1 00:00:00,690 --> 00:00:04,080 So this is the last of my lectures on Shakespeare for this term. 2 00:00:04,080 --> 00:00:12,180 I'm going to talk about The Merchant of Venice, a comedy which dates from around 50 ninety six to seven, 3 00:00:12,180 --> 00:00:17,200 the same sort of time as Henry, the fourth part one and flip fittings. 4 00:00:17,200 --> 00:00:24,390 So chronologically, I guess, between Romeo and Juliet, Midsummer Night's Dream, which is slightly earlier, 5 00:00:24,390 --> 00:00:33,840 and Merry Wives of Windsor, the Henry the Fourth plays Much Ado about Nothing, which is slightly later. 6 00:00:33,840 --> 00:00:44,870 It's a play first published in quarto form in sixteen hundred and then again in the Folio in sixteen twenty three. 7 00:00:44,870 --> 00:00:49,310 So the title character of The Merchant of Venice is Antonio. 8 00:00:49,310 --> 00:01:01,360 A melancholic figure who undertakes to borrow money on behalf of his friend Paisano, who wants the money to woo a wealthy woman, Portia. 9 00:01:01,360 --> 00:01:10,150 Antonio agrees with Shylock. The Jewish moneylender that he will borrow three thousand ducats under the forfeit. 10 00:01:10,150 --> 00:01:16,490 If the money is not repaid, will be a pound of his flesh. 11 00:01:16,490 --> 00:01:25,250 Suneo goes to Belmont to participate in a choosing or wooing ritual, which has been set up by Portia's dad father. 12 00:01:25,250 --> 00:01:34,370 Potential suitors must choose between a gold, silver and led casket in order to win the hand of Porsche. 13 00:01:34,370 --> 00:01:41,340 We see the princes of Morocco and Aragon choose gold and silver wrongly. 14 00:01:41,340 --> 00:01:47,120 Suneo chooses LED and thus wins Porsche for his bride. 15 00:01:47,120 --> 00:01:51,710 News comes almost immediately that Antonio has defaulted on his loan. 16 00:01:51,710 --> 00:02:01,360 Pisania hastens back to Venice. Porsche and her gentle woman Nerissa go to the court disguised as a lawyer and his clerk. 17 00:02:01,360 --> 00:02:12,140 They manage to turn the tables on Shylock, who is forced to allow the bond to lapse to convert to Christianity and to give his money to his daughter, 18 00:02:12,140 --> 00:02:18,090 Jessica, who has meanwhile eloped with Lorenzo, a friend of Pisania, back in Belmont. 19 00:02:18,090 --> 00:02:23,110 The identity of the lawyer is revealed. 20 00:02:23,110 --> 00:02:32,860 Now, there are lots of questions that I think Legenda Venice raises for us, and in some ways I've chosen a slightly off centre one. 21 00:02:32,860 --> 00:02:40,290 I decided to focus the lecture around the question, why does Pisania choose the LED casket? 22 00:02:40,290 --> 00:02:52,560 In part, I think, because that can help us open up the place, deep and thoroughgoing engagement with issues of money and mercantile culture, 23 00:02:52,560 --> 00:02:59,720 which are going to be talking about, but also help us think about the play and genre. 24 00:02:59,720 --> 00:03:07,720 So why does Bartholomew choose the lead casket? There are a number of reasons I think we could propose for that right at the start. 25 00:03:07,720 --> 00:03:14,680 He probably chooses because like anyone who has read a fairy tale, he knows it's the right one to choose. 26 00:03:14,680 --> 00:03:22,350 Folklore stories are preoccupied with the choice of three. And with the reiterative process of wrong choosing. 27 00:03:22,350 --> 00:03:32,110 And they're also preoccupied with structures in which things which look glamorous and exciting and desirable prove, of course, not to be so. 28 00:03:32,110 --> 00:03:36,370 So anybody who has read their fairy tales will probably have a pretty clear sense. 29 00:03:36,370 --> 00:03:44,470 Gold and silver are fake of idols in this in this choosing that led the one that doesn't seem desirable. 30 00:03:44,470 --> 00:03:52,350 Counterintuitively is, of course, the one you must pick. Freud notices in his essay on the caskets, 31 00:03:52,350 --> 00:04:00,200 A Midsummer Night's Dream that Shakespeare has shifted the gender roles in this story in Shakespeare's source. 32 00:04:00,200 --> 00:04:10,370 The Jester, Roman Aurum, a woman has to choose between three caskets of gold, silver and led in order to be allowed to marry the emperor's son. 33 00:04:10,370 --> 00:04:14,930 So it's interesting how Shakespeare's has flipped. That apparently flipped. 34 00:04:14,930 --> 00:04:23,780 At least that's that scenario here. The woman is being is almost being chosen rather than choosing. 35 00:04:23,780 --> 00:04:30,370 Freud old Freud, however, argues that the caskets, in fact, represent different versions of woman and that, 36 00:04:30,370 --> 00:04:39,530 persona's choices does interestingly paralleled by Freud, with kinglet testing of his three daughters at the beginning of the later play. 37 00:04:39,530 --> 00:04:44,450 So the point about that is that the choice test is, of course, already deeply familiar. 38 00:04:44,450 --> 00:04:50,600 Informal terms. We ampersand, you know the genre. 39 00:04:50,600 --> 00:05:01,110 Secondly, the Sanyo has to choose LED because the play has already shown us the other two alternatives being chosen. 40 00:05:01,110 --> 00:05:08,730 So even though the mathematical probability of choosing gold, say, is the same for each of the suitors, 41 00:05:08,730 --> 00:05:16,170 the fact that one earlier has already chosen it doesn't make the likelihood of somebody else choosing it any less and less probable. 42 00:05:16,170 --> 00:05:22,440 So even though mathematically we could have three sisters who all choose gold, we know that structurally that would never happen. 43 00:05:22,440 --> 00:05:27,000 It will be boring. It will be it will be repetitious. 44 00:05:27,000 --> 00:05:32,130 So it's structurally inevitable that the three suitors each paid one of the three available choices. 45 00:05:32,130 --> 00:05:39,960 And, of course, that the first two pick the two wrong ones. Otherwise, why would we have the wrong ones picked at all? 46 00:05:39,960 --> 00:05:43,350 So we've already seen the revelation of the gold and silver casket. 47 00:05:43,350 --> 00:05:52,660 Therefore, the play says it's time for us like the somnia to see what's behind the caskets and exterior. 48 00:05:52,660 --> 00:06:02,010 And we might think then of a third reason, perhaps Sonia chooses LED because he has a little help from Portia. 49 00:06:02,010 --> 00:06:08,790 The casket test is set up as a patriarchal attempt to control Portia's marriage choice. 50 00:06:08,790 --> 00:06:13,050 She tells her first trip to Morocco in terms of choice. 51 00:06:13,050 --> 00:06:18,840 I am not solely led by nice direction of a maiden's eyes as I look at that quotation. 52 00:06:18,840 --> 00:06:24,150 Such quite interesting in terms of choice. I am not solely led by nice direction of a maiden's eyes. 53 00:06:24,150 --> 00:06:28,200 In fact, probably short as I am not at all led by what. 54 00:06:28,200 --> 00:06:34,050 Interesting that word led actually isn't it. Maybe from Morocco doesn't pick that up. 55 00:06:34,050 --> 00:06:38,000 I'm solely led. Yeah, I hadn't heard of that before, so I'm just thinking about that as a camera. 56 00:06:38,000 --> 00:06:42,450 But what, what is going to say. Well she shouldn't be sanes. I'm not solely like you should be saying. 57 00:06:42,450 --> 00:06:47,420 I don't have any choice in this. And she, she's saying I don't have complete choice. 58 00:06:47,420 --> 00:06:52,760 Instead, she says, the lottery of my destiny bars me the right of voluntary choosing, 59 00:06:52,760 --> 00:06:58,500 the lottery of my destiny bars me the right to voluntary choosing. 60 00:06:58,500 --> 00:07:07,650 So Portia's father has constructed her as a fairy tale princess, to whom Suiter Knight must come to complete a quest. 61 00:07:07,650 --> 00:07:12,420 And rather like the beginning, the opening scene of parallelise, 62 00:07:12,420 --> 00:07:18,090 I talk about them Electrum on parallelise, which is a much more obviously fairy tales or folklore story. 63 00:07:18,090 --> 00:07:27,000 The King of Antiochus has set up a very similar kind of fairy story in which knights come to woo the daughter if they are wrong. 64 00:07:27,000 --> 00:07:33,540 If they don't answer the riddle correctly, they must forego any any chance of marrying anybody else. 65 00:07:33,540 --> 00:07:39,110 That's the same as is happening here. It's a situation which is fiction, which fits empirically. 66 00:07:39,110 --> 00:07:50,760 It's a very strange sort of old fashioned folks. Folk lore, kind of a play doesn't perhaps fit quite so well in this play about Mercantile Venis. 67 00:07:50,760 --> 00:07:55,320 So Bush's father has established that as his fairy tale princess, 68 00:07:55,320 --> 00:08:00,360 but perhaps he has also given her a structure which enables her neatly to dispatch those suitors 69 00:08:00,360 --> 00:08:07,390 she doesn't want and to ally herself with one we've already been told she likes the best. 70 00:08:07,390 --> 00:08:13,330 Reminded by Nerissa of a Venetian, a scholar and a soldier who came to visit her father, she recalls. 71 00:08:13,330 --> 00:08:19,480 Yes, yes, it was bizarre. MeOh adding hastily perhaps to cover this overeagerness, as I think. 72 00:08:19,480 --> 00:08:25,690 So he was he called. So Portia has already identified Persona as her preferred suitor. 73 00:08:25,690 --> 00:08:31,960 And clearly in this play, which is so much concerned with intermarriage and with national and racial difference, 74 00:08:31,960 --> 00:08:36,940 with the point where those differences can and can't be encompassed, 75 00:08:36,940 --> 00:08:44,650 the fact that her foreign suitors are such clearly impossible marriage partners for her is also made clear. 76 00:08:44,650 --> 00:08:53,950 Portia's reply when the Duke of Morocco withdraws Beeton from the contest is uncomfortable, let all of his complexion choose me. 77 00:08:53,950 --> 00:09:02,530 So this is a work very hard to make complexion not mean skin colour, but I think I think it almost certainly does mean that. 78 00:09:02,530 --> 00:09:06,640 So let all of his complexion choose me. So Portia says any more black suitors? 79 00:09:06,640 --> 00:09:15,400 I hope they will pick gold. And it does an interesting background, I think, for the kind of impossibility of Desdemona as marriage choice in Othello. 80 00:09:15,400 --> 00:09:24,370 So perhaps under the guise of submission to her father's authority, Portia may in reality be directing her own marriage choices. 81 00:09:24,370 --> 00:09:27,430 Critics have noted that at a crucial point of this scene, 82 00:09:27,430 --> 00:09:37,900 Act three scene to a stage direction reads a song whilst bizarre neo comments on the caskets to himself, 83 00:09:37,900 --> 00:09:43,600 a song whilst Pisania comments on the caskets himself is an interesting stage to actually quite an unusual sight. 84 00:09:43,600 --> 00:09:50,170 I mean, Shakespeare in that it suggests that while the song is happening, something else is going on on stage. 85 00:09:50,170 --> 00:09:55,540 And that's not usually something that is indicated in the text of Shakespeare's play plays. 86 00:09:55,540 --> 00:10:04,480 The lyrics, which follow and famously with a particular rhyming syllable, tell me where is fancy bread? 87 00:10:04,480 --> 00:10:09,000 Or in the heart. Or in the head. How begot how nourish. 88 00:10:09,000 --> 00:10:15,280 And it's very easy in performance to use this as a pretty direct hint to Byzantium about 89 00:10:15,280 --> 00:10:22,220 which of the caskets he should choose now idealised interpretations of Portia's character. 90 00:10:22,220 --> 00:10:28,050 After engaging in symbolism, Portia was the dominant Shakespearean heroine. 91 00:10:28,050 --> 00:10:35,390 She would have been 10 points on top trumps Shakespeare, top trumps in the Victorian cultural imagination. 92 00:10:35,390 --> 00:10:41,950 So. So Portia was a great of Victorian heroine and the idealised interpretations of her character, 93 00:10:41,950 --> 00:10:46,510 which which we still have, I think, which we inherit from that period, tend to resist. 94 00:10:46,510 --> 00:10:49,570 This is an interpretation. 95 00:10:49,570 --> 00:10:58,840 The Ed m m mahood in the new Cambridge editions of the current new Cambridge edition is heir to these interpretations when she glosses the lines, 96 00:10:58,840 --> 00:11:04,840 saying that any suggestion that the song is a direction to Pisania should be discounted because, 97 00:11:04,840 --> 00:11:11,110 quote, it belittles Portia's integrity and Basyouni is inside. 98 00:11:11,110 --> 00:11:16,090 It belittles Portia's integrity and personas inside. 99 00:11:16,090 --> 00:11:22,990 It's interesting to think that we only know whether Portia has integrity or persona has insight because of what they do on stage. 100 00:11:22,990 --> 00:11:31,270 We can't say that they already are that and then interpret what they do onstage in the light of that apparent information. 101 00:11:31,270 --> 00:11:38,140 I think it's a it's an interesting it's an interesting instance of an editor actually intervening to say, no, 102 00:11:38,140 --> 00:11:46,520 this interpretation is not possible on character, on character grounds, something I think we should resist in plot terms. 103 00:11:46,520 --> 00:11:53,770 It would, of course, make absolute sense for Portia to bypass patriarchal authority and to pick her own husband, 104 00:11:53,770 --> 00:12:00,820 since it would echo what Shylock's daughter Jessica does when she escapes his house to run off with her lover. 105 00:12:00,820 --> 00:12:09,220 And it would do something interesting, I think, to the fact about to those two women and their strange absence of kind of interaction 106 00:12:09,220 --> 00:12:14,110 when they're on stage together in the uncomfortable final act of the play. 107 00:12:14,110 --> 00:12:18,720 It would, of course, also confirm cautious control in the marriage. 108 00:12:18,720 --> 00:12:23,830 And Portia goes on to assert her control dressing as a lawyer. 109 00:12:23,830 --> 00:12:33,400 So trancing all the legal opinion in that in the court in Venice, berating her husband about the apparent loss of his wedding ring and so on, 110 00:12:33,400 --> 00:12:41,440 that this is not someone who unusually perhaps for Shakespeare's heroines, we see quite a bit of Portia after she's agreed to marry. 111 00:12:41,440 --> 00:12:46,630 So she agrees to marry beside me in that threesome, too. 112 00:12:46,630 --> 00:12:48,970 So this doesn't end quite with marriage. 113 00:12:48,970 --> 00:12:55,030 We see quite a lot of how she's going to behave in that role, and she certainly isn't going to be subservient to him. 114 00:12:55,030 --> 00:13:01,600 Interestingly, she offers the money to pay off Antonio, to pay off Shylock's, Perth, Antonio's debt, 115 00:13:01,600 --> 00:13:07,240 even though legally on marriage, her property would all be under the control of her husband. 116 00:13:07,240 --> 00:13:09,970 And she doesn't seem to have any truck with that at all. No sense. 117 00:13:09,970 --> 00:13:17,320 I think that Sonia will be in control here and quite right, too, since he is established as a complete spendthrift. 118 00:13:17,320 --> 00:13:22,720 So perhaps, therefore, contrary to Freud and following rather than subverting his source, 119 00:13:22,720 --> 00:13:27,340 Shakespeare does actually make the woman the ultimate chooser between the caskets. 120 00:13:27,340 --> 00:13:31,210 After all. So let's just recap where we are so far. 121 00:13:31,210 --> 00:13:39,460 Busoni has reasons for choosing the casket are generic. It's what folklore heroes do, that narrative and structural. 122 00:13:39,460 --> 00:13:44,060 We've had the alternatives already, so it's time to have this third choice. 123 00:13:44,060 --> 00:13:52,010 And they are personal or perhaps situational. He gets a steer from Porsche about the right answer. 124 00:13:52,010 --> 00:13:59,010 Now, I think the role of the caskets in the play is an interesting one, not least because it's so often understated. 125 00:13:59,010 --> 00:14:08,490 Up the moment, this is a play which is being interestingly and in some ways appropriately distorted by a focus on Shylock, 126 00:14:08,490 --> 00:14:15,270 the Shylock appears in only five scenes of this play. But he's come to completely dominate the critical reception to it. 127 00:14:15,270 --> 00:14:22,770 Now, I do to suggest that Shylock isn't important. But I want to try and sort of reintegrate him into a plot which is concerned with these 128 00:14:22,770 --> 00:14:28,410 same themes throughout and to try and understand how the caskets might fit to that. 129 00:14:28,410 --> 00:14:37,230 If we look at the play quantitatively, we can see that the three casket scenes with the unsuccessful suitors, that's active scene one, Act two, 130 00:14:37,230 --> 00:14:43,110 scene seven and act to see nine form a considerable portion of the play's central 131 00:14:43,110 --> 00:14:50,520 section and further that they look and sound very different from the rest of the play. 132 00:14:50,520 --> 00:14:56,250 So if we've got this kind of fairy tale setup of these choices, 133 00:14:56,250 --> 00:15:02,970 we've also got a strangely not necessarily fairy tale, but quite formal language used to depict them. 134 00:15:02,970 --> 00:15:09,360 We get very long, formal speeches in these scenes. Morocco speaks for 43 lines without a break. 135 00:15:09,360 --> 00:15:13,980 Aragón for 35 lines is a very long speeches with total. 136 00:15:13,980 --> 00:15:20,070 Last week in Taming of the Shrew about what a long speech does in in in slowing things down 137 00:15:20,070 --> 00:15:25,110 and in giving raising lots of questions about what other characters are doing during it. 138 00:15:25,110 --> 00:15:32,310 Even a big set piece speech in this play, like Port Portia's famous courtroom speech, the quality of mercy is only about 20 lines long. 139 00:15:32,310 --> 00:15:39,990 So this is not a play which goes in for people on speeches. Comedies don't tend to do that, but the casket scenes do. 140 00:15:39,990 --> 00:15:46,530 We can hear the change in these scenes because they tend to be juxtaposed with prose scenes. 141 00:15:46,530 --> 00:15:51,900 One technique I've mentioned before, but it's really worth doing is to read a play in a collected edition so you get a 142 00:15:51,900 --> 00:15:57,600 lot of text on the page and you can just see the shape of the language on the page. 143 00:15:57,600 --> 00:16:01,200 You know, if you're reading in an individual play text with lots of notes, 144 00:16:01,200 --> 00:16:06,030 you never get a feeling of the rhythm because you only get a tiny bit of text on each opening of the page. 145 00:16:06,030 --> 00:16:13,660 But if you look at a big edition like the complete opposite of the Norten or even the RISC Shakespeare, you see a big sweep of how the language works. 146 00:16:13,660 --> 00:16:16,830 And you can see juxtapositions between scenes much more easily. 147 00:16:16,830 --> 00:16:23,750 And what you'll see here is we get these long blocks of speech in the casket scenes and around them we get pros. 148 00:16:23,750 --> 00:16:29,810 There's a play with a lot of prisons and very lively and kind of energetic plays. 149 00:16:29,810 --> 00:16:37,610 Even Bosnia becomes rather returned in the presence of the casket, speaking by far his longest speech at around 40 lines. 150 00:16:37,610 --> 00:16:42,950 In three, two. And I think the slowness of the dramaturge about the casket scenes. 151 00:16:42,950 --> 00:16:49,700 So I suppose what I'm trying to say is these are scenes which we want to kind of breeze over because we don't think they're important. 152 00:16:49,700 --> 00:16:56,510 And by contrast, the play has actually really invested in them because it's slowing the action down so that we can't just jump over them. 153 00:16:56,510 --> 00:17:03,260 That's a that's a kind of an interesting disjunction for me and what we tend to think of about the play and what the play seems to want us to think. 154 00:17:03,260 --> 00:17:08,510 And that's disjunction. And trying to explore the dramaturge of these themes seems to emphasise a kind 155 00:17:08,510 --> 00:17:14,810 of a kind of Stacie's amplified by rather static or tableau type images. 156 00:17:14,810 --> 00:17:26,030 Let's take this stage direction from the beginning of Act two, and this is from the Foleo and to maracas a Torgny more all in white and three 157 00:17:26,030 --> 00:17:31,760 or four followers accordingly with Portia Nerissa and their train flourish. 158 00:17:31,760 --> 00:17:41,480 Kornet so enter Morocco as a Torgny more all in white and three or four follower's accordingly with Portia Nerissa and their train flourish. 159 00:17:41,480 --> 00:17:51,230 Cornets the the sound of the cornet on the Elizabethan stage tends to signal the entrance of important people. 160 00:17:51,230 --> 00:17:55,700 What we tend to call a permissive stage direction. Three or four followers. 161 00:17:55,700 --> 00:18:00,180 That's saying really saying as many as you can manage. You can do it with three. 162 00:18:00,180 --> 00:18:02,960 You've only got three. But if you've got four, it would be better. 163 00:18:02,960 --> 00:18:08,300 That suggests that the dignity and size of Morocco's accompanying train is important. 164 00:18:08,300 --> 00:18:14,660 These are people who never speak in the scene. So they're there to be visual. They're there to add to his dignity and the train. 165 00:18:14,660 --> 00:18:18,180 Similarly of Portia and Teresa, we don't know how many people that are supposed to be. 166 00:18:18,180 --> 00:18:24,920 But this is a very crowded stage with two very formal processions kind of meeting each other. 167 00:18:24,920 --> 00:18:28,070 I think that's what we're supposed to visualise. The Torgny more all in white. 168 00:18:28,070 --> 00:18:35,090 With three or four followers sort of coming in from one side and Portia Nerissa and their train coming in from the other. 169 00:18:35,090 --> 00:18:42,860 This is a spectacle. The dark skin of the more contrasted with white robes are kind of exotic tableau. 170 00:18:42,860 --> 00:18:48,440 Only Morocco and Portia speak in this scene despite all these extra numerary characters. 171 00:18:48,440 --> 00:18:56,780 And they exchange only seven speeches. So the overall impression is of formality and stilted kind of movement. 172 00:18:56,780 --> 00:19:02,630 Again, this tends to make the scene seem longer or slower than it actually is. 173 00:19:02,630 --> 00:19:09,050 There's also no suspense in it. We already pretty much know that these are not suitors who are going to marry Portia. 174 00:19:09,050 --> 00:19:12,740 Not least because as soon as Besançon mentions Portia in Act one. 175 00:19:12,740 --> 00:19:20,510 Scene one. We then flip and meet her is what cinema would do as a kind of shock, reverse shock, which is a way of saying this. 176 00:19:20,510 --> 00:19:26,630 This is the couple. This is a couple here. The where drama does it is to flip between the scenes. 177 00:19:26,630 --> 00:19:31,100 So the play structure, I'm trying to say is it is a kind of curious one because the cast, it seems, 178 00:19:31,100 --> 00:19:39,460 are too long to static, to deliberative for the kind of the amount of plot that they carry. 179 00:19:39,460 --> 00:19:47,650 And as I say, I am labouring this point a bit because most analysis of the Merchant of Venice is preoccupied elsewhere, largely with Shylock. 180 00:19:47,650 --> 00:19:50,710 I want I want to try and do the rest of the lecture is to think about how this how the 181 00:19:50,710 --> 00:19:57,370 casket sequence works in the in the whole of the plot using a range of critical tools. 182 00:19:57,370 --> 00:20:01,480 We might also add. So we were we said, why does Pisania choose the lead casket? 183 00:20:01,480 --> 00:20:07,390 You might just think about reasons why he might not have done other evidence in the play. 184 00:20:07,390 --> 00:20:13,150 Makes it seem actually rather implausible that that's the one that he would choose. 185 00:20:13,150 --> 00:20:19,030 After all, Balzano is quite clearly somebody who is interested in money, 186 00:20:19,030 --> 00:20:26,860 who wants to marry Porsche because she is wealthy and who has pursued her of talked up with 187 00:20:26,860 --> 00:20:31,750 all the money that's been borrowed on his behalf in order to appear more wealthy than he is. 188 00:20:31,750 --> 00:20:39,010 He couldn't be less like the lead casket. That is what it is and has a kind of integrity to it. 189 00:20:39,010 --> 00:20:48,040 So his wooing of Porsche is a kind of confidence trick funded by the project capitalists credit economy of Venetian moneylending. 190 00:20:48,040 --> 00:20:53,100 And it's underwritten by expectations of mercantile gain. 191 00:20:53,100 --> 00:20:59,610 Talking to Antonio in the opening scene about his financial situation, Pisania admits he has, quote, 192 00:20:59,610 --> 00:21:12,900 disabled mine estate by something showing a more swelling port than my finked means would grant continuance, something showing a more swelling port. 193 00:21:12,900 --> 00:21:15,960 So he spent more on appearances than his wealth could sustain. 194 00:21:15,960 --> 00:21:21,400 But there's a kind of pomposity to the way he expresses that, which suggests that he isn't quite. 195 00:21:21,400 --> 00:21:26,790 He didn't seem very contrite about it. This is rather Wiedlin, kind of evasive. 196 00:21:26,790 --> 00:21:28,040 Tony has there. 197 00:21:28,040 --> 00:21:35,670 But he persuades Antonio by means of a childhood simile that the thing to do about this situation is actually to throw more money at it. 198 00:21:35,670 --> 00:21:39,660 In my school days, when I had lost one shaft, one arrow, 199 00:21:39,660 --> 00:21:48,210 I shot his fellow of the selfsame flight the selfsame way with more advise watch to find the other fourth. 200 00:21:48,210 --> 00:21:53,580 And by adventuring both, I often found both. 201 00:21:53,580 --> 00:22:00,210 So a lost arrow. Shoot another one in the same direction. And watch watch it more carefully and you may find both. 202 00:22:00,210 --> 00:22:04,170 Of course, what was on it. It doesn't suggest is that you may also lose both. 203 00:22:04,170 --> 00:22:14,940 Which is also possible. This council of sending good money or good arrows after bad and more particularly the language of adventuring is a 204 00:22:14,940 --> 00:22:22,060 really important kind of financial sort of kind of financial considerations that the play evokes right from the start. 205 00:22:22,060 --> 00:22:32,290 The language of adventuring or of risking particularly money in expectation of gain is applied to Besame as romantic quest. 206 00:22:32,290 --> 00:22:36,490 You'll remember his first mention of Porsche is in Belmont. 207 00:22:36,490 --> 00:22:45,350 Is a lady richly left? Porsche is likened to the Golden Fleece and bizarreness to a questing Jason. 208 00:22:45,350 --> 00:22:51,640 But he's a Jason who needs a lot of money in order to be able to go and claim his prise. 209 00:22:51,640 --> 00:22:55,910 Modern critics have estimated the value of three thousand ducats, 210 00:22:55,910 --> 00:23:04,570 a sum even Shylock cannot instantly raise up to be in the region of three hundred seventy five thousand pounds in modern money. 211 00:23:04,570 --> 00:23:13,540 It's quite a lot to ask your friend to borrow on your behalf. It's also quite a lot to invest in the enterprise of going to get married, 212 00:23:13,540 --> 00:23:17,390 but Suneo is making a considerable investment in the success of his enterprise. 213 00:23:17,390 --> 00:23:27,680 Doesn't have to do anything else with the money, so far as we can tell, apart from buying things to make his approach to Porsche look impressive. 214 00:23:27,680 --> 00:23:37,950 It's a big splurge, I think. Immediately, the prince of Oregon has been sent away from Belmont for wrongly choosing silver. 215 00:23:37,950 --> 00:23:44,280 The messenger tells Portia that another suitor is at her gate bringing gifts of rich value. 216 00:23:44,280 --> 00:23:50,870 A day in April never came. So sweet to show how costly summer was at hand, says the messenger. 217 00:23:50,870 --> 00:23:55,510 Not a. costly. Which doesn't really quite attach itself to summer properly. 218 00:23:55,510 --> 00:24:02,070 Is is a really good indication of how much what a show Pisania has put on. 219 00:24:02,070 --> 00:24:07,770 And we haven't seen the financial backroom transactions know exactly how much this has cost. 220 00:24:07,770 --> 00:24:14,550 Three thousand buckets so we can go further in connecting the language of love and the language of speculation 221 00:24:14,550 --> 00:24:24,190 and investment in a way that works to overturn a standard understanding of the play's thematic locations. 222 00:24:24,190 --> 00:24:32,890 Earlier 20th century, critics have tended to want to see Portia's realm of Belmond as the absolute opposite of Venice, 223 00:24:32,890 --> 00:24:43,180 a kind of fairy tale Princess Castle. Quite different from the mean streets of the urban conservation. 224 00:24:43,180 --> 00:24:47,620 That was a reading which would see Bellmont, an apparently imaginary place. 225 00:24:47,620 --> 00:24:56,350 It's not it's not real geographical place. Belt Bellmont is the absolute opposite of Venice, made up rather than real feminine, 226 00:24:56,350 --> 00:25:02,990 rather the masculine romantic rather than mercantile feudal rather than capitalist, 227 00:25:02,990 --> 00:25:10,060 folkloric or courtly rather than modern and urban fairy tale rather than realistic. 228 00:25:10,060 --> 00:25:10,500 This will be it. 229 00:25:10,500 --> 00:25:18,880 It is a set of binaries which is quite familiar to us from the way critics have wanted to conceptualise Shakespeare's use of duel locations. 230 00:25:18,880 --> 00:25:22,510 The court and the forest and as you like it, or A Midsummer Night's Dream. 231 00:25:22,510 --> 00:25:29,500 Rome and Egypt in Antony and Cleopatra have talked about all three of those plays. 232 00:25:29,500 --> 00:25:31,630 And in those lectures as here, 233 00:25:31,630 --> 00:25:40,870 I'm suggesting that I think what we can now see is that the similarities between those duel locations tend to be as prominent as their differences. 234 00:25:40,870 --> 00:25:47,050 What Shakespeare tends seems to me to do is to set up places which look at first sight to be quite distinct, 235 00:25:47,050 --> 00:25:55,780 quite opposite, and really to unpick that illusion of difference and to show how closely allied they are. 236 00:25:55,780 --> 00:25:58,180 That's particularly true in The Merchant of Venice. 237 00:25:58,180 --> 00:26:07,470 I think Belmond is not an ethical alternative to the mercantile world of Venice, but it is logical extension. 238 00:26:07,470 --> 00:26:15,300 The language of the casket scenes is the language of hazard of speculation and investment. 239 00:26:15,300 --> 00:26:22,200 Romantic relationships are monetised in this play along with with everything else. 240 00:26:22,200 --> 00:26:29,800 And perhaps in this sense, Baci Neoh does, in fact, take seriously the motto he reads on the led casket. 241 00:26:29,800 --> 00:26:34,600 Who chooses me must give and hazard all he hath. 242 00:26:34,600 --> 00:26:39,730 Who chooses me must give and have it hazard it all he hath. 243 00:26:39,730 --> 00:26:45,760 Dozens of idealised sense in which that motto suggests noble virtues of self-sacrifice and generosity. 244 00:26:45,760 --> 00:26:50,300 They're not actually particularly characteristics we've seen beside you showing 245 00:26:50,300 --> 00:26:55,120 but persona as genuine or strategic willingness to commit himself to this motto. 246 00:26:55,120 --> 00:27:03,900 Who chooses me must given has it all he hath takes on a different quality when we remind ourselves he doesn't have anything of his own to hazard. 247 00:27:03,900 --> 00:27:10,670 At Balzano is speculating, but he is being bankrolled by other people giving and hazarding. 248 00:27:10,670 --> 00:27:16,450 All you have is pretty easy to do when it's not yours in the first place. 249 00:27:16,450 --> 00:27:21,960 In Rupert Gould's production of The Merchant of Venice for the Royal Shakespeare Company at Stratford in 2011, 250 00:27:21,960 --> 00:27:27,180 Venice was replaced by Las Vegas, a perfect metaphore in the world. 251 00:27:27,180 --> 00:27:34,120 In the words of The Guardian's theatre critic Michael Billington, for a world of financial and romantic fantasy. 252 00:27:34,120 --> 00:27:41,850 And this is Billington talking about the casket scenes. The casket scenes are turned into a TV game show called Destiny. 253 00:27:41,850 --> 00:27:47,770 Remember, my lottery is its destiny in the quote I read earlier. 254 00:27:47,770 --> 00:27:55,110 A TV game show called Destiny in which Susanna Fieldings stunning Portia dons a blonde wig and Southern accent. 255 00:27:55,110 --> 00:28:01,650 She becomes, as it were, the hostess of a preposterous lottery in which her marital future is being decided. 256 00:28:01,650 --> 00:28:08,940 This provides wonderful comedy with the prince of Morocco turning up as an avaricious contestant in golden boxing shorts. 257 00:28:08,940 --> 00:28:16,830 Now what? Gould's production, which. Which is a very, very controversial production, really worth Googling the reviews on that. 258 00:28:16,830 --> 00:28:22,200 Very, very interesting. What what Gould production achieved was a production. 259 00:28:22,200 --> 00:28:25,170 What was I think of you of the play, which turned on the casket scenes, 260 00:28:25,170 --> 00:28:30,410 which had a way of understanding how they might work through this game show updating. 261 00:28:30,410 --> 00:28:42,570 And what it achieved was establishing the kind of tawdry glamour of Las Vegas as a modern corollary of the play, setting a kind of bling world. 262 00:28:42,570 --> 00:28:53,670 And that must be what persona is. It is himself participating in a kind of overconsumption, a conspicuous consumption in order to try and impress. 263 00:28:53,670 --> 00:29:00,330 That's something that I think Gould felt we would associate with Vegas, but he was also in the production able to link together. 264 00:29:00,330 --> 00:29:06,960 The play is apparently disparate modes of fairy tale and realism to understand their shared financial basis. 265 00:29:06,960 --> 00:29:11,740 Setting up the casket scene as a kind of winner takes all game show. 266 00:29:11,740 --> 00:29:19,140 She puts kind of greed and and personal advancement at the heart of both plots. 267 00:29:19,140 --> 00:29:22,550 Now, comedies, as we know from lots of occasions in these lectures, 268 00:29:22,550 --> 00:29:29,210 comedies work by inter implicating a social world of characters they bond characters together. 269 00:29:29,210 --> 00:29:34,190 We've gone through this lots of times, tragedies. Broadly speaking, split people off from each other. 270 00:29:34,190 --> 00:29:39,410 They break up relationships. They move towards solitude and isolation. 271 00:29:39,410 --> 00:29:43,760 Comedies build up relationships and then move towards a busy stage at the end where 272 00:29:43,760 --> 00:29:52,310 everybody's there joining together in some kind of festivity and in renewed bonds. 273 00:29:52,310 --> 00:29:55,820 Merchant of Venice does this, too. It's a comedy in that respect. 274 00:29:55,820 --> 00:30:02,360 But the kinds of connexions between its comic characters that it makes are all monetary. 275 00:30:02,360 --> 00:30:09,150 They're all mercantile. The relationship between characters is financial. 276 00:30:09,150 --> 00:30:19,860 And the title of the play makes that clear. The only one of the comedies to have a name as the title rather than a kind of mood or disposition. 277 00:30:19,860 --> 00:30:26,040 I'm just got to talk a little bit about mercantilism, the the activity of merchants, 278 00:30:26,040 --> 00:30:30,900 the economic development associated with merchants that we call mercantile ism. 279 00:30:30,900 --> 00:30:42,810 So mercantilism is the rise of an economic system based at its at its simplest level on merchants as middlemen between producers and consumers. 280 00:30:42,810 --> 00:30:51,820 So very simple is the economics of simple societies is that either that producers and consumers are the same people so self-sufficient. 281 00:30:51,820 --> 00:30:57,510 A model of self-sufficiency or that they are very close to each other geographically or familiarly. 282 00:30:57,510 --> 00:31:03,890 So the people who produce, say, food and the people who consume that food either are the same people they produce and 283 00:31:03,890 --> 00:31:10,560 achieve their own food or they close together in a kind of village or a small community. 284 00:31:10,560 --> 00:31:18,600 Mercantilism develops with much larger social structures, with the rise of cities and so on, 285 00:31:18,600 --> 00:31:25,350 and brings in an economic system which interpolate middlemen between in between that relationship. 286 00:31:25,350 --> 00:31:30,210 And it develops as part of the rapid expansion of London in the 16th century. 287 00:31:30,210 --> 00:31:34,710 London, like Venice, was a trading city oriented along its waterways. 288 00:31:34,710 --> 00:31:40,200 Lots of very interesting parallels. The old modern period draws between Venice and London. 289 00:31:40,200 --> 00:31:45,750 And I think most people would think of the Merchant of Venice that it's got really no idea about Venice at all. 290 00:31:45,750 --> 00:31:51,780 It's not really very detailed about Venice. I think if Shakespeare done really any work on Venice at this time, 291 00:31:51,780 --> 00:31:56,430 he would have known about the ghetto, the parts of the city where Jews were required to live. 292 00:31:56,430 --> 00:32:00,180 That would seem so important to the theme, but it's odd that he doesn't mention it. 293 00:32:00,180 --> 00:32:06,810 I think Nats Park is not really very bothered about Venice as a location beyond the name. 294 00:32:06,810 --> 00:32:11,670 So mercantilism is a is a recognisable feature of London contemporary urban life. 295 00:32:11,670 --> 00:32:18,840 It's not something which is specific to Venice. Now, the main function of the merchant is to buy and to sell, 296 00:32:18,840 --> 00:32:28,350 to speculate by buying goods at a low price or where they are plentiful and to sell them whether prices higher because the goods are scarce. 297 00:32:28,350 --> 00:32:34,230 So much associated with sort of manipulating the market, holding things back until the price goes up, 298 00:32:34,230 --> 00:32:43,140 but also with importing with bringing things like spices or those kinds of things from places where they're actually very cheap, 299 00:32:43,140 --> 00:32:48,390 undertaking the labour of bringing them and selling them at a premium. 300 00:32:48,390 --> 00:32:55,410 So much in culture is crucial to the development of early modern capitalism and to the development of a credit economy. 301 00:32:55,410 --> 00:33:05,460 Usery the commercial lending of money at interest had been long forbidden because of biblical strictures against it. 302 00:33:05,460 --> 00:33:12,990 But it was made legal in England in fifteen seventy one, with the interest rate set at 10 percent. 303 00:33:12,990 --> 00:33:17,490 It was not at this point in England, particularly associated with Jews, 304 00:33:17,490 --> 00:33:26,400 not least because the Jews had been banished in the 13th century and were not able to be part of this new economic world. 305 00:33:26,400 --> 00:33:34,020 But religious controversy about the ethics of commercial moneylending continued to be a feature of late Elizabethan discourse. 306 00:33:34,020 --> 00:33:41,460 The 15 94 publication called The Death of Usery or the Disgrace of Use Euros is one one example 307 00:33:41,460 --> 00:33:48,440 of how this controversy about whether usery was a was ethically or morally good thing raged. 308 00:33:48,440 --> 00:33:54,720 Now, both mercantilism and its necessary companion credit or moneylending are explored in the Merchant of Venice, 309 00:33:54,720 --> 00:33:58,520 largely by transposing them into human relationships. 310 00:33:58,520 --> 00:34:07,590 Because I think these these financial ideas as economic ideas are humanised and they are most interestingly explored in human relationships. 311 00:34:07,590 --> 00:34:11,820 But Suneo needs money and goes to Antonio, who goes to Shylock. 312 00:34:11,820 --> 00:34:13,860 Who goes to tubal. 313 00:34:13,860 --> 00:34:22,500 The connective bonds between these people are figured as transactions, and these are all transactions constructed via intermediaries. 314 00:34:22,500 --> 00:34:28,020 So if you're thinking about a plot structure, about somebody who needs to borrow some money in order to do something, 315 00:34:28,020 --> 00:34:35,280 you probably wouldn't imagine all these other people. It is an unnecessary confusion unless that's your point. 316 00:34:35,280 --> 00:34:38,280 What's the point of tubal? There's no point to him, is there? 317 00:34:38,280 --> 00:34:45,220 Except it doesn't do anything in the play except to add another chain to this sort of distended links, 318 00:34:45,220 --> 00:34:50,410 these distended links of credit of a credit economy linking people together. 319 00:34:50,410 --> 00:34:58,490 And I want to try and see the merchants intermediary role in financial matters as a sort of different 320 00:34:58,490 --> 00:35:06,020 key to Antonios curiously overinvolved triangulation in the relationship between Balzano and Porsche, 321 00:35:06,020 --> 00:35:12,560 because I want to think of Anthony as a kind of middle man in a transaction between Balzano and Porsche, 322 00:35:12,560 --> 00:35:17,240 which is the role we might think of the merchant in a metaphorical sense. 323 00:35:17,240 --> 00:35:25,010 Antonio adds value to the Sonya and sells him at a kind of profit to the wealthy heiress Porsche. 324 00:35:25,010 --> 00:35:29,950 Just as personifies own credit fuelled courtship lays out three thousand 325 00:35:29,950 --> 00:35:35,180 Duckett's not his own to win a fortune of at least thirty six thousand ducats. 326 00:35:35,180 --> 00:35:43,120 The sum of the double six thousand and then treble that. That Porsche is prepared to pay to Shylock to release Antonia from his bond. 327 00:35:43,120 --> 00:35:48,240 So we know that Porsche has at least thirty six thousand ducats in her own dowry. 328 00:35:48,240 --> 00:35:52,220 So that's that's a pretty good return on the three thousand already. 329 00:35:52,220 --> 00:35:58,280 Shylock himself would have been pleased to receive this return of interest when he uses the biblical example of labour and 330 00:35:58,280 --> 00:36:08,690 sheep to boast about how fast his money breeds Porsche is herself conscious of her new husband as something she has bought. 331 00:36:08,690 --> 00:36:13,070 Since You Are Dear Bought. I will love you, dear. 332 00:36:13,070 --> 00:36:22,060 Since you are dear bought, I will love you, dear. The repetition of dear tries to read recuperated from something very expensive. 333 00:36:22,060 --> 00:36:30,820 You are dear bought out. You have been an expensive playthings, expensive toy to a more kind of emotional kind of morals. 334 00:36:30,820 --> 00:36:35,710 That sense of dear like a lot. I will love you a lot. I will love you nobly. 335 00:36:35,710 --> 00:36:48,830 But somehow other than that quite works. Not quite enough space in the line to do that 180 degree turn from cost to value that the line tries to do. 336 00:36:48,830 --> 00:36:52,910 Since your idea bought, I will love you dear. 337 00:36:52,910 --> 00:37:00,290 So understanding the triangulated relationship between Antonia Pisania and Portia less in psychological terms and more 338 00:37:00,290 --> 00:37:10,590 perhaps as a metaphor for the play's understanding of the merchant and of Myrt Mercantile economics can be helpful. 339 00:37:10,590 --> 00:37:16,400 Of course, the potential loss of this is that we lose that psychological explanation. 340 00:37:16,400 --> 00:37:23,520 Antonios, you remember, opens the play with the with the lament about his sadness in sooth. 341 00:37:23,520 --> 00:37:28,080 I know not why I am so sad. And it's a question that the play never answers. 342 00:37:28,080 --> 00:37:34,500 Why is he so sad? What's wrong with him? Many critics and directors have felt they know exactly what's wrong with him. 343 00:37:34,500 --> 00:37:43,710 He's in love with the SUNEO and this unrequited kind of passion is the source of this melancholy that cannot be spoken. 344 00:37:43,710 --> 00:37:51,180 If you think about Jeremy Irons, perhaps in our Patrinos film of The Merchant, that's a good example. 345 00:37:51,180 --> 00:37:57,740 We could also try and see Antonio as an older figure, a kind of equivalent to Shylock. 346 00:37:57,740 --> 00:38:03,620 And that these are two rather interesting new versions of the comic tradition of the 347 00:38:03,620 --> 00:38:11,290 blocking figure reimagined for a kind of commercialised comedy of comedy of commerce. 348 00:38:11,290 --> 00:38:18,020 The blocking figure is supposed to stop things from happening, stop marriages from taking place, and in their different ways. 349 00:38:18,020 --> 00:38:21,890 Both Antonio and Shylock actually enable many marriages to take place. 350 00:38:21,890 --> 00:38:29,120 But they enabled that by translating them into financial bonds of a different sort. 351 00:38:29,120 --> 00:38:36,200 So as I've said before in these lectures, there are real gains to the work of recovery of erotics, same sex relationships and Shakespeare. 352 00:38:36,200 --> 00:38:43,340 And one way to understand the particular charge of the bond between Antonio persona is to sexualise it. 353 00:38:43,340 --> 00:38:48,440 Certainly, their relationship is a good example of something I discussed in Much Ado about Nothing. 354 00:38:48,440 --> 00:38:54,110 The necessity of male bonds to break when faced with heterosexual marriage. 355 00:38:54,110 --> 00:39:03,710 The painful breaking of those bonds when Shylock wets his knife in the courtroom, ready to take the pound of flesh from Antonio's body. 356 00:39:03,710 --> 00:39:11,300 But Sonia interjects Antonio, I am married to a wife which is as dear to me as life itself. 357 00:39:11,300 --> 00:39:18,710 But life itself. My wife and all the world are not with me, esteemed above my life. 358 00:39:18,710 --> 00:39:24,110 I would lose all, sacrifice them all here to this devil to deliver you. 359 00:39:24,110 --> 00:39:29,000 So, my love. So life itself, my wife and all the world are not with me, esteemed above thy life. 360 00:39:29,000 --> 00:39:33,530 I would lose or sacrifice them all here to this devil to deliver you. 361 00:39:33,530 --> 00:39:37,250 Portia disguised as the lawyer remarks. 362 00:39:37,250 --> 00:39:43,810 Your wife would give you little thanks for that. If she were by to hear you make the offer. 363 00:39:43,810 --> 00:39:52,510 So after his marriage to Portia, that's to say Sonia is still identifying his primary attachment with Antonio very explicitly here, 364 00:39:52,510 --> 00:39:56,890 saying, I would give up my marriage, I give up everything in order to save you. 365 00:39:56,890 --> 00:40:04,680 And the ending of the play is a long attempt by Portia to realign that to say all the business about the ring. 366 00:40:04,680 --> 00:40:07,600 Who who had the ring? Why did you give the ring away? 367 00:40:07,600 --> 00:40:14,290 These are ways of of breaking that bond and saying your primary bond should now be with your wife, 368 00:40:14,290 --> 00:40:18,850 even when Portia and Pisania are reconciled at the end of the play. 369 00:40:18,850 --> 00:40:26,200 And Balzano vows never to break faith with her again. The mercantile basis of their relationship is reasserted. 370 00:40:26,200 --> 00:40:32,020 By having Antonio come back into it again, Antonio again becomes the intermediary. 371 00:40:32,020 --> 00:40:42,080 I once did lend my body for his wealth. I dare be bound again, my soul upon the forfeit that your Lord will never more. 372 00:40:42,080 --> 00:40:57,220 Break faith advisedly. So the language of forfeit of credit and trust is a financial vocabulary only partially here turned to the emotional realm. 373 00:40:57,220 --> 00:41:04,690 Why doesn't this love triangle end in Merchant of Venice by being resolved into two couples? 374 00:41:04,690 --> 00:41:13,510 Why is there no marriage partner for Antonio? One answer might well be unrequited homosexuality in the character. 375 00:41:13,510 --> 00:41:20,410 I talk about another Antonio, also married at the end of his comedy Intellectual on Twelfth Night. 376 00:41:20,410 --> 00:41:27,910 But there might be another reason, which is less psychosexual and more financially structural. 377 00:41:27,910 --> 00:41:38,980 It may be that the structure of mercantilism, the exploration of these kinds of financial transactional relationships is the character equivalent 378 00:41:38,980 --> 00:41:47,260 of those kinds of intermediaries that advance capitalism has put between producers and consumers. 379 00:41:47,260 --> 00:41:59,130 Antonio, that's to say, is a merchant or intermediary in the emotional realm as a metaphor for his activities as a financial intermediary. 380 00:41:59,130 --> 00:42:03,920 So I've been arguing here that choosing the lead casket is a kind of symbol or it 381 00:42:03,920 --> 00:42:10,350 had a nexus to think about the role of finance and of mercantilism in this play. 382 00:42:10,350 --> 00:42:15,000 And to suggest had a bit more time could think about this, the ways that the casket scene, 383 00:42:15,000 --> 00:42:20,730 therefore, is interconnected thematically with the role of Shylock, 384 00:42:20,730 --> 00:42:30,540 the role of money lending and the bond, the notions of equivalence, whether a pound of flesh can be equal to three thousand ducats and so on. 385 00:42:30,540 --> 00:42:34,850 The criticism has been very interested in in this play. 386 00:42:34,850 --> 00:42:41,100 And I've tried to say that the casket scene, I think, is actually a really good example of mercantile bonds. 387 00:42:41,100 --> 00:42:49,150 Most mercantile IT and adventuring rather than a fairy tale escape from that world. 388 00:42:49,150 --> 00:42:54,240 As throughout these lectures, I've tried to suggest that motivation, 389 00:42:54,240 --> 00:43:03,030 the question of why things happen or causality may be in these plays tends to be looked at in character terms. 390 00:43:03,030 --> 00:43:07,380 That's the way we perhaps naturally feel. We want to answer these questions. 391 00:43:07,380 --> 00:43:11,700 But I keep, I suppose, trying to suggest that there are situational reasons. 392 00:43:11,700 --> 00:43:18,210 There are non character, non psychological reasons that these things happen in plays and that here, 393 00:43:18,210 --> 00:43:27,710 as elsewhere, the reasons why Pisania picks the LED casket are potentially historical, theatrical and generic. 394 00:43:27,710 --> 00:43:33,792 Thank you.