The main female characters of Christopher Marlow’s The Jew of Malta and William Shakespeare’s The Merchant of Venice serve the same purpose in their respective plays. Despite their power differences, Abigail and Portia fulfill the same function of humiliating the Jewish main character. These women also perform comparable actions which feed into the execution of their implicit main purpose. These actions and consequences include the following: going in disguise to protect financial statuses when it concerns men, becoming a conveniently changeable character, and how they use their power. In both The Jew of Malta and The Merchant of Venice—known henceforth as Malta and Venice, respectively—Abigail and Portia go in disguise as something other
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Abigail has very little power in Malta. One of the reasons for this is the continued existence of her father. Barabas is completely in control over Abigail’s actions and future, giving her very little influence. Especially in his revenge scheme, Barabas is directorial. He gives no regard for her wishes, emotions, or autonomy and requests she “Kiss him [Lodowick], speak him fair, / And like a cunning Jew so cast about / That ye be both made sure ere you come out” (2.3.235-237). Abigail is in a relationship, though, with Mathais and, while she protests, she is ignored. This is not the only time Barabas disregards her concerns with a “Tush” or a coercive argument (1.2.290). Abigail makes but one decision in the play that is made both by and for herself. After learning about how she has been exploited by her father, she joins the nunnery she previously belonged to, not as a ruse this time. This example of an action committed by Abigail that culminates in the humiliation of the main Jewish character goes hand in hand with her false disguise. While this action is quite purposeful, and is the only autonomous execution of Abigail’s power, it has the same result, coming from the same …show more content…
Portia manipulates each of her suitors in subtle ways. She knows that since the first suitor is the Prince of Morocco, a quite wealthy country, he is probably more likely to choose the most valuable casket. Additionally he, like the Prince of Aragon, has no positive feelings for her beyond her beauty and wealth. Since their motivation is not based in love, according to fairy-tale rules, they would not choose correctly even if Portia does nothing. She does not need to manipulate him into choosing the casket she wants him to. Portia uses language to guide the last two suitors. First, Portia entreats the Prince of Aragon to pick a casket to try to win her “worthless self” (2.9.17). She wants him to react against the perceived slight against her worth, monetary and otherwise, and he does. He chooses the silver casket, which would have the median worth of the available caskets. He values her, but not overmuch. This is reflected in both the materials and inscriptions of the caskets with their inverse implications of worth. The gold has the lowest verbal worth—“Who chooseth me shall gain what many men desire” (2.9.23)—and the lead has the highest—“Who chooseth me must give and hazard all he hath” (2.9.20). Then Portia influences Bassanio’s choice of casket with her language. Just lines before Bassanio contemplates the caskets, Portia gives a sort of rallying speech in which she says, “I stand for sacrifice”
Abigail has very little power in Malta. One of the reasons for this is the continued existence of her father. Barabas is completely in control over Abigail’s actions and future, giving her very little influence. Especially in his revenge scheme, Barabas is directorial. He gives no regard for her wishes, emotions, or autonomy and requests she “Kiss him [Lodowick], speak him fair, / And like a cunning Jew so cast about / That ye be both made sure ere you come out” (2.3.235-237). Abigail is in a relationship, though, with Mathais and, while she protests, she is ignored. This is not the only time Barabas disregards her concerns with a “Tush” or a coercive argument (1.2.290). Abigail makes but one decision in the play that is made both by and for herself. After learning about how she has been exploited by her father, she joins the nunnery she previously belonged to, not as a ruse this time. This example of an action committed by Abigail that culminates in the humiliation of the main Jewish character goes hand in hand with her false disguise. While this action is quite purposeful, and is the only autonomous execution of Abigail’s power, it has the same result, coming from the same …show more content…
Portia manipulates each of her suitors in subtle ways. She knows that since the first suitor is the Prince of Morocco, a quite wealthy country, he is probably more likely to choose the most valuable casket. Additionally he, like the Prince of Aragon, has no positive feelings for her beyond her beauty and wealth. Since their motivation is not based in love, according to fairy-tale rules, they would not choose correctly even if Portia does nothing. She does not need to manipulate him into choosing the casket she wants him to. Portia uses language to guide the last two suitors. First, Portia entreats the Prince of Aragon to pick a casket to try to win her “worthless self” (2.9.17). She wants him to react against the perceived slight against her worth, monetary and otherwise, and he does. He chooses the silver casket, which would have the median worth of the available caskets. He values her, but not overmuch. This is reflected in both the materials and inscriptions of the caskets with their inverse implications of worth. The gold has the lowest verbal worth—“Who chooseth me shall gain what many men desire” (2.9.23)—and the lead has the highest—“Who chooseth me must give and hazard all he hath” (2.9.20). Then Portia influences Bassanio’s choice of casket with her language. Just lines before Bassanio contemplates the caskets, Portia gives a sort of rallying speech in which she says, “I stand for sacrifice”