Antonio may very easily be meant by Shakespeare to represent the nobility of homosexual love, something he hints at in several plays (as, for instance, in The Two Gentlemen of Verona, see page I-473) without quite daring to be specific about it.
Well then, if Antonio's friend has, in the eagerness of his new plans involving a lady, grown more distant, is not this reason enough for the poor man to be sad-and yet be unable to explain it, without disgrace, to his friends?
His friends, however, have a more prosaic explanation. Salerio suggests that he is nervous over the state of his business affairs, saying:
—Act I, scene i, lines 8-9
The word "argosies" harks back to a city founded on the eastern shore of the Adriatic in the seventh century by refugees, as Venice had similarly been founded two centuries earlier. In this case, the founders were Greeks who were being pushed out of the interior by invading Slavs. The new city was named Ragusium, better known to us in the Italian version of the name, Ragusa.
Ragusa was, for a time, a flourishing trading city, much like Venice itself, or like Genoa and Pisa. Ragusa was particularly known for its large merchant ships, which were called ragusea. In English the first two letters were transposed and the word became "argosy."
It is clear from these opening exchanges, then, that Antonio is an extremely wealthy merchant, but one whose business involves extreme risk. Antonio, however, pooh-poohs the chances of these risks coming to pass.
But if Antonio is not worried about business and is merely irrationally sad, then, says Solanio with a touch of impatience, he might just as well be irrationally merry. Solanio says:
—Act I, scene i, lines 50-56
In other words, some people are, by simple temperament, happy; others sad.
As for Janus, he is the most familiar of the purely Roman (that is, non-Greek) gods. He was the god of doorways and therefore the god of going in and going out. (The word "janitor" is derived from his name.) It is an easy extension from that to seeing in him the god of beginnings and endings, of comings and goings (and January, the beginning of the year, is named in his honor.)
In the Roman forum Janus was honored with a temple whose gates were open in time of war and closed in time of peace. Rome's military history was such that for seven centuries they were hardly ever closed.
Though on Roman representations he is shown with two identical faces in opposite directions, it is possible to improve on that. Since he is the god of beginnings and endings, he might be imagined to have one face turned toward the past and the other toward the future.
It could easily be imagined that the past-viewing face was cheerful, since the pains of the past were over, while the forward-viewing face was sad, since there was uncertainty as to what the pains of the future might be-hence the figure of speech in Solanio's statement.
Three other friends of Antonio enter: Bassanio, Gratiano, and Lorenzo, while Salerio and Solanio leave.
Gratiano also notes Antonio's sadness and he too advocates merriment for its own sake. He says to Antonio:
—Act I, scene i, lines 79-82
The link between liver and wine might seem at first blush to indicate that Shakespeare had a prescient knowledge of the connection physicians would eventually draw between cirrhosis of the liver and alcoholism.
Nothing of the sort. The liver is the largest gland in the body, weighing three or four pounds in man and being correspondingly large in other mammals. It is easy to equate size and importance and to argue that the liver is so large because it has a peculiarly important function and must therefore serve as the seat of life and of the emotions. (The similarity between "liver" and "live" is not accidental.)
Contributing to this also is the fact that ancient priests, looking for prognostications of things to come, would often study the liver of animals sacrificed to the gods. This is natural, since the liver is so large and varies so in detail from animal to animal that it is particularly easy to study. Yet it is not the ease that can be advanced as a reason, so special importance must be insisted upon instead.
It is Bassanio with whom Antonio is in love and the strength of the lat-ter's affection is quickly shown. Bassanio has been living beyond his means and is deeply in debt. He has been forced to borrow and says, frankly:
—Act I, scene i, lines 130-31
But Antonio is willing to continue the support. He says earnestly to Bassanio:
—Act I, scene i, lines 137-39
Surely the attachment on Antonio's side can only be love in its fullest sense. Yet it may be one-sided. Bassanio's affection may be nothing more than friendship, for he seems to have no hesitation in attempting to draw on Antonio's support for a competing love.
Bassanio explains that he may be in a position to repay all he has borrowed if only Antonio will be willing to invest a bit more. He says:
—Act I, scene i, line 161
In short, Bassanio knows of a rich heiress and if he can marry her, he can pay off all his debts. All he needs is enough money to appear a respectable suitor; he cannot go as a beggar.
(The beginning of Bassanio's speech makes him sound like a fortune hunter, but the play will amply show that he wants the woman for herself and that the money is secondary. He stresses the money now because he wants to explain that he will be able to pay off his debt to Antonio, and not that he is greedy for wealth for himself.)
As for Belmont, that may well be a fictitious name for the estate left to the heiress. In the Italian tale from which this portion of the plot is derived, the place is Belmonte, and there is a Belmonte in Italy, on the western shore of the Italian toe, a little over five hundred miles south of Venice. Probably there is no connection, and as far as the play is concerned, it doesn't matter where Belmont is, but it is interesting that a Belmonte exists.
Bassanio has seen the lady and knows her to be beautiful and virtuous. He says:
—Act I, scene i, lines 165-66