What is "portia"

Portia is an inner satellite of Uranus. It was discovered from the images taken by Voyager 2 on 3 January 1986, and was given the temporary designation S/1986 U 1. The moon is named after Portia, the heroine of William Shakespeare's play The Merchant of Venice. It is also designated Uranus XII.

Portia is the second-largest inner satellite of Uranus after Puck. The Portian orbit, which lies inside Uranus' synchronous orbital radius, is slowly decaying due to tidal deceleration. The moon will one day either break up into a planetary ring or hit Uranus.

It heads a group of satellites called the Portia Group, which includes Bianca, Cressida, Desdemona, Juliet, Rosalind, Cupid, Belinda and Perdita. These satellites have similar orbits and photometric properties.

Little is known about Portia beyond its size of about 140 km, orbit, and geometric albedo of about 0.08.

In the Voyager 2 images, Portia appears as an elongated object whose major axis points towards Uranus. The ratio of axes of the Portia's prolate spheroid is 0.8 ± 0.1. Its surface is grey in color. Observations with Hubble Space Telescope and large terrestrial telescopes found water ice absorption features in the spectrum of Portia.

Portia may refer to:

Portia is a genus of jumping spider that feeds on other spiders (araneophagic). They are remarkable for their intelligent hunting behaviour, which suggests that they are capable of learning and problem solving, traits normally attributed to much larger animals.

Portia is the heroine of William Shakespeare's The Merchant of Venice. A rich, beautiful, and intelligent heiress, she is bound by the lottery set forth in her father's will, which gives potential suitors the chance to choose between three caskets composed of gold, silver and lead. If they choose the right casket – the casket containing Portia's portrait and a scroll– they win Portia's hand in marriage. If they choose the wrong casket, they must leave and never seek another woman in marriage. Portia is glad when two suitors, one driven by greed and another by vanity, fail to choose correctly. She favours Bassanio, a young Venetian noble, but is not allowed to give him any clues to assist in his choice. Later in the play, she disguises herself as a man, then assumes the role of a lawyer's apprentice (named Balthazar) whereby she saves the life of Bassanio's friend, Antonio, in court.

Portia is one of the most prominent and appealing of the heroines in Shakespeare's mature romantic comedies. She is beautiful, gracious, rich, intelligent, and quick-witted, with high standards for her potential romantic partners. She obeys her father's will, while steadfastly seeking to obtain Bassanio. She demonstrates tact to the Princes of Morocco and Aragon, who unsuccessfully seek her hand. In the court scenes, Portia finds a technicality in the bond, thereby outwitting Shylock and saving Antonio's life when everyone else fails. It is Portia who delivers one of the most famous speeches in The Merchant of Venice:

The strength of the role of Portia has made it attractive to many notable actresses. Frances Abington, Sarah Siddons and Elizabeth Whitlock all played Portia in the 18th century when actresses first started appearing on stage in performances of the play. More recently, the role has been depicted in the cinema and on television by a number of notable actresses such as Maggie Smith, Claire Bloom, Sybil Thorndike, Joan Plowright, Caroline John and Gemma Jones.

Portia's nature has received some negative critiques. The English writer Wolf Mankowitz dubbed her a "cold, snobbish little bitch" in a video he made about Antisemitism against Shylock the moneylender.

Despite Portia's lack of formal legal training, she wins her case by referring to the details of the exact language of the law. Her success involves prevailing on technicalities rather than the merits of the situation. She uses the tactics of what is sometimes called a Philadelphia lawyer. However, the concept of rhetoric and its abuse is also brought to light by Portia – highlighting the idea that an unjust argument may win through eloquence, loopholes and technicalities, regardless of the moral question at hand – and thus provoking the audience to consider that issue.