Allusions in act 1 SC 1 of MOV
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Answer:
The creation of The Merchant of Venice can be dated between 1596 and 1598. Shakespeare must have written the play by the summer of 1598, since it was entered on the Stationers’ Register on 22 July 1598. Act 1 scene 1 of The Merchant of Venice contains an allusion to the ‘wealthy Andrew dock’d in sand’, which has been accepted as a reference to the San Andrés, a Spanish ship captured during the expedition to Cadiz in 1596. News of this exploit reached court by 30 July 1596, so Shakespeare could not have written The Merchant of Venice before that date.
The title-page of the first quarto, published in 1600, describes The Merchant of Venice as having been ‘diuers times acted by the Lord Chamberlaine e quartos themselves have no act divisions.) The quarto shown for each play is always the earliest in the Library's collection - unless it is a 'bad' quarto in which case it is the earliest 'good' quarto. his seruants’. The play was also mentioned by Francis Meres in Palladis Tamia, published in 1598, indicating that it was already known to the public by then. The Merchant of Venice was probably first performed by the Lord Chamberlain’s Men at the Theatre. The first recorded performance was not until 10 February 1605, Shrove Tuesday, when The Merchant of Venice was given by the King's Men at court before King James I. The King commanded a second performance for the following Tuesday.
The Merchant of Venice is set in Venice and at Portia’s house in Belmont.
(Act 1) Bassanio tells his friend Antonio, a merchant of Venice, that he is in love with Portia and wishes to marry her. Antonio agrees to borrow money, in advance of the profits he expects from a trading venture, to pay for Bassanio’s suit to her. At Belmont, Portia appraises her suitors, favouring only Bassanio. They must choose between three caskets, one of gold, one of silver, and one of lead, to win her. Antonio and Bassanio sign an agreement with Shylock, a Jew, to borrow money from him. The bond is to be a pound of Antonio’s flesh.
John Gielgud as Gratiano, 'Let me play the fool',
Listen The Merchant of Venice. Act I, Scene 1. British Library Sound Archive, 1931
(Act 2) The first of Portia’s suitors, the Prince of Morocco, arrives at Belmont. Jessica, Shylock’s daughter, is in love with the Christian Lorenzo and elopes with him. The Prince of Morocco chooses the gold casket, and fails to win Portia in marriage. Her second suitor, the Prince of Aragon, chooses the silver casket and also fails to win her.
(Act 3) Shylock discovers his daughter’s flight with Lorenzo. He learns of the wreck of Antonio’s ships and his impending ruin. Bassanio makes his suit to Portia. He chooses the lead casket and wins her as his bride. Bassanio hears of Antonio’s ruin and immediately tells Portia of his debt, and the bond between Antonio and Shylock. Portia promises to pay the debt. Shylock insists on receiving his bond, the pound of Antonio’s flesh.
(Act 4) Before the Venetian Court of Justice, Shylock demands as his bond a pound of Antonio’s flesh. Portia enters, disguised as a young Doctor of Laws. She advises Shylock to be merciful. When he refuses, she judges that he is entitled to his bond but only if he sheds none of Antonio’s blood in taking it. She further judges that Shylock’s estate is forfeit because he sought the Venetian citizen Antonio’s life. Shylock leaves the court defeated and ruined. Bassanio has not recognised Portia. He offers payment for her services, but she demands her own ring from him and he gives it to her.
Ellen Terry as Portia, 'The quality of mercy is not strain’d',
Listen The Merchant of Venice. Act 4, Scene 1. British Library Sound Archive, 1911
(Act 5) Portia returns home to Belmont, followed by Bassanio and Antonio. She forces Bassanio to confess that he gave her ring to the Doctor who defended Antonio. She returns the ring to him, telling him that she was the young Doctor of Laws.
Explanation:
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