Merchant of Venice Character Study

Lancelot from The Merchant of Venice

The Merchant of Venice, otherwise called The Jew of Venice, is more than a romantic comedy. It explains the population’s prejudices toward Jews during Shakespeare’s time. The people of Shakespeare’s England were especially superstitious towards Jews. They were accused of such things as poisoning wells and stealing babies, and their strange customs did not endear them to the population. In that age Jews were viewed as a necessary evil because they often took on the least alluring occupations such as moneylenders. Christians found this occupation to be shameful and against their own moral code, and so the Jews were persecuted and punished for what society demanded of them. This is most evident in the character, Lancelot, and his role is particularly evident in three specific scenes: Act Two, Scene Two; Act Two, Scene Three; and Act Three, Scene Five.

As the audience is introduced we find out Lancelot, a Christian, has no respect for his master, Shylock, who is a Jew and a moneylender. The first words out of Lancelot’s mouth are full of censure for his master and he is debating whether or not to leave his service. In keeping with his title of “clown” he makes fun of his situation in it’s traditional sense, as well the lesser known role of speaking inconvenient truths. For example, the period Londoner’s view of Jews. Lancelot says that the Jew “is the very Devil incarnate” (2.2.21) and that “he is a Jew if he serve the Jew any longer” (2.2.100).

He leaves Shylock’s service and goes to work for Bassanio, the down and out Italian merchant. In Lancelot’s opinion, and the common opinion of the time, it would be better to serve a poor Christian than a rich Jew.

Lancelot’s disdain goes only so far as Shylock it seems, for in the following scene the audience sees how the clown has formed a friendship with Jessica, Shylock’s beautiful daughter. In Scene Three of Act Two, Shakespeare wrote a touching encounter between Jessica and Lancelot. Here, it is made apparent that the clown and the Jewess were friends in mischief, referring to Lancelot a “merry devil” (2.3.2). Neither one cares very much for Shylock’s melancholy attitude toward society and his place in it. In this scene, Lancelot is telling Jessica goodbye and he is moved to tears at the thought of not seeing her again. He calls her the “most beautiful pagan, [the] most sweet Jew” (2.3.10-11), illustrating that her beauty makes it easy for her to fit in with the Christian society.

Jessica’s beauty does not save her from eternal damnation, as Lancelot makes clear in Act Three, Scene Five of the play. Lancelot and Jessica sit in Portia’s garden passing the time, and although Lancelot’s words appear to be in jest, they betray an underlying message.

Though Jessica has run away from her father to be with her husband, Lorenzo, and has converted to Christianity, Lancelot claims that “ the sins of the father are to be laid upon the children…for I truly think you are damned.” (3.5.1-5). Lancelot, the embodiment of the common man, makes it clear, though in jest, that nothing can save Jessica’s soul. She was born a Jew and will always be so, with all of the stigma and prejudice attached to it.

All of Lancelot’s prejudices are conveyed to the audience through the guise of comedy. He is, after all, the clown, and his purpose is to make the audience laugh. Yet his sentiments are clear: he believes a pretty Jewess can be accepted in society but only for friendship. The world will frown behind her back for being the wife of a wealthy merchant. The Jews were necessary in the economy of the time; however, that doesn’t mean they have to be treated with respect, or as educated men worthy of respect such as Antonio or Graziano.

All of the age old discriminations toward a particular group of people are present in Lancelot. His belief that they are damned and that they are demons reflects the popular attitude towards this group of people at the time. His interpretation of these beliefs is what makes his character funny, poignant, and vital to the play.