THE MERCHANT OF VENICE

PART I - SYMBOLS

William Shakespeare's The Merchant of Venice has diverse meanings and symbols understated in almost all scenes and dialogues, most of them referencing Christian traditions. The classical dispute among Jews and Christians in 16th century Venice brings to the viewer elements from previous historic events and leaves a desire for knowing more about each character's story. 

This is, perhaps, one of the richest settings on Shakespeare's works.

THE RINGS

Rings have a primary role in the story, representing all and nothing at the same time. 

Alternating between fidelity and treason, its role becomes evident in two occasions : when Portia presents Bassanio with a commitment ring, and when Jessica is given Leah's ring by Shylock.

When in Belmont, the ring given by Portia to Bassanio represents truly all or nothing. When in his finger, it represents all: In the 16th century, marriage made the man legal owner of his wife and her property. However, the simple act of parting with the ring represents nothing:

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: I give them with this ring;

Which when you part from, lose, or give away,

Let it presage the ruin of your love

And be my vantage to exclaim on you. (3.2.7)

Shylock's ring  reveals perhaps his vulnerable position and portrays him as a human being capable of feeling something other than anger. In addition, the viewer is presented a part of his past that is not shown, and the identity of whom might have been Shylock's lover and Jessica's mother:

"'My daughter! O my ducats! O my daughter! / Fled with a Christian! O my Christian ducats!" (2.8.2).

"Out upon her! Thou torturest me, Tubal: it was my

turquoise; I had it of Leah when I was a bachelor:

I would not have given it for a wilderness of monkeys." (3.1.14)

In both occasions, once more the strong Christian aspect of the play is emphasized. The ring represents the union of two individuals and  therefore turns the object into a symbol of fidelity. Even though Shylock is not Christian, the ring given to Jessica has the same purpose, even if later betrayed and turned into a symbol of grief.

THE THREE CASKETS

O me, the word 'choose!' I may

neither choose whom I would nor refuse whom I

dislike; so is the will of a living daughter curbed

by the will of a dead father. Is it not hard,

Nerissa, that I cannot choose one nor refuse none? (1.2.3)

The contest for Portia's hand is nothing but a dead father's control over his daughter's rights.  Again, a typical behaviour from the 16th century, when parents chose the right husband for their daughters. In this case, her father's will is bound to three caskets made of gold, silver and lead.

According to the inscription on each casket, it is somehow clear which would be Bassanio's choice,
since he is indeed risking all he has in order to conquer his beloved wife.

"Who chooseth me shall gain what many men desire." - gold casket
"Who chooseth me shall get as much as he deserves." - silver casket
"Who chooseth me must give and hazard all he hath"  - lead casket

The symbolism behind this contest, beyond the hidden significance on each inscription, is purely Christian. The ideal that appearances are often deceiving and individuals should not rely on first appearances are, in this case, represented by the lead casket, the humble one. The natural first instinct of all suitors would be to choose the two first ones, taking into account the wealth of the bride and considering her the object of desire and no less than what one deserves. The central values of Christianity are faith and charity,and if a suitor risks and gives everything he has for the spouse  in hope of a compensation that he never truly deserved, he is entitled to her hand and all her wealth.

Also, during the lottery, Portia orders that the band plays music while Bassanio chooses the casket. The lyrics are indeed self-explanatory on why he chose the right one:

Tell me where is fancy bred,

Or in the heart, or in the head?

How begot, how nourished?

Reply, reply.

It is engender'd in the eyes,

With gazing fed; and fancy dies

In the cradle where it lies. (3.2.1)

THE POUND OF FLESH

As a constant reminder of Shylock's inflexibility, the contract between him and Antonio demands a pound of Antonio's flesh in case he does not return the amount of money in time. 

"Go with me to a notary, seal me there

Your single bond; and, in a merry sport,

If you repay me not on such a day,

In such a place, such sum or sums as are

Express'd in the condition, let the forfeit

Be nominated for an equal pound

Of your fair flesh, to be cut off and taken

In what part of your body pleaseth me." (1.3.17)

Elizabethans' view of Jews was more a product of imagination than reality, since Jews had been exiled from England in 1290. A few myths that lived through he 16th century were that Jews would kidnap Christian children on Easter to use their blood in ceremonies and the story of Little St Hugh, a child crucified by a Jew in 1255. In addition, many stories involving Jews circumcising Christians transformed them in bloody-minded ancestors.  These interpretations are understated in Portia's demand, when crossdressed as the doctor, where Shylock was not allowed to spill one drop of "Christian blood".

An additional reason for Shylock to be so vengeful for Antonio's flesh was clearly the loss of his own flesh and blood - his daughter Jessica - who ran away to marry a Christian. Above all, the main representation of Act 4 is Shylock's view of the power of a Jew over a Christian, for once.  The return for all the humiliation on his kind and in special the occasion in the beginning of the play, when Antonio spits on Shylock, for the same has called for him in a friendly way. The humiliation payed back with a pound of Christian flesh unleashed all the grief and revenge kept inside from diverse situations, as major reasons for his estimated "bond".

References:

Anon . The Merchant of Venice - symbolism. [online] Available at: http://www.shmoop.com/merchant-of-venice/symbolism-imagery.html. [Accessed 29 March 2014]

The Merchant of Venice (WIlliam Shakespeare) - original play

The Merchant of Venice, 2004, motion picture, Sony Pictures Classics

Adelman, J. Blood relations: Christian and Jew in the Merchant of Venice.  The University of Chicago Press.

LUDWIG II - GENIUS OR LUNATIC?

"Perhaps Mama is wrong when she says the king was no fool, but rather a loner who lived in (different) ideal worlds..." 

(Marie Valérie, daughter of Empress Elisabeth of Austria)

"He doesn't want to; he would rather live in his dream land, in Wagnerism..." 

   (Eduard von Bomhard)

             

"I only long for freedom, freedom, for freedom I thirst..." 

(Ludwig II, 1867)

"I have always understood Your Majesty's poetical inclination for the mountains, with their crevices, tumbling streams, waterfalls, moss-covered rocks, and narrow animal trails, but only now do I appreciate it completely. Here (in the mountains), one is truly closer to nature and farther from people" 

(Lila von Bulyorszky)

"...wandered at the banquet and that he remembered only occasionally to come back to a conversation which did not surpass the ordinary courtly small talk (...)...I have to admit with slight disappointment that my attempt to involve him in an interesting conversation remained unsuccessful..."

(Otto von Bismarck)

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Ludwig II of Bavaria (1845-1886), has certainly been remembered like no other king, specially due to his extraordinary building projects. During the last period of his life, the matter of whether the King was mentally ill or just had an eccentric and perhaps visionary personality arose among the royalty and government. The fact is that the "Swan King" had truly ideas and perceptions not from his time, but a greater view of the world and the functioning (or non-functioning, for that matter) of the society as a whole.

Born in Nymphenburg and proclaimed king at a very early age, Ludwig showed signs of a possible social phobia ever since the first mandatory duties to the court and events where the King's presence was officially requested. On the other hand, he showed great interest in the technical developments that marked the start of the industrial revolution in the second half of the 19th century, in particular regarding flying machines, becoming fascinated with the idea of flight. Later, during the last years of his life, this inner desire of being "removed from the earth through air" would serve as a possible evidence of mental illness and "excessive imagination", beyond limits of reality.

During his journeys , a greater part of the time Ludwig spent in a failed attempt to excuse himself from royal duties, causing disappointment and misconception from a political point of view. However, during many of these travels, the King gathered ideas for his beloved constructions, in special the palace of Versailles, later inspiration for Linderhof, the only one whose completion Ludwig lived to see.

The King's friendships with liberal artists might have been one of his means to get away from the society he so despised. Beyond his devoted relation with composer Richard Wagner, actors and actresses were the king's favourite companions, among them Lila von Bulyorszky, Marie Dahn-Hausmann and Josef Kainz. His constructions, in special Neuschwanstein, illustrate the passion for works such as Tannhäuser, Lohengrin and Parsifal, being the perfect refuge in a fairytale land of hopes and dreams where he never had a chance to live.

Could Ludwig II have longed for an alternative world to his tumulted reality and created a dimension only he knew how to be a part of? During the last years of his life, the King had withdrawn from the real world to such a degree that he was unable to perform his tasks in the government. The more his fantastic ideas grew, the more his relationship with the cabinet sank. Immersed in debts, even when Ludwig was declared officially mad by authorities, his only joy was to seek a way to continue financing his constructions.

In a time where what was normally expected form a King was to rule its people, Ludwig II chose to go beyond social duties. When technology consisted of aspiring ideas for the future, Ludwig II dreamt of flying and constructing outstanding buildings. While the public concern went towards wars and alliances, Ludwig II valued artistic expressions and potential works from upcoming personalities. Above all, he was a tormented figure that was victim of his own internal world and of a royal burden carried on from generations.

Ludwig's tragic death on the waters of lake Starnberg still intrigues admirors nowadays. The loving memory of a fascinating mind leaves nothing but fairytale dreams to be discovered by many, but comprehended by few.

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"A charming King, blessed with all of God's gifts! From his forefathers he inherited the passionate love for beauty and greatness, and a kindness that delighted his people...Of ideal beauty, open-hearted for everything that was uplifting and moving, he ascended to the throne, adored by his people. He was the most popular King." 

(Pope Leo XIII)

References:

Schad, M. (2001). Ludwig II. Munich: DTV Portrait.

Merkle, L. (2011). Ludwig II and his dream castles: The fantasy world of a Storybook King. Munich:Stiebner

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