著者

小川 泰寛

出版者

北海道大学大学院メディア・コミュニケーション研究院

雑誌

メディア・コミュニケーション研究 (ISSN:18825303)

巻号頁・発行日

vol.55, pp.1-38, 2009-03-25

---

We may be given to understand that the story of the three caskets in The Merchant of Venice has a remarkable affinity with a folk tale of marriage proposal involving difficult questions in which a beautiful princess puts riddles to a suitor who will lose his life on the spot in case he turns out to be incapable of solving them. While in the Shakespearean canon the initial portion of Pericles most exactly fits in with this motif, our story seems to be a disguised and yet impressive variation upon it. Considering that they are deprived of the opportunity of begetting legitimate heirs thereafter, the lifelong celibacy to which Portia subjects unsuccessful suitors corresponds, in a symbolic way, to the deadly disaster that awaits the losers of the game in the folk tale as well as in the Shakespearean romance. The supposedly puzzling inscriptions attached to the caskets manifest themselves as difficult questions in the tale of marriage proposal in question. Each suitor actually addresses himself to deciphering them one by one. What is crucial with this schematized picture is that riddling is latent in the controversial episode of a song about "fancy" being sung. As is notorious, only Bassanio, the hero of this story, with whom Portia has fallen in love at first sight, is blessed with this vitally important musical design. By appropriately taking the cue offered in the shape of a sort of a riddle, he succeeds in choosing the correct casket. Portia proves inventive enough to solve her own dilemma where her desire to break the rule of the game and her absolute obligation to follow it clash with each other. Since she did not directly inform Bassanio of the correct casket, she is no way to blame. Riddling functioned as a clever stratagem to circumvent the strange will of the late lord of Belmont. At any rate, Bassanio wins, growing aware of the entrapping danger of deceptive. ornament, which ironically enough, he assumes himself, masquerading as something of a prince, while he is in actuality financially nothing, even less than nothing, as he has avowed to Portia. This nothing will organically relate to the nothing to which Antonio, his benefactor is to be financially brought, causing the pound of flesh court to be held.