Male Homo-Eroticism in Shakespeare's Merchant of Venice

Monday, March 29, 2010

Disapproval, reprisal, and rejection are all valid fears in modern society with the struggle for Gay Marriage rights and Domestic Partnerships. The theme of disapproval can be seen throughout many of Shakespeare's plays and was said the most feared in Renaissance England, but one play in particular that disapproval is the focus can be seen in that of The Merchant of Venice. Claude Summers, in his essay “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism” states that, “Homoeroticism in the Renaissance tend[ed] to be expressed implicitly rather than explicitly...nearly always shadowed by a penumbra of religious and social disapproval” (Summers 6). Summers goes on to say that, “the essential context in which male homoeroticism is textualized in the English Renaissance is a pervasive homophobia tempered by a classical heritage of homoerotic literature and philosophy and a massively homosocial power structure” (Summers 6). Insofar as to say that [to paraphrase Summers (6)] the one salient fact about homosexuality in general as it pertains to English law was that of the punishment ensued by the person(s) to which the accusation was brought against, but within that ignorance, there seemed to be a small albeit, mighty group of persons whom were “tolerable of such acts in art and literature and even so far as the political structure.

In The Merchant of Venice, the homoerotic implications are conveyed rather indirectly, with special attention placed on Antonio's character and his loving friendship with Bassanio. In Renaissance literary discourse, Casey Charles argues, issues surrounding “what we might call homoerotic attraction were quite common in the prose, poetry, and drama of England. By using the term homoerotic, we can discuss a certain type of representation in the Renaissance that straddles a fine line between genital sexual behavior and platonic friendship” (Charles 4). In speaking of Antonio's character a lot of his interaction is versified, that is to say put into verse as both an expressing agent and as a means to understanding his true meaning of love, which in this case would be the love of Bassanio. Furthermore, his seemingly platonic friendship with Bassanio seems to disquiet the assumptions of a strictly platonic friendship insofar as they way in which Antonio speaks to Bassanio, the passion and love in his tone. Some of the passages of dialogue could persuade the reader to think in a different direction. A good example of this seemingly platonic friendship comes late in the trial scene before Antonio's pound of flesh was to be excised from his body by Shylock; Antonio states:

Give me your hand, Bassanio; fare you well
Grieve not that I am fall'n to this for you...
Commend me to your honorable wife
tell her the process of Antonio's end/ Say how I loved you
speak me fair in death
and when the tale is told/ bid her be judge
whether Bassanio had not once a love.
(4.1.260-261, 268-272)

The intensity of this scene is so overwhelming it almost brings one to tears; visualizing an embrace and the pouring out of a man's heart and soul, visually clenching his arms within Bassanio's arms as to not allow anyone to separate them . Antonio implores Bassanio to “live still and write mine epitaph” (4.1.118) as if there could be no everlasting declaration or visible proof that Bassanio once had a love than to etch it in stone. Antonio's heart and soul in this speech as well as his true feelings are being expressed in a public forum for everyone to hear and witness. Bassanio's response to Antonio further proves that their friendship could be seen as anything but platonic: “but life itself, my wife, and all the world/ are not with me esteemed above thy life/ I would lose all, ay, sacrifice them all/ here to this devil, to deliver you” (4.1.279-282). To give up everything Bassanio has, his wife and in some respect his own life for that of Antonio, is a true testament of his inner feelings and true love for Bassanio.

Steve Patterson in his essay “The Bankruptcy of Homoerotic Amity in Shakespeare's Merchant of Venice” suggests that, “Antonio's love is a frustrated sexual desire for Bassanio and, further, his passionate love falls into an early modern tradition of homoerotic friendship or amity.” This could allude to the fact that it is hardly even veiled homoeroticism, insofar as to say that Antonio wishes the world to know how he truly feels about Bassanio before he dies. Patterson clarifies that “amity represented friendship as an identity premised upon the value of same-sex love which codified passionate behaviors between men” (Patterson 3). In the case of Bassanio and Antonio the idea of “giving up one's body” (Patterson 13) as well as all other earthly ties, seems to be indicative of the premise behind amity and “other tales of romance” (Patterson 13) from the English Renaissance. Patterson comments that “Antonio seems to believe that there must be blocking agents to this love's consummation—[that being] Bassanio's desire for a wife” (Patterson 14). In the heart of Antonio, it seems Bassanio is all he wants, above all other earthly ties, and seeing Bassanio take off to be with Portia in Belmont is heart wrenching to the reader, for one gets a true sense of anguish and melancholy emanating from Antonio's verse. The trial scene quoted from above, helps allude the reader to the fact that this is something Antonio has wanted and yearned for, for some time and whereby allowing himself to make continuous references to his love for Bassanio further intensifies the notion that there is something blocking their love.

Antonio sends Bassanio a summons to be present at his trial; it could be inferred from this request that Antonio's intention could be to express his love for Bassanio not only in public and without feeling as though he has any reason to be sorry for feeling that way. Antonio writes, “ Sweet Bassanio/ all debts are cleared between you and I/ if I might but see you at my death/ notwithstanding, use your pleasure./if not your love do not persuade you to come/ let not my letter.” (3.2.314-19) The magic of this verse is reminiscent of Shakespeare's Sonnet 20 where the poet is telling the young man the way it has to be, not necessarily the way the poet wishes things could turn out. The couplet says it all: “but since she pricked thee out for women's pleasure/ mine be thy love and thy love's use their treasures” (lines 13-14). It can be hard to go back and forth between the sonnet and the play to find similarities however, Charles suggest that, “The beloved is first created 'for' or 'as' a woman (though the pun here on 'for' meaning "for the purpose of is equally apt)”, but then as a result of Nature's erotic attraction s/he is furnished with an additional 'thing! ” (Charles 12). Here the poet's declaration, much like that of Antonio, is that a woman gets to use you for heterosexual standards such as procreation and instant gratification , but I get your true love for eternity being that of homoerotic love, not necessarily genital love or the need for intercourse with his beloved, just the sheer companionship and love suffices whereas in a heterosexual instance it is purely for procreation.

Patterson explains that Antonio and Bassanio's “longtime association has been characterized by Bassanio's indebtedness to Antonio, not by mutual pledges of munificence which friends typically made in the most public and histrionic way” (Patterson 8). It is Antonio's refusal to charge interest on the loan he gives Bassanio that allows interpretations to be made as to the intentions of Antonio. It was not a Christian value to refuse to charge interest, however it does infer as Patterson comments that “amity's now-impractical ethic of a generosity that assumes equality and reciprocity between men” (Patterson 8). Antonio seems to exhibit a lot of generosity when it comes to Bassanio, he does it to make him [Bassanio] happy and thereby almost perpetuating a false sense of requited love from Bassanio in return, no matter how expensive or passionate. Although Bassanio does say, “to you Antonio/ I owe the most in money and in love” (1.1.130-131). It would seem as though Bassanio does not see it that way, he seems only interested in expediting a solution to his financial binds, and the extent of Bassanio and Antonio's interactions only last until Bassanio's needs are met, disregarding any commiseration for Antonio.

In conclusion, it could be said that the emerging modern queer texts and literature about the coming out process, as well as how to live one's life as either a gay or lesbian individual help to dispel the myth about homosexuality in general and thereby allowing for the homophobic harshness to be lessened; however, the imminent threat of rejection by society is still a valid and direct fear. In The Merchant of Venice, Antonio's gesture provides [to paraphrase Patterson] the sense of competition between amorous friend and that of romantic lovers which the play seems to excite. Antonio's bond with Bassanio will forever run deep if not in the pledges of passionate devotion then in “his surety” (5.1.254) in the marriage bargain Antonio was never dismissed from the couples presence, rather he was invited into the marriage of Bassanio and Portia as the guarantor of Bassanio's loans.

Mulitplicity

Saturday, March 20, 2010

Yes this is binary code, a series of 1's and 0's, but I chose this image because it represents multiplicity very well in that the numbers are repeated multiple times. But in all seriousness this image shows how each are dependent on one another to maintain form and function. Calvino comments that "understanding meant allowing [oneself] to become tangled in a network of relationships...and always understanding everything in the multiplicity of codes and levels of things without ever allowing oneself to become involved, we have to record this one fact common to both: the inability to find an ending" (p. 110) The inability to find an ending is what makes binary code so complex and practically uncrackable, because there are numerous sequences that it can take on. The idea of multiplicity is in my opinion best represented by the binary code for this very reason, there is no ending.

Visibilty

No this is not an optical illusion though it could be conceived as one. I chose this image to represent the idea of "visibility" because at first glance it looks as though it is a spiral patter, the only difference is that there is no focal point..no point of origin so to speak, looking closer one can see that the intrinsic circle rings emerge and the dawning realization that it is something it is not becomes clear. I think of this cyclical pattern as a template, a starting point on which to visualize anything to be possible, then examining closer, I see that the emerging circles can best represent what each of us do when we begin writing, the stage of visualization for our characters in our story, or the process of the dreaded term papers, where is our focal point, where do we start? This image does that, it first fools you into thinking it is just a simple pattern, but when given a chance it becomes something more fruitful and much more visible.

Exactitude

This is a glorious image to convey "exactitude" in that we have the scales, much like "Maat" whom is the "goddess of scales" (p.55) Calvino tells us that in his mind exactitude means three things:
1) A well-defined and well-calculated plan for the work in question
2) An evocation of clear, incisive, memorable visual images.
3) A language as precise as possible both in choice of words and in expression of the subtleties of thought and imagination...(p.55-56).

I think that this image portrays all three of this things equally, on the one hand being the symbol of justice, that makes it well-defined and well-calculated not just for the legal system but for literature as well in that in order to have a cohesive story one has to have balance, of which these scales represent. They are also a clear evocation of incisive and memorable visual images for the fact that upon first glance, one knows that these scales mean balance, justice, and in some respect equality insofar as when the scales are empty they are level, but as the expression goes, when something good or bad happens that outweigh one another we tend to say that the "scales have tremendously tipped in one favor or another". Finally it is a language in and of itself, it is precise, not only because when referring to the scales we think of the zodiac sign of Libra, that is to say a person who has a level head and is very attentive to the universal needs of others.

Quickness

This image to me conveyed the concept of "quickness" insofar as to say that if one looks a spiral pattern, it has an origin that is traceable to one solitary movement, one point on which to rotate. The initial moment or movement of the trace allows for the cycle to be repeated over and over. Much like literature having origins that quickly gravitate throughout time...Starting of course with the oral tradition of the Native Americans then to scribing from monks in monasteries, to finally the invention of the printing press, that to me is quickness, because only through the expedience of time, does the language of man truly become a staple. Calvino tell us that "literature would never have existed if some human beings had not been strongly inclined to introversion, discontented with the world as it is, inclined to forget themselves for hours and days on end and to fix their gaze on immobility of silent words". (p. 52) I believe what Calvino is trying to say here is that if humans would not have taken time out their lives to record what was going on around them, we may never would have some of the great political satire or memoirs we have today.

Lightness

I chose this image for my conception of the idea "lightness" because of the weightless manner that it instills upon me. Calvino has taught us that in the teaching of what we perceive as "lightness" is achieved by "subtracting the weight" (p.3) whether that be from literature or language itself. The idea of lightening up a story or a myth for that matter, entails the use of this concept insofar as the teacher, entrusting within themselves this idea of fluidity and motion; weightlessness if you will, only to perpetuate the idea of lightness, but as well to take the world at face value, for only in that instance can we achieve this weightless like manner about ourselves, wherein the images and allegorical rhetoric that is found within a narrative, can be perceived as lighter than air.

The Insensate Maternal Nature of Sleeping Beauty

Saturday, February 27, 2010

The view expressed in Prose’s interpretation of Sleeping Beauty is simply that “(...) The insensate slumbering woman is not only the ideal lover and mate, but also-- as it turns out-- the perfect mother. The kiss that returns the Sleeping Beauty to her waking state requires two generations” (Scholes, Textbook, p.228).Prose goes on to say “(...)Or perhaps its not love, but motherhood that finally makes a girl's eyes blink open(...)”(p,228).I support this view for the fact that Prose took a more personal and relateable stance, that is to say she interjected her own critique and interpretation, without basing it on scientific fact. I believe that is possible that Prose got her inspiration from Umberto Eco when he states,”One could object that the only alternative to a radical reader-oriented theory of interpretation is the one extolled by those who say that the only valid interpretation aims at finding the original intention of the author,”(p.210) often referred to as the intention of the text.


In contrast, to that of Bettelheim his stance on this subject was certaintly objective and more scientifically based whereas no personal connection to the story is expressed, this is evident when it states that on the part of the adolescent it is:“(...)Characterized by periods of utter passivity and lethargy alternating with frantic activity, even dangerous behavior to “prove oneself” or discharge inner tensions.”(p.214) Though this a valid point and Bettelheim being a child psychologist it is clear why he took this stance, but I believe it was too safe, simply because it was within his comfort zone and he did not really present (in my opinion) any personal connection that he had to the story, therein making it clearly objectified in the sense that he is taking a professional observers opinion and not that of a critical standpoint.

Now is this to say that the process of nurturing a child into adolescence is to reach a sort of “summit of femininity” as Bettelheim would say? (p.221), No, I do not believe that Prose would agree with this statement. She in fact makes a rebuttal of sorts when she states that a “(...) a paradigm of the feminist critique of how our culture programs girls, of the psychic footbinding designed to send them -- blinded, hobbling -- from the cradle to the altar...”(p.222) To me this makes a firm stance that Prose's opinion is quite to the contrary of that of Bettelheim who basically equates in my opinion the old adage that a woman's place is to bear children and make a home happy for her precluded husband, whereas it seems Prose's place is simply that of a woman whom is free to make that choice for herself.


This observation is supported I believe in the statement Prose makes to the reader when she states “As girls, we loved this story best of all for its heartening promise that the long nap we knew we were taking (referring to the child's innocence of sorts) would eventually end; perhaps when we least expected it...,”(p.222) this is the quintessential adage of every little girls dream, now is this to say that she necessarily has to bear children? No that is not the case at all here, what is evident in this passage is simply that she longs for something more sustainable in her life and yearns for more and as the saying goes if you keep looking for love you never find it, but the minute you stop looking for it, it will find its way to you. I do believe that Prose was trying to covey to the female reader especially the sense of preparedness and that while in preparing for motherhood one could infer this to mean she is in fact preparing for her own sexual role as a mature young woman. Prose makes a bold statement in regards to the idea of identifying a sexual role when she states:
“So perhaps the story of Sleeping Beauty is not as much as promise of future
romantic awakenings, as a warning, an etiquette lesson, a prescription for
behavior. It's not so much that we are asleep, on ice till the Prince comes to
rouse us. It's that if we want the Prince to come...well forget the make-up, the
curlers, the short skirts...The surest route to a man's (or any man's) heart is
to pretend to be unconscious: I asleep dear...and actually, to tell the truth I
may not even be...real...”(p.226).


In arguing whether or not Prose is justified in her qualitative analysis of Sleeping Beauty I believe the text really speaks for itself. Now in my opinion I believe that Prose felt the need to qualify her analysis simply because if one looks at the passage that states,”It seems, we might think, the very simplest of tales, this romantic and hopeful story about the power of love to reverse all the weaker enchantments and in the process rouse young girls from their insensate virginal comas...” (p.222)

This passage to some untrained and almost illiterate eye, could seem rather reticent and therefore deemed controversial. I believe Prose was well justified in her position and I also believe that the text can found to be almost verisimiltudinous that is to say the text shows a ”true seemingness” about the tale, which is sublimated and brought into a new light via the critique that Prose presents.


In conclusion, throughout this paper I have stated that I side with Francine Prose on the interpretation of Sleeping Beauty and have provided sufficient evidence as well as counter-evidence which only perpetuates the validity to Prose's interpretation, in that she is more relateable and she took the text at face value, and did not give in to scientific ideation rather she took the stance of a more personal nature and therefore made her argument more sustainable and efficacious when read to the masses.