Art is a reflection of the time and place it was made. It can therefore be used to gauge social opinion at different times. In live theatre it is possible to gain valuable insights into the views of the audience at the time a play was performed by examining the portrayal and writing of minority characters. The outward appearance of minorities is important because it determines how the audience perceives them. Whether they are dressed in blackface, or covered from head to toe with cloth, the characterization of these characters is greatly affected. In many portrayals, characters of color are open about their status as minorities, and they take their plot actions into account. The Merchant of Venice, the Jewish moneylender that is often vilified, has an outsider who plays a similar role. While Shylock was the obvious outcast, being the Jewish man who insisted on causing bodily injury to a man he owed, another character played a similar role. Portia wanted to marry the man only known as the Moroccan prince. Portia, being a white woman with wealth, was the ideal match for his desire to gain both class and wealth. The prince of Morocco is an interesting character, since he often functions as Shylock’s counterpart, asking Portia to look at him as she would any other person of her race.

The prince’s first speech to Portia is a bit contradictory in his attempt to win her approval. In his first words, he anticipates that she will already be against him for his race. He has “the shaded livery” of the sun-burnished (2.1.2). The word choice, ‘livery’ is quite interesting. OED says that it is “clothing, uniform”, which suggests his skin as a form of clothing. This is because the skin color may not have any significance to Portia’s character. Also, the sun’s appearance is described as polished metal or burnished. It is a sign of wealth and prestige, since it is important that the metal be polished to a high shine. He describes his complexion in a strange way, as he simultaneously praises and disowns it. In the 1600s there were many theories as to what caused skin tones. However, it appears that the prince subscribed to the idea that skin tones are based on climate. This is evident by his request to be compared to someone who has a skin so light that “Phoebus’ fire barely thaws any icicles”. The prince’s belief that his skin colour is determined by his climate is in line with his previous description of it as clothing. After all, if the color is based on climate, moving to a new climate will change his skin tones, which is not permanent. It is a way to show that Portia’s negative perceptions of the prince are not true. The contest he proposes is not about his skin colour, but rather the color of blood. This places more emphasis on the internal than the external. He asks for a judgement on the color of blood to determine “virility […] (OED) and strength”. He uses his new body to show his masculinity as well his ability to marry Portia.

It is important to note that the prince does not ask for someone paler. Instead, he requests the “fairest northward-born creature” (2.2.4). The prince wants someone as fair as they can get, according to one definition. But by referring to the word in this way, he also implies other characteristics. Fairness is being “beautiful, agreeable and noble”. The prince uses a term that has positive connotations to create a dichotomy with his hypothetical opponent. His choice to choose a fairer man for competition is an indirect agreement that a darker complexion carries negative characteristics. In asking the person with the most beautiful skin to compare to, if that competitor has a fair complexion and is therefore noble and beautiful, the prince will agree that blackness is associated with its opposites, which are nobility and beauty. The prince is trying to distance his blackness from Portia and show that he is worthy.

The prince brags that, after asking to be judged on an internal trait and not his skin color, his skin “has frightened the valiant” (2.1.9) and “the most admired virgins in our climate” (2.1.10). The prince’s new claims present his skin tone in a positive light, and as a partner and protector. The prince makes it clear that his appearance is frightening, but it’s his strength, not his skin, which causes fear. He describes the people who are afraid as being valiant. It is possible to use his argument about the virgins from his climate in one of two ways. Prince defends his appearance and makes arguments against any accusations that Portia might not want him as her husband. Portia receives a direct appeal from the prince. This is an extension of what he originally asked for, that she “dislike him” because of his dark skin tone.

However, the prince’s appeal seemed to be a way of cutting off his ties with race. Portia tells him, “I would not change the color of my skin / except for to steal [her] mind” (2.1.11-12). This statement perfectly combines his contradictory speech. While he doesn’t think Portia would see his skin tone negatively, he realizes she might. So despite his pride in his complexion, a change is necessary to gain her attention. This isn’t a hypothetical question, as the prince does seem willing to alter himself in order to gain Portia. The prince, again, refers to his race as something that is not permanent. He does not offer a method to make him lighter-skinned. This can be seen in his larger perspective of his relationship between his external appearance and his inner character traits.

Portia must look past the basic description of his skin, which is a combination of words that describe wealth and social status. It is his blood that will reveal his true character, which she cannot see by looking at his skin color. Even though the proposed violence is small, it speaks volumes about his motivation to convince Portia he’s worthy of marrying her. A comparison between himself and someone fairer also shows that he understands how he is perceived in relation to a black person. Portia may be viewing him at a lower level than a White person. For him, the test of Blood is the easiest and most effective way to get Portia to see him differently. He is also willing to give her his entire racial identity in hopes that she will want him. It’s a bit confusing because he is willing to give up the aspect of himself that he has praised just a few lines earlier, but it adds to his commitment to wooing her.

Ultimately, Portia will not decide his marriage, but he can choose which of the three boxes he wants to be in: silver, lead or gold. Each box comes with its own riddle. The suitor’s choice is interpreted as a reflection of their character. Morocco surveys the whole lot and chooses a golden box with a message that reads “Who choosethme shall gain all men’s desire” (2.7.37). He believes Portia is what men all want because of her beauty and stature. His choice, therefore, was a rational decision. The thought process he uses to reject the other two boxes is even more telling. Portia’s picture could only be displayed in a gold-plated box, because that would match her beautiful appearance. This reasoning seems contradictory to his previous monologue in which he claimed that outward beauty was not a factor of value. But he still chooses the prettiest-looking box, and the inscription is only a secondary consideration. His perspective is skewed, but it may be more about the race difference between him and Portia.

In his speech earlier, the Prince makes it very clear that he is well aware of his negative skin traits and encourages Portia not to place value on them, but rather his internal characteristics. It is possible that his desire to ignore his race in any way, led him to accept Portia and pick the golden box. Portia’s wealth and beauty are enough to compensate for his ‘disadvantage.’ He doesn’t need to go beyond the surface. She is not perceived negatively because of her appearance, so there’s no need for him to worry about her inner qualities. Portia’s whiteness is enough to make her feel comfortable. She doesn’t need to dig deeper because what she sees is socially acceptable.

By viewing the prince as an outsider, you can better understand how he fits into the overall play. In that he is an outsider like Shylock and a different version, the prince can help us understand the rest characters through this dichotomy. Both Shylock and the prince must make it clear to white Christians that their motivations are not what they seem to be. This is because the Christians assume the morality and justice of those who look like them. The ‘fairest characters’ can survive on their appearance, and the implicit assumption that those who look like them are good. Minority characters, however, must reveal more of their inner traits as the outward appearance is not enough to redeem them.

michaellang

Michael Lang is a 33-year-old professor and blogger who is passionate about writing. He has been blogging for over 7 years and has written for various online publications. Michael is also a seasoned professor who has taught at the college level for over a decade. He is currently a professor of English at a community college in the Midwest.