Jessica (The Merchant of Venice) father's casket of Ducats, motivates Shylock's vengefulness towards Antonio; she serves as a mirror highlighting the differences between Shylock's Jewish household and Portia's Christian one; and serves as the means by which Shylock is forcibly converted to Christianity. Her first appearance on stage is in Act 2, Scene 3, in a brief scene with Launcelot Gobbo. Gobbo is leaving Shylock's service to give his allegiance to Bassiano, and Jessica bemoans the loss of his company in a household that is "hell". She speeds him along, to avoid her father seeing their interaction, with a Ducat as a parting gift and
Jessica (The Merchant of Venice) ultimately stems from medieval archetypal plots and characters. The Christian in love with a Jewess appears frequently in "exemplum" from the 13th to the 15th century. Beatrice D. Brown, in her 1929 article, "Mediaeval Prototypes of Lorenzo and Jessica", finds the most direct match in "… MS. Royal 7 D. 1, a collection of theological pieces probably compiled by a Dominican friar at or near Cambridge in the thirteenth century." It contains a spendthrift Christian lover, the fair Jewess, the rich old father, the lovers robbing the father, and the father's conflicted grief over his daughter's betrayal and the loss