Certainly my conscience will serve me to run from
this Jew my master. The fiend is at mine elbow and
tempts me saying to me 'Gobbo, Launcelot Gobbo, good
Launcelot,' or 'good Gobbo,' or good Launcelot
Gobbo, use your legs, take the start, run away. My
conscience says 'No; take heed,' honest Launcelot;
The profundity of Lancelot Gobbo, the clown character, is worth discussing. The self contradiction and doubt manifest themselves in the combat between the ‘conscience’ and the ‘fiend’. I once said it somewhere that I found Lancelot Gobbo’s introduction in A2S2 intriguing since his mind struggles are like Hamlet’s. Lancelot Gobbo carries more weight here as Shakespeare uses him to introduce to the themes of disobedience and disorder, which Portia and Jessica will echo through crossing dressing and their rebellion against their fathers.
Then, Lancelot Gobbo resorts to a supportive role and obeys his comedic function. He serves as an intermediary between Jessica and Lorenzo to facilitate their elopement, in return for some money.
The overturniing of things is always here in The Merchant of Venice.