With Arragon, the second suitor, she is seeming self-depreciating, saying referring to her "worthless self” (2.9.17). The key word here is “worth,” as the silver chest promises that the one who chooses it will get “as much as he deserves” (2.9.36). Because worth is dependent on comparative value, this word choice allows her to control his choice in a subtle way. Having honed her skills, she is then able to influence Bassanio’s decision, so that she is able to marry the man she chooses, even within the confines of a structured test. She has Nerissa make “music sound while he doth make his choice, / then if he lose he makes a swan-like end / fading in music” (3.2.43-44). If he appears to choose wrong, then the music will become sad, affecting his choice. In addition, she has a song performed alongside the music, which relies heavily on the consonance of the "d" sound, using words such as "bred," "head," and "fed" -- words that rhyme with "lead." The words in the poem feature simple items, such as cradles and pastures, which turns Bassanio's mind to the common, rather than the …show more content…
The corollary is also true-- characters who do not appear in houses do not change, as shown through the play's treatment of Antonio and Shylock. The events surrounding Antonio and Shylock occur almost exclusively in public places, or outside of Shylock's home, but neither character is never seen within. Parallels should be drawn between Antonio's speech at the beginning of the play and at the end. In the first line of the play, Antonio reveals that he is "sad" and in his last lines, he reiterates that saying that he is "dumb" (1.1.1; 5.1.279). Similarly, at the beginning of the play, he declares that he is unconcerned about his merchandise, a sentiment he echoes in his final lines. His relationship to Bassanio, too, does not change, despite the attempt on his life; in the first act, Antonio's "purse...and person" are "unlock'd" to Bassanio (1.1.138). At the end of the play, he offers those same items again, with the addition of his soul (5.1.249-53). Antonio clearly has not learned, nor has he changed, from the dire events set forth in the play. Shylock, too, exhibits no significant change throughout the course of the play. At the beginning of the play, Shylock is emotionally estranged from his daughter, Jessica, although she has yet to run away from home. This is reflected in the stilted speech during their only conversation in the play, in which Shylock's long speeches are punctuated by brief and impersonal