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Although the most famous speech from this piece is, deservedly and understandably, Shylock's 'prick us' monologue, I think that the more useful speech to talk about what I felt about the play is Portia's only slightly less famous 'quality of mercy' speech in the court room scene:

The quality of mercy is not strain'd,
It droppeth as the gentle rain from heaven
Upon the place beneath: it is twice blest;
It blesseth him that gives and him that takes:
'Tis mightiest in the mightiest: it becomes
The throned monarch better than his crown;
His sceptre shows the force of temporal power,
The attribute to awe and majesty,
Wherein doth sit the dread and fear of kings;
But mercy is above this sceptred sway;
It is enthroned in the hearts of kings,
It is an attribute to God himself;
And earthly power doth then show likest God's
When mercy seasons justice. Therefore, Jew,
Though justice be thy plea, consider this,
That, in the course of justice, none of us
Should see salvation: we do pray for mercy;
And that same prayer doth teach us all to render
The deeds of mercy. I have spoke thus much
To mitigate the justice of thy plea;
Which if thou follow, this strict court of Venice
Must needs give sentence 'gainst the merchant there.

That speech above is the reason why this play has received three starts instead of the five that it deserves for the brilliance of its rendering, the writing, the amazing commentary, the bravery of putting it out there, complication of its presentation... and really, everything else about it. Actually, let me be more precise: the fact that none of the characters in this play lived up to that speech is the reason is the reason for the three stars.

Here's the thing: I did not like a single person in this play. Not one. It was an absolute chore to read this play, and took much longer than it should have to get through- the same reaction I have to reading Russian novels or George Bernard Shaw plays where the characters are mere mouthpieces, and their sometimes jaw-droppingly awful actions should be excused by their overall 'message'. There were so many absolutely horrifying things going on in this play, and not one plotline to redeem it, or attach me to the story. Not one. Piles of racism, nationalism, religious preaching, a Christ complex or two, mildly offensive gender politics, the whole thing was an absolute morass- there's, as always, too much to deal with in a Shakespeare play to cover it all, which is why I have chosen the quality of mercy speech, and perhaps I'll be able to touch on everything spiraling out from there.

Not one person in this play particularly stuck to the above defined, idealized presentation of justice or mercy. Nobody particularly deserved mercy, either. Shylock (as subversive a condemnation of anti-Semitism as he might be), is forced to take his revenge too far for the sake of wrapping up the plotline so that the Jew doesn't win. Antonio, despite his surface presentation of goodness is a deeply cruel, probably racist prick who plays the martyr as it benefits him, and, I have a deep suspicion, gave to his friend Bassiano due to the fact that he is in love with him (and so, is selfish, not selfless). As for our supposed 'romantic' leads: Bassiano is one selfish jerk who teaches the audience that its totally cool to cheat people and take advantage of people if you're young and hot, Gratiano expresses his desire to lead a lynch mob, and thinks going off on racist rants is fun, and Lorenzo can't wait to spend the rest of his life lording his 'generosity' over what he believes will be his slavishly grateful Jewish wife. As for the women, Jessica cares more for rising in the world out of her 'inferior' Jewish position than her father or, really, anything else, and makes a sickening speech about how awesome her Jesus-lovin' fiance is, Nerissa starts off potentially interesting and winds up very quickly as a mere shadow and eventually literal echo of her employer, like Shakespeare forgot what he put her there to begin with.

And as for Portia... she's the only character in this play that I have a bit of a struggle with. I do want to like her- I certainly appreciate the fact that she starts off as independent as it is possible for her to be- supposedly living her life in accordance with her dead daddy's wishes, and yet her own mistress for what seems to have been a very long time. She's smart, witty, quick, and definitely not afraid to stick up for herself. She pretends the submissive wife when her husband runs off five minutes after they get engaged, pretending to go to a convent, and instead goes on a cross-dressing, everyone-saving adventure. But here's my thing with Portia- she is not merciful. She's mean, man. I started to feel sorry for all those poor princes who show up to try to claim her hand- I know they're just plot points and there to be made fun of, but good God. They're not people at all- they're just countries, being made fun of, 'cause dumb national stereotypes are fun. Shakespeare was in all likelihood playing to his audiences' nationalistic sympathies at the time- the two Princes who actually appear are of Arragon and Morocco. The English were not huge fans of Spain at the time given the current and past political situation, and making fun of black people... well, why not? The ones who are just talked about are Palatine, French, English and Neopolitan Princes- all (except for the English, which is dealt with below), countries I'm sure England was totally cool with them looking a bit ridiculous.

(I did actually love the description of the English prince- it was a humorous, sharp commentary on English power and imperialism.-"What say you, then, to Falconbridge, the young baron
of England?
You know I say nothing to him, for he understands
not me, nor I him: he hath neither Latin, French,
nor Italian, and you will come into the court and
swear that I have a poor pennyworth in the English.
He is a proper man's picture, but, alas, who can
converse with a dumb-show? How oddly he is suited!
I think he bought his doublet in Italy, his round
hose in France, his bonnet in Germany and his
behavior every where.)

...Anyway, just another example of the cardboard people thing that helped to add up to a deeply unlikeable play- even if the observations were funny, and did help to set up Portia as a witty woman, their other uses cannot be ignored. (The above is the nicest thing she has to say about anybody, btw.) And after she gives an admittedly brilliant performance in the courtroom, Shakespeare feels the need to end the play with her as the nagging, scolding wife, who deliberately sets her husband up to be caught. 'Cause that's what the wimmens are like! Just waiting to claw your eyes out at any opportunity, dontcha know? Also, the action directly contradicted everything she had just said in the courtroom, as it was exactly like or worse than what Shylock supposedly did to Antonio. She spends this whole speech talking about how mercy does not mean keeping to the letter of the law, and it means understanding human frailty and how mercy is better than justice, etc, etc, and then, literally two scenes later, she's all, "but Bassianno, you saaaaaaid...." and takes huge self-righteous delight in ripping down the man she supposedly loves after setting him up to lose.

I suppose you can make the feminist argument that at least she doesn't give in totally to her man, and she still reminds him constantly who is in control- it is her money that allows Bassiano to put on a brave face in the courtroom, it is her words that get him out of it, it is her ring that shows him how close he can come to being tossed the fuck out. Even if she can't do that once she's married, she's made her point. But I don't know if this is a more positive stereotype of women than the woman who wilts into her husband immediately after her marriage.

As for the anti-Semitism in this play... it is a delicate subject, but I definitely come down on the side that Shakespeare meant this to be a subversive commentary on the popular views of the day. If the 'prick us' speech didn't open that window, the treatment of Shylock and how other characters talk about him throughout the play does. Shakespeare gives his audience exactly what they want (or what he believes they do) and believe, all while showing them why it is wrong, every step of the way. Even the way that Shylock is caught is absolutely wrong- these Christians, are, as mentioned above, worse than anything that Shylock could possibly have been- even with the exaggerated traits given to him by Shakespeare. His punishment is elegant, and far more cruel than just shooting him in the face would have been. And it certainly does not have that quality of mercy, whatever Antonio would like the audience to think. Shakespeare's poignant rendering of the realities of life as a member of an inferior sect in domestic or world society, and what those in positions of power feel entitled to do to you, is both subtle and in your face, and draws both laughter and anger at once. Beyond brilliant, really.

In any case- this is worth reading, as a brilliant, very brave, social commentary, as an interesting historical document, and as a beautifully written treatise on a number of very touchy subjects. It is absolutely worth the read, and I will probably read parts of it again as I wrestle with what I feel about it- but don't come in here looking for a story, or for people, for you will walk out quite disappointed. I don't think this is a bad thing- knowing the play's focus and limitations, rather (at least for me), allows one a window into appreciating a hidden, manic brilliance that might otherwise have remained hidden in the muck and sewer rotting garbage.

And such a want-wit sadness makes of me,
That I have much ado to know myself.

Antonio's lines open the play- I choose to read this as a disclaimer from Shakespeare, perhaps a statement of his own mind in setting these sometimes ugly, complicated thoughts to paper. A plea to look under rocks and among the worms, if we must, to find the beauty.

Do. It is worth it.