open access

https://hdl.handle.net/2115/39031

The Theme of the Three Caskets in The Merchant of Venice : (2) Election and Exclusion

日本語

2009-07-31

Research Faculty of Media and Communication, Hokkaido University

Media and Communication Studies

56

55-100

In extreme terms, on account of its essentially aleatory nature the casket-choosing manifests itself as an irrational game in which as the Prince of Morocco utters misgivings in advance, a Hercules might be defeated by his servant. Thus, despite his excelling desert that we may assume to be conducive to the victory, Bassanio could be a loser in this ordeal. Chaos looms large and frightening. The direst contingency, however, belies itself. The supposed disaster is destined to be obviated by the very spirit of the device, an invention of the late lord of Belmont, Portia's father. This is precisely what is implied in Nerissa's memorable remark made at the outset of the episode concerning the fortunate outcome of the casket-choosing. Its gist is that the chooser, who will succeed only by making out correctly the meaning of Portia's father, will turn out inevitably to be identical with someone whom Portia herself loves. It is to be duly noted, however, that a crucial proviso is involved in Nerissa's reassuring prediction: Portia's love in question must be based on correct choice. Along this internal logic dictating the business of the casket-choosing, Bassanio has been chosen by Portia prior to the actual game ― Portia who had fallen in love at first sight with him on occasion of his visit to the seat. In our opinion, her preference was pre-eminently, a politically correct one. Bassanio's glory is all the more conspicuous in view of the failure of the two other choosers. To say nothing of the Prince of Aragon, the misery of the Prince of Morocco deserves detailed treatment. It even reminds us that of Shylock. The disastrous choosing that he commits presumably because he is politically unworthy of Portia's predilection, was accompanied by her adoption of shockingly prejudiced discourse of the race which he shares with Othello as the latter's countryman. There is no denying that an issue of race is equally a moot point in the episode of the casket-choosing. Preceding the problematic drama of Shylock's victimization at the pound-of-flesh court, a significant prologue of, or prelude to it had occurred. The resulting persecution of these two racial outsiders resonates with each other.

紀要論文

Version of Record

1882-5303