The Merchant Of Venice Deception Analysis

Using the chosen texts, Twelfth Night and The Merchant of Venice, this essay will consider whether or not the dramatic effects of deception and disguise are significant in Shakespearean works. Deception and disguise show the difference between appearance and reality and often go hand in hand within many, if not all of Shakespeare’s plays. There are, for example, many instances of disguise leading to accidental deception, the use of disguise as a means to deceive in a form of self-preservation such as the tactics used within Twelfth Night and there are occasions when deception is used in a more malevolent fashion as shown in both Twelfth Night and The Merchant of Venice. Other characters are known to even deceive themselves, ultimately believing they are something they are not, as such deception and disguise is one of the most significant dramatic effects used in any Shakespearean play.

“No plot device is more constantly recurrent in Shakespearian drama than is disguise.” (P.V.Kreider). Throughout many of Shakespeare’s works deception is credited as among the most frequently visited plot devices. Even the actors themselves in the original performances of the plays donned a disguise in order to deceive the audience, being male dominated the actors had to

wear dresses to bring across the illusion of being female. Additionally, the characters in the plays disguised themselves, physical changes were used heavily in Twelfth Night by Viola and as a smaller part, Feste.
In his plays, Shakespeare develops an immensely intimate relationship between those who use disguises and those who, as a result, are deceived. However, it is commonly found, that those in Shakespeare’s plays who find themselves in a position needing disguise are, more often than not, victims of deception themselves. For example, in King Lear, wrongly accused and banished, Edgar the ‘good son’ of Lord Glouster, is forced to disguise himself as ‘Mad Tom’ in order to protect himself and those who are close to him. Yet, many of those in disguise in turn end up deceiving others. This is shown in Twelfth Night, when Viola dresses as a man to protect herself, she finds being a man would give her a higher social standing, but as a consequence caused Olivia to fall in love with her, thinking Viola a man. Viola however she does try to cryptically correct Olivia’s train of thought on the matter shown in Act 3 scene 1 “I am not what I am.” While under the persona of Cesario, Viola’s statement to Olivia, who has quickly fallen in love with "him," is both revealing and concealing. Viola hints there is something more to her as ‘he’ is neither a boy nor an appropriate object for Olivia to love. As Cesario she cannot surrender or explain to Olivia her reasons for rejection without revealing the disguise; but in refusing Olivia the deception has resulted in unnecessary cruelty which remains significant in the promotion of the plot in the play.
The theme of deception is used throughout the play to mislead and confuse.

Shakespeare’s The Merchant of Venice is riddled with characters deceiving one another, the play holds much significance on one’s physical appearance and how the appearance of a character is a crucial component to the continuation of the plot. The first occurrence of deception is in fact Bassanio, friend to Antonio, is arguably the most significant character in The Merchant of Venice, as none of the plot would occur without him. Bassanio used his appearance to deceive not only the people of Venice but also Portia of Belmont and uses funds which are otherwise unavailable to him in an attempt to appear wealthy. For instance, when Bassanio

says;
“‘Tis not unknown to you, Antonio, / How much I have disabled mine estate, / By something showing a more swelling port / Than my faint means would grant continuance” (Act I, Scene 1, lines 122-125)
He confesses he uses a wide sum of his money to his friend Antonio, in a way to make himself appear different in the eyes of the general population, placing significance on his façade over reality.
“Utterances concerning oneself as disguised are indispensable in the process of keeping identity clear in some of Shakespeare’s most interesting masquerades” (P.V.Kreider). In Twelfth Night, Viola’s initial disguise sets the whole plot of Twelfth Night in motion, she is the character that holds the most significance due to her disguise. In act 1 scene 2 Viola's speech sets the tone for a play, “And though that nature with a beauteous wall, I will believe thou hast a mind that suits, with this thy fair and outward character.” Intent on thinking about whether or not what is outside matches what is on the inside, Viola makes it apparent that the way some people can seem "fair" or beautiful in their outward appearance and demeanour while concealing what truly lies underneath, like a "beauteous wall,". However, it becomes apparent that Viola’s main problem soon becomes her own personal identity. Like Bassanio in The Merchant of Venice, Viola does not show her real self, and later in the play finds it increasingly difficult to be able to differentiate between herself and her male counterpart ‘Cesario’.

In Twelfth Night a characters outward identity is not the only thing that can be used to deceive in the play. Entirely for the purpose of their own personal entertainment, the trio, Maria, Sir Toby, and Sir Andrew construct an elaborate hoax to deceive Malvolio. They play a malevolent trick on him by writing a letter for him, which imitated Olivia’s handwriting. After convincing Malvolio that Olivia, the object of his affections and the way to achieve his dreams of gaining a higher social status, is in love with him he begins to behave in a foolish manner, the opposite of his usually Puritan-like nature. Believing the commands in the letter to be genuine, he starts to act differently to prove he loves her in turn by doing things completely out of character like wearing high yellow stockings, which is "a colour she abhors, and cross garters a fashion she detests" according to Maria. At the end of the play he vows "I’ll be reveng’d on the whole pack of you" because of his humiliation. Even though the deception of Malvolio is a minor plot point it still shows the significance of deception and how it can become a key feature in potentially destroying someone’s life.
The theme of deception is used throughout a multitude of Shakespearean plays to mislead and confuse so things may not always be what they seem. Shakespeare uses deception to enhance the unfolding drama and involve his audience more fully in the play. The character of Shylock in The Merchant of Venice appeared to be a kind and generous man at first. For instance Antonio publically abuses Shylock before asking for money and adamantly refuses to apologise and Shylock states, “I would be friends with you and have your love, / forget the shames that you have stained me with, / Supply your present wants, and take no doit / Of usance for my moneys, and you’ll not hear me: / This is kind I offer.” (Act I, Scene 3, lines 135-139) giving the impression that he is friendly and kind by offering the money Bassanio needs. Although it soon becomes apparent that Shylock has taken advantage of the situation due to the intent of greed and selfishness which has been covered up by his words of virtue. Such exploit is displayed by the exceptionally stingy Shylock, and deceives Antonio and Bassanio into thinking that Shylock really wants to let bygones be bygones even though Antonio obviously thinks himself better than shylock.
Deception is rife within Shakespeare’s plays and holds great significance in a range of his works can also be created by an interfering, but generally well-meaning, but otherworldly force such as the trickster Puck in A Midsummer Night’s Dream or Ariel in The Tempest. On the other hand, Shakespeare uses much more sinister motifs of deceit in his works, including false expressions of love and or devotion can show how previously heroic and seemingly ‘good’ characters can be drawn to deception in order to achieve their ends, found in his tragic plays such as King Lear, Hamlet and Macbeth.

In Shakespearean works Viola in Twelfth Night is not the only woman to alter her physical appearance. Portia in The Merchant of Venice deceives a wide variety of people. Most notably, Portia deceives an official court into thinking she was a man and while Portia's intent can be interpreted as both noble and selfless. She manipulates the law in such a way that she manages to save Antonio having a pound of his flesh extracted by the hand of Shylock in order to pay off his debts. While Viola in Twelfth Night has only pure intentions and did not intend to give others harm due to her disguise nor did she seek power in donning the guise of a man. Portia is in turn ruthless, taking advantage of her new found power Portia becomes a significant plot point in The Merchant of Venice. While through the eyes of the law, the imposture of a lawyer, especially by a woman at that time, was seen as extremely illicit Portia single handedly, through her deception ties up the loose ends of the play. In her speech she demonstrates her logical skill;
“Therefore, prepare thee to cut off the flesh. / Shed thou no blood, nor cut less nor more / But just a pound of flesh: if thou tak’st more or less than a just pound, be it but so much / As makes it light or heavy in the substance, / Or the division of the twentieth part / Of one poor scrumple, nay, if the scale do turn/ But in the estimation of a hair, / Thou diest and all thy goods are confiscate.” (Act IV, Scene 1, lines 320-328)
Portia’s disguise, and as a consequence, deceit is far greater than anything else demonstrated in any other individual in The Merchant of Venice. If she did not change her physical appearance and for all intents and purposes become a man, none of the court would have taken her seriously and the happy ending in The Merchant of Venice would have become a tragedy.
“By our period, it was an accepted convention that disguise… should be entirely successful in its intended deception until the character involved wished to reveal himself- or, frequently, herself… taking the roles of women disguising themselves as men, was a popular device…” (Trussler, pg 51) Viola's disguise becomes increasing more important as the events take place as the majority of the plot depend on her maintaining the disguise, without which the plot would focus on Malvolio’s torment. Due to a series of complications caused by her lost twin brother Sebastian, nearing the end of the play, Viola’s plan begins to fall apart, which if the play was not intended to be perceived as a comedy, Viola’s dual personalities could have caused her to break down, but on the arrival of Sebastian he takes over the aspects of Viola’s disguise that she no longer wished to maintain and thus after being liberated by her brother, Viola is free to shed the roles that she has accumulated throughout the play, and she can return to being herself.
To conclude Deception in Shakespeare's comedies often hinges on mistaken identity “When the condition which necessitated the disguise is removed, Shakespeare explains the masquerade to those who have been deceived by it.” (P.V.Kreider)