Shakespeare's two Portias

by Gwen Herat

Shakespeare seems unable to resist setting traps to lure unsuspecting victims. He makes complicating plots and cunningly unravel the mysteries. He never repeats any scene or story or the semblance of any character except for the two Portias found in two plays. One is a tragedy and the other, a comedy.

The problem is that, like many correctives, Shakespeare works lightly upon each play until a purported identification of actor and character in one figuration tends to surpass the other. The dismaying result is that anyone unprepared to cut through the thickets, will see patience and miss out on the theme of the play. One has to go through all his plays to be familiar with each and every character as they come by and read with simple observations.

Portia from Merchant of Venice. Portia - God made him and therefore, and let him pass for a man. Act. 1, Scene II

For instance, when I identify Portia from Julius Caesar, I am confused as to what sort of historical evidence there is to place Portia the way Shakespeare has done. She plays a very small part but with Brutus, it is magnified to the extent that had he yielded to her pleadings on the eve of the assassination of Caesar, the play would have ended upon a dull note and turned out to be his best historical tragedy. He mixed fact and fiction but Portia came out unscathed.

Shakespeare faced two challenging tasks with the two Portias. The first was an attempt to map out the highly volatile and over-lapping, double acting of Portia from Merchant of Venice and the other, the pleading, suspicious Portia from 'Julius Caesar;'

Brutus - 'Kneel not gentle Portia,

Portia - I should not need, if you were gentle, Brutus;

Within the bond of marriage, tell me, Brutus;

Is it expected, I should know no secrets

That appertain to you. Am I yourself?

But, as it were, in sort or limitation

To keep with you at meals, comfort your bed

And talk to you sometimes. Dwell I but in the suburbs

Or your good pleasures, if it be no more.

Portia is Brutus' harlot, not his wife

Brutus - You are true and my honourable wife

And dear to me as the ruddy drops

That visit my sad heart'....

(Act 11 Scene 1)

Portia from Julius Caesar ,” Brutus”, 'Portia, what mean you. Wherefore rise you now'. Act. 11 Scene. 1

(Julius Caesar)

However, the fact remain that Shakespeare primarily wrote for the stage and dialogue geared to spur life and intensity to the identities of the two Portias. In story form, they can end up just as two light works. But Shakespearean made sure they did not. The two are of different characters but with one mission in life. They made sure that their men were safe from impending danger: One succeeds, the other fails. It may have been tricky for Shakespeare with so many powerful female characters, dotting his plays to emerge them differently. The only similarities between the Portias are that both are cultured, gentlewomen of good education, Portia from the "Merchant of Venice" is only known as a rich heiress who impersonates as a doctor of laws and the other from "Julius Caesar" to be from a family of high blood-line being the daughter of Cato.

(Enter Portia dressed as a Doctor of Laws)

Portia: 'Why then, this it is

You must prepare your bosom for his knife

Shylock: O' noble judge. 'O excellent young man

Por: For the intent and the purpose of the law

Hath full relation to the penalty

Shy: 'Tis very true. 'O wise and upright judge

How much more elder art thou than thy looks

Por: Therefore, lay bare your bosom

Shy: Ay, his breast.

So says the bond. Doth it not noble judge?

Nearest his heart; Those are the very words

Por: Have some surgeon, Shylock, on your charge

To stop his wounds lest he bleed to death.

Shy: Is it so nominated in the bond?

Por: It is not expressed but what of that?.....(Act. IV, Scene I)

(Merchant of Venice)