As Bassanio is resolving the puzzle of the caskets, he reasons based on the distinction between appearance and reality. He observes that:
So may the outward shows be least themselves;
The world is still deceived with ornament. . . .
There is no vice so simple but assumes
Some mark of virtue on his outward parts (3.2.75-6; 83-4).
When he finally chooses the lead casket, he argues that:
Thus ornament is but the guiled shore
To a most dangerous sea, the beauteous scarf
Veiling an Indian beauty; in a word,
The seeming truth which cunning times put on
To entrap the wisest (3.2. 99-103).
In other words it appears as if Bassanio is arguing that appearances are often false, immoral and dangerous. Yet in the trial of the contract of the pound of flesh, Portia, in disguise as a doctor, saves Antonio from death. While her appearance is surely false in her case, it is necessary to prevent a just but tragic outcome. Is Bassanio's observation about appearances compatible with Portia's deceptive actions? Is there a difference of opinion about appearances between these two characters? Is there a debate in this play about the morality and importance of appearances and deception?
I would argue that Bassanio only states what he does about appearances because he is in pursuit of Portia’s hand in marriage. Other than when he is knowingly in the presence of Portia, does he think that those who are tricked by appearance are not wise. When Bassanio makes this speech, and chooses the correct casket it is not because he actually believes what he is saying but it is solely so that the trial of the caskets is resolved. In the first act, Bassanio’s love for Portia is questionable as he seems to be distracted by Portia’s worth and beauty more than her lovely personality. He tells Antonio:
ReplyDeleteIn Belmont is a lady richly left,
And she is fair and—fairer than that word—
Of wondrous virtues. Sometimes from her eyes
I did receive fair speechless messages.
Her name is Portia, nothing undervalued
To Cato’s daughter, Brutus' Portia. (1.1.63-68)
He mentions that she is fair and rich but scarcely mentions that he is in love with her. Here, we see that Bassanio displays his hypocrisy. Here he is, being mesmerized by Portia’s image while preaching that only fools are distracted by appearance.
Like during the trial, Bassanio is the fool he preaches about throughout the trial of the caskets. Bassanio only pretends that he he is not vain and tricked easily by the exterior of the other characters.
There are many situations in this play that contradict Bassanio's view of morality and deception. It seems that in this play, the only way to accomplish one's desires, they have to somehow disguise their true selves to the world. Some examples are Bassanio and Portia and Jessica and Lorenzo.
ReplyDeleteIt can only be so obvious the deception that Bassanio and Portia put each other through. As previously stated in the prompt, Portia betrays her husband's trust by not only leaving the house and tricking her husband into giving up his wedding band, but dressing as a man in order to help Antonio. After Portia revelas that she was indeed the lawyer to Bassanio, Bassanio exclaims in bewilderment that, "Sweet doctor, you shall be my bedfellow. / When I am absent, then lie with my wife," (V.1.304-305). He is contradicting his feels is truthfulness by saying this. In the beginning of the play, he explains to Antonio that:
...had I but the means
To hold a rival place with one of them,
I have a mind presages me such thrift
That I should questionless be fortunate! (I.2.180-183)
He is hiding his true self from Portia and never really reveals his true self. He just assumes the lavish lifestyle of Portia when they are bond to be married.
In order for Jessica to be able to be wed to Lorenzo, she had to disobey not only her father, but her religion and gender. She had to convert to Christianity from Judaism, and change her appearance to a page to get out of her house in stealth. She states:
But though I am a daughter to his blood,
I not to his manners. O Lorenzo,
If thou keep promise, I shall end this strife,
Become a Christian and thy loving wife. (II.4.18-21)
Without this disguise and secrecy, she would not have been able to get out of her father's house safe and with most of his wealth.
In conclusion, the deceptive nature of this play really brings out the true intentions and emotions of the characters. The issues at hand may not have been solved if everyone had been so truthful about their demeanor.
I disagree with Daijah and Courtney, arguing instead that Bassanio’s behavior, and the play’s attitude towards disguise, is actually consistent. Instead of revealing a conflict, the play clarifies the use of disguise: only overly fancy and beauteous appearances can be deceptive and condemnable, concealing something lesser; others, such as a plain lead casket, can conceal something better than themselves, making them praiseworthy.
ReplyDeleteTake, for example, the trial of the caskets. Once the Prince of Morocco opens the casket of gold, the consequences of judging something based solely on appearance become clear:
All that glisters is not gold –
Often have you heard that told.
Many a man his life hath sold
But my outside to behold.
Gilded tombs to worms infold.
Has you been as wise as bold,
Young in limbs, in judgment old,
Your answer had not been enscrolled.
Fare you well, your suit is cold. (2.8.73-81).
Clearly, appearances can be deceiving, and those who choose what looks prettiest are foolish. In concealing something rotten, the gold casket has proved both itself and its chooser worthless. In contrast, however, lies the lead casket. Before choosing, Bassanio orates:
… But thou, thou meager lead,
Which rather threaten’st than dost promise aught,
Thy paleness moves me more than eloquence,
And here choose I. Joy be the consequence! (3.2.107-135)
Although lead appears to threaten, it ends up containing true value. Whereas gold was made worthless by concealing corruption, here lead assumes a greater worth than it would normally have, concealing in truth the likeness of Portia. Even though each casket disguises something, one is praiseworthy and one is condemnable, due to what each contains and how each conceals it.
Portia’s disguise at the end of the play is no exception to this rule. In fact, her disguise is actually two costumes in one: one, a woman as a man; the other, a wise person as a youth. As the “learned doctor Bellario” writes, “I beseech you let his lack of years be no impediment to let him lack a reverend estimation, for I never knew so young a body with so old a head” (4.1.164-5). Portia’s disguise, then, becomes one much like that of the lead casket: a humble outside concealing inner strength and goodness. Therefore, her deceptive actions are perfectly compatible with the trial of the caskets and the observation that appearances can be deceiving.
I would argue that the quote above, “Thus ornament is but the guiled shore / To a most dangerous sea, the beauteous scarf / Veiling an Indian beauty…” instead of saying that appearances are often false immoral and dangerous, is instead addressing more of the issue of “don’t judge a book by its cover.” He is saying that appearances can often be false or deceiving, but at the same time that often things with a lack luster appearance can in reality conceal something wonderful, as is the case with the coffins. Continuing with this theme, we see Portia disguised as the law clerk. She disguises herself in order to help Bassanio. Initially it seems as if she is going to be on Shylock’s side, but in the end she turns out to help Bassanio. This is another example of deception of appearance actually concealing something beneficial. Because of this, I would argue that the play is actually fairly consistent on its view of appearances and deception, especially between the cases of the coffins and the trial.
ReplyDeletewhat are two example given by bassainio to prove his point
ReplyDelete