole, however, Lorenzo's dreaminess makes a pretty contrast to Jessica's vivacity. And Lorenzo's inactivity is capable of being roused to great things. This is seen by the elopement itself: esp. ii. iv. 20, 30; ii. vi. 30. &c.for the suggestion of its incidents seems to be that Lorenzo meant at first no more than trifling with the pretty Jewess, and that he rose to the occasion as he found and appreciated Jessica's higher tone and attraction. iii. iv. 24, 32.Finally, we must see the calibre of Lorenzo's character through the eyes of Portia, who selects him at first sight as the representative to whom to commit her household in her absence, of which commission she will take no refusal.
Jessica and Lorenzo a foil to Portia and Bassanio.
So interpreted the characters of Jessica and Lorenzo make the whole episode of the elopement an antithesis to the main plot. To a wedded couple in the fresh happiness of their union there can hardly fall a greater luxury than to further the happiness of another couple; this luxury is granted to Portia and Bassanio, and in their reception of the fugitives what picturesque contrasts are brought together! The two pairs are a foil to one another in kind, and set one another off like gold and gems. Lorenzo and Jessica are negative characters with the one positive quality of intense capacity for enjoyment; Bassanio and Portia have everything to enjoy, yet their natures appear dormant till roused by an occasion for daring and energy. The Jewess and her husband are distinguished by the bird-like simplicity that so often goes with special art-susceptibility; Portia and Bassanio are full and rounded characters in which the whole of human nature seems concentrated. The contrast is of degree as well as kind: the weaker pair brought side by side with the stronger throw out the impression of their strength. Portia has a fulness of power which puts her in her most natural position when she is extending protection to those who are less able to stand by themselves. Still more with Bassanio: he has so little scope in the scenes of the play itself, which from the nature of the stories present him always in situations of dependence on others, that we see his strength almost entirely by the reflected light of the attitude which others hold to him; in the present instance we have no difficulty in catching the intellectual power of Lorenzo, and Lorenzo looks up to Bassanio as a superior. And the couples thus contrasted in character present an equal likeness and unlikeness in their fortunes. Both are happy for ever, and both have become so through a bold stroke. Yet in the one instance it is blind obedience, in face of all temptations, to the mere whims of a good parent, who is dead, that has been guided to the one issue so passionately desired; in the case of the other couple open rebellion, at every practical risk, against the legitimate authority of an evil father, still living, has brought them no worse fate than happiness in one another, and for their defenceless position the best of patrons.
It seems, then, that the introduction of the Jessica Story is justified, not only by the purposes of construction which it serves, but by the fact that its human interest is at once a contrast and a supplement to the main story, with which it blends to produce the ordered variety of a finished picture.
The Rings Episode assists the mechanism of the main stories,