Part 4

These and other critics have been apparently so dazzled and engrossed by the amazing character of Shylock, that Portia has received less than justice at their hands; while the fact is, that Shylock is not a finer or more finished character in his way, than Portia is in hers. These two splendid figures are worthy of each other; worthy of being placed together within the same rich framework of enchanting poetry, and glorious and graceful forms. She hangs beside the terrible, inexorable Jew, the brilliant lights of her character set off by the shadowy power of his, like a magnificent beauty-breathing Titian by the side of a gorgeous Rembrandt.

Portia is endued with her own share of those delightful qualities, which Shakspeare has lavished on many of his female characters; but besides the dignity, the sweetness, and tenderness which should distinguish her sex generally, she is individualized by qualities peculiar to herself; by her high mental powers, her enthusiasm of temperament, her decision of purpose, and her buoyancy of spirit. These are innate; she has other distinguishing qualities more external, and which are the result of the circumstances in which she is placed. Thus she is the heiress of a princely name and countless wealth; a train of obedient pleasures have ever waited round her; and from infancy she has breathed an atmosphere redolent of perfume and blandishment Accordingly there is a commanding grace, a highbred, airy elegance, a spirit of magnificence in all that she does and says, as one to whom splendor had been familiar from her very birth. She treads as though her footsteps had been among marble palaces, beneath roofs of fretted gold, o'er cedar floors and pavements of jasper and porphyry—amid gardens full of statues, and flowers, and fountains, and haunting music. She is full of penetrative wisdom, and genuine tenderness, and lively wit; but as she has never known want, or grief, or fear, or disappointment, her wisdom is without a touch of the sombre or the sad; her affections are all mixed up with faith, hope and joy; and her wit has not a particle of malevolence or causticity.

It is well known that the Merchant of Venice is founded on two different tales; and in weaving together his double plot in so masterly a manner, Shakspeare has rejected altogether the character of the astutious Lady of Belmont with her magic potions, who figures in the Italian novel. With yet more refinement, he has thrown out all the licentious part of the story, which some of his contemporary dramatists would have seized on with avidity, and made the best or worst of it possible; and he has substituted the trial of the caskets from another source. We are not told expressly where Belmont is situated; but as Bassanio takes ship to go thither from Venice, and as we find them afterwards ordering horses from Belmont to Padua, we will imagine Portia's hereditary palace as standing on some lovely promontory between Venice and Trieste, overlooking the blue Adriatic, with the Friuli mountains or the Euganean hills for its background, such as we often see in one of Claude's or Poussin's elysian landscapes. In a scene, in a home like this, Shakspeare, having first exorcised the original possessor, has placed his Portia; and so endowed her, that all the wild, strange, and moving circumstances of the story, become natural, probable, and necessary in connexion with her. That such a woman should be chosen by the solving of an enigma, is not surprising: herself and all around her, the scene, the country, the age in which she is placed, breathe of poetry, romance, and enchantment.

From the four quarters of the earth they come To kiss this shrine, this mortal breathing saint The Hyrcanian desert, and the vasty wilds Of wide Arabia, are as thoroughfares now, For princes to come view fair Portia; The watery kingdom, whose ambitious head Spits in the face of heaven is no bar To stop the foreign spirits; but they come As o'er a brook to see fair Portia.

The sudden plan which she forms for the release of her husband's friend, her disguise, and her deportment as the young and learned doctor, would appear forced and improbable in any other woman but in Portia are the simple and natural result of her character. The quickness with which she perceives the legal advantage which may be taken of the circumstances; the spirit of adventure with which she engages in the masquerading, and the decision, firmness, and intelligence with which she executes her generous purpose, are all in perfect keeping, and nothing appears forced—nothing as introduced merely for theatrical effect.

But all the finest parts of Portia's character are brought to bear in the trial scene. There she shines forth all her divine self. Her intellectual powers, her elevated sense of religion, her high honorable principles, her best feelings as a woman, are all displayed. She maintains at first a calm self-command, as one sure of carrying her point in the end; yet the painful heart-thrilling uncertainty in which she keeps the whole court, until suspense verges upon agony, is not contrived for effect merely; it is necessary and inevitable. She has two objects in view; to deliver her husband's friend, and to maintain her husband's honor by the discharge of his just debt, though paid out of her own wealth ten times over. It is evident that she would rather owe the safety of Antonio to any thing rather than the legal quibble with which her cousin Bellario has armed her, and which she reserves as a last resource. Thus all the speeches addressed to Shylock in the first instance, are either direct or indirect experiments on his temper and feelings. She must be understood from the beginning to the end as examining, with intense anxiety, the effect of her own words on his mind and countenance; as watching for that relenting spirit, which she hopes to awaken either by reason or persuasion. She begins by an appeal to his mercy, in that matchless piece of eloquence, which, with an irresistible and solemn pathos, falls upon the heart like "gentle dew from heaven:"—but in vain; for that blessed dew drops not more fruitless and unfelt on the parched sand of the desert, than do these heavenly words upon the ear of Shylock. She next attacks his avarice:

Shylock, there's thrice thy money offered thee!

Then she appeals, in the same breath, both to his avarice and his pity:

Be merciful! Take thrice thy money. Bid me tear the bond.

All that she says afterwards—her strong expressions, which are calculated to strike a shuddering horror through the nerves—the reflections she interposes—her delays and circumlocution to give time for any latent feeling of commiseration to display itself—all, all are premeditated and tend in the same manner to the object she has in view. Thus—

You must prepare your bosom for his knife. Therefore lay bare your bosom!

These two speeches, though addressed apparently to Antonio, are spoken at Shylock, and are evidently intended to penetrate his bosom. In the same spirit she asks for the balance to weigh the pound of flesh; and entreats of Shylock to have a surgeon ready—

Have by some surgeon, Shylock, on your charge, To stop his wounds, lest he do bleed to death!

SHYLOCK.

Is it so nominated in the bond?

PORTIA.

It is not so expressed—but what of that? 'Twere good you do so much, for charity.

So unwilling is her sanguine and generous spirit to resign all hope, or to believe that humanity is absolutely extinct in the bosom of the Jew, that she calls on Antonio, as a last resource, to speak for himself. His gentle, yet manly resignation—the deep pathos of his farewell, and the affectionate allusion to herself in his last address to Bassanio—

Commend me to your honorable wife; Say how I lov'd you, speak me fair in death, &c.

are well calculated to swell that emotion, which through the whole scene must have been laboring suppressed within her heart.

At length the crisis arrives, for patience and womanhood can endure no longer; and when Shylock, carrying his savage bent "to the last hour of act," springs on his victim—"A sentence come, prepare!" then the smothered scorn, indignation, and disgust, burst forth with an impetuosity which interferes with the judicial solemnity she had at first affected;—particularly in the speech—

Therefore, prepare thee to cut off the flesh. Shed thou no blood; nor cut thou less, nor more, But just the pound of flesh; if thou tak'st more, Or less than a just pound,—be it but so much As makes it light, or heavy, in the substance, Or the division of the twentieth part Of one poor scruple; nay, if the scale do turn But in the estimation of a hair,— Thou diest, and all thy goods are confiscate.

But she afterwards recovers her propriety, and triumphs with a cooler scorn and a more self-possessed exultation.

It is clear that, to feel the full force and dramatic beauty of this marvellous scene, we must go along with Portia as well as with Shylock; we must understand her concealed purpose, keep in mind her noble motives, and pursue in our fancy the under current of feeling, working in her mind throughout. The terror and the power of Shylock's character,—his deadly and inexorable malice,—would be too oppressive; the pain and pity too intolerable, and the horror of the possible issue too overwhelming, but for the intellectual relief afforded by this double source of interest and contemplation.

I come now to that capacity for warm and generous affection, that tenderness of heart, which render Portia not less lovable as a woman, than admirable for her mental endowments. The affections are to the intellect, what the forge is to the metal; it is they which temper and shape it to all good purposes, and soften, strengthen, and purify it. What an exquisite stroke of judgment in the poet, to make the mutual passion of Portia and Bassanio, though unacknowledged to each other, anterior to the opening of the play! Bassanio's confession very properly comes first:—

BASSANIO.

In Belmont is a lady richly left, And she is fair, and fairer than that word, Of wond'rous virtues: sometimes from her eyes I did receive fair speechless messages;

and prepares us for Portia's half betrayed, unconscious election of this most graceful and chivalrous admirer—

NERISSA.

Do you not remember, lady, in your father's time, a Venetian, a scholar, and a soldier, that came hither in company of the Marquis of Montferrat?

PORTIA.

Yes, yes, it was Bassanio; as I think, so he was called.

NERISSA.

True, madam; he of all the men that ever my foolish eyes looked upon, was the best deserving a fair lady.

PORTIA.

I remember him well; and I remember him worthy of thy praise.

Our interest is thus awakened for the lovers from the very first; and what shall be said of the casket-scene with Bassanio, where every line which Portia speaks is so worthy of herself, so full of sentiment and beauty, and poetry and passion? Too naturally frank for disguise, too modest to confess her depth of love while the issue of the trial remains in suspense, the conflict between love and fear, and maidenly dignity, cause the most delicious confusion that ever tinged a woman's cheek, or dropped in broken utterance from her lips.

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; and you know yourself, Hate counsels not in such a quality: But lest you should not understand me well, (And yet a maiden hath no tongue but thought) I would detain you here some month or two Before you venture for me. I could teach you How to choose right,—but then I am forsworn;— So will I never be: so you may miss me;— But if you do, you'll make me wish a sin, That I had been forsworn. Beshrew your eyes, They have o'erlooked me, and divided me: One half of me is yours, the other half yours,— Mine own, I would say; but if mine, then yours, And so all yours!

The short dialogue between the lovers is exquisite.

BASSANIO.

Let me choose, For, as I am, I live upon the rack.

PORTIA.

Upon the rack, Bassanio? Then confess What treason there is mingled with your love.

BASSANIO.

None, but that ugly treason of mistrust, Which makes me fear the enjoying of my love. There may as well be amity and life 'Tween snow and fire, as treason and my love.

PORTIA.

Ay! but I fear you speak upon the rack, Where men enforced do speak any thing.

BASSANIO.

Promise me life, and I'll confess the truth.

PORTIA.

Well then, confess, and live.

BASSANIO.

Confess and love Had been the very sum of my confession! O happy torment, when my torturer Doth teach me answers for deliverance!

A prominent feature in Portia's character is that confiding, buoyant spirit, which mingles with all her thoughts and affections. And here let me observe, that I never yet met in real life, nor ever read in tale or history, of any woman, distinguished for intellect of the highest order, who was not also remarkable for this trusting spirit, this hopefulness and cheerfulness of temper, which is compatible with the most serious habits of thought, and the most profound sensibility. Lady Wortley Montagu was one instance; and Madame de Staël furnishes another much more memorable. In her Corinne, whom she drew from herself, this natural brightness of temper is a prominent part of the character. A disposition to doubt, to suspect, and to despond, in the young, argues, in general, some inherent weakness, moral or physical, or some miserable and radical error of education; in the old, it is one of the first symptoms of age; it speaks of the influence of sorrow and experience, and foreshows the decay of the stronger and more generous powers of the soul. Portia's strength of intellect takes a natural tinge from the flush and bloom of her young and prosperous existence, and from her fervent imagination. In the casket-scene, she fears indeed the issue of the trial; on which more than her life is hazarded but while she trembles, her hope is stronger than her fear. While Bassanio is contemplating the caskets, she suffers herself to dwell for one moment on the possibility of disappointment and misery.

Let music sound while he doth make his choice; Then if he lose, he makes a swan-like end, Fading in music: that the comparison May stand more proper, my eye shall be the stream And watery death-bed for him.

Then, immediately follows that revulsion of feeling, so beautifully characteristic of the hopeful, trusting, mounting spirit of this noble creature.

But he may win! And what is music then?—then music is Even as the flourish, when true subjects bow To a new-crowned monarch: such it is As are those dulcet sounds at break of day, That creep into the dreaming bridegroom's ear, And summon him to marriage. Now he goes With no less presence, but with much more love Than young Alcides, when he did redeem The virgin tribute paid by howling Troy To the sea monster. I stand here for sacrifice.

Here, not only the feeling itself, born of the elastic and sanguine spirit which had never been touched by grief, but the images in which it comes arrayed to her fancy,—the bridegroom waked by music on his wedding-morn,—the new-crowned monarch,—the comparison of Bassanio to the young Alcides, and of herself to the daughter of Laomedon,—are all precisely what would have suggested themselves to the fine poetical imagination of Portia in such a moment.

Her passionate exclamations of delight, when Bassanio has fixed on the right casket, are as strong as though she had despaired before. Fear and doubt she could repel; the native elasticity of her mind bore up against them; yet she makes us feel, that, as the sudden joy overpowers her almost to fainting, the disappointment would as certainly have killed her.

How all the other passions fleet to air, As doubtful thoughts, and rash-embraced despair, And shudd'ring fear, and green-eyed jealousy? O love! be moderate, allay thy ecstasy; In measure rain thy joy scant this excess; I feel too much thy blessing: make it less, For fear I surfeit!

Her subsequent surrender of herself in heart and soul, of her maiden freedom, and her vast possessions, can never be read without deep emotions; for not only all the tenderness and delicacy of a devoted woman, are here blended with all the dignity which becomes the princely heiress of Belmont, but the serious, measured self-possession of her address to her lover, when all suspense is over, and all concealment superfluous, is most beautifully consistent with the character. It is, in truth, an awful moment, that in which a gifted woman first discovers, that besides talents and powers, she has also passions and affections; when she first begins to suspect their vast importance in the sum of her existence; when she first confesses that her happiness is no longer in her own keeping, but is surrendered forever and forever into the dominion of another! The possession of uncommon powers of mind are so far from affording relief or resource in the first intoxicating surprise—I had almost said terror—of such a revolution, that they render it more intense. The sources of thought multiply beyond calculation the sources of feeling; and mingled, they rush together, a torrent deep as strong. Because Portia is endued with that enlarged comprehension which looks before and after, she does not feel the less, but the more: because from the height of her commanding intellect she can contemplate the force, the tendency, the consequences of her own sentiments—because she is fully sensible of her own situation, and the value of all she concedes—the concession is not made with less entireness and devotion of heart, less confidence in the truth and worth of her lover, than when Juliet, in a similar moment, but without any such intrusive reflections—any check but the instinctive delicacy of her sex, flings herself and her fortunes at the feet of her lover:

And all my fortunes at thy foot I'll lay, And follow thee, my lord, through all the world.

In Portia's confession, which is not breathed from a moonlit balcony, but spoken openly in the presence of her attendants and vassals, there is nothing of the passionate self-abandonment of Juliet, nor of the artless simplicity of Miranda, but a consciousness and a tender seriousness, approaching to solemnity, which are not less touching.

You see me, Lord Bassanio, where I stand, Such as I am: though for myself alone, I would not be ambitious in my wish, To wish myself much better; yet, for you, I would be trebled twenty times myself; A thousand times more fair, ten thousand times More rich; that only to stand high in your account, I might in virtues, beauties, livings, friends, Exceed account; but the full sum of me Is sum of something; which to term in gross, Is an unlesson'd girl, unschool'd, unpractis'd, Happy in this, she is not yet so old But she may learn; and happier than this, She is not bred so dull but she can learn; Happiest of all is, that her gentle spirit Commits itself to yours to be directed, As from her lord, her governor, her king. Myself and what is mine, to you and yours Is now converted. But now, I was the lord, Of this fair mansion, master of my servants, Queen o'er myself; and even now, but now, This house, these servants, and this same myself, Are yours, my lord.

We must also remark that the sweetness, the solicitude, the subdued fondness which she afterwards displays, relative to the letter, are as true to the softness of her sex, as the generous self-denial with which she urges the departure of Bassanio, (having first given him a husband's right over herself and all her countless wealth,) is consistent with a reflecting mind, and a spirit at once tender, reasonable, and magnanimous.

It is not only in the trial scene that Portia's acuteness, eloquence, and lively intelligence are revealed to us; they are displayed in the first instance, and kept up consistently to the end. Her reflections, arising from the most usual aspects of nature, and from the commonest incidents of life are in such a poetical spirit, and are at the same time so pointed, so profound, that they have passed into familiar and daily application, with all the force of proverbs.

If to do, were as easy as to know what were good to do, chapels had been churches, and poor men's cottages princes' palaces.