Salanio
Salanio (also spelled ‘Solanio’ in some editions) is more of a background character, as his personal life isn’t particularly important or part of the plot. He is a friend of the main Christian characters of the play and an active member of the Venetian social scene. He is a real source of information for us as audience members. He plays a messenger like role, and often delivers information in conversations with Salarino. As friends of Antonio, Salanio and Salarino are portrayed positively. As we are positioned to feel closer to Salanio, we are better positioned to sympathise with Antonio.
Salarino
Salarino is incredibly similar to Salanio (as indicated by their similar names), and through their equal portrayal, we are able ascertain that they likely have similar roles in society. Like Salanio, Salarino is also a messenger for the audience.
Tubal
Tubal exists as one of the few people the Shylock feels he can honestly and openly rely on. Tubal is another complex and multifaceted Jewish person, though we only meet him in Act 3 Scene 1. As the only other Jewish man in the play, he exists to show that Shylock isn’t completely alone and to justify his portrayal as a victim. Tubal is also arguably a minor foil to Shylock – gentler and more compassionate.
Tubal’s compassionate nature reminds us that Shylock must be, at his core, good as well – otherwise, how could he call on people like Tubal for help? Tubal’s willingness to travel all the way to Genoa to see if he can locate Jessica, then when he cannot, his solidarity and support for Shylock through his distress shows just how close the two must be. Providing a relationship like this is immensely important for Shylock’s characterisation. Although he also has a more straightforward role as a messenger for the audience, he doubles as a confidante for Shylock, humanising him and further blurring the line between villainy and sympathy.
The most significant barrier to audience members sympathising with Shylock is his desire for revenge. It is hard for any rational person to be alright with his intention to “have [Antonio’s] heart”. But, when this desire is expressed with Tubal present, having informed him of Jessica’s antics in Genoa, Shakespeare positions us to consider the potentially valid motivations, rather than simply seeing Shylock’s desire as malicious or baseless.
Balthazar
Balthazar is a messenger at Portia’s house and has a very limited number of lines in the play. In fact, his only line is one where he says yes to one of Portia’s commands. Nonetheless characters like Balthazar are still significant as they highlight to us the absolute grandeur of people like Portia and their living standard. The capacity to have someone constantly at your beck and call is a great status symbol. As the play is a physical medium, Balthazar would often be on stage and even if he was not speaking, he would serve as a constant reminder of the absolute wealth and power that Portia possesses over many of the other characters in the play. By working in such a profoundly powerful position, Balthazar is also granted some type of respect and power.
Portia also adopts the name Balthazar as her alias when she disguises herself as a young lawyer.
