Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The character of Shylock in the Merchant of Venice
character analysis of shylock in merchant of venice
The character of Shylock in the Merchant of Venice
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The character of Shylock in the Merchant of Venice
Prejudice in William Shakespeare's The Merchant of Venice
The main theme of the Merchant of Venice is of Shylock, a Jew, and
Antonio, a Christian taking part in a deal involving the Jew lending
the Christian a sum of money. The bond they make is that if Antonio
cannot pay Shylock back, Shylock can take legally a pound of Antonio's
flesh as payment. The other plots in the play consist of Jessica,
Shylock's daughter eloping with Lorenzo, another Christian and
Antonio's friend Bassanio, who is courting a rich lady, Portia of
Beaumont who are both of course Christian. Shylock and Tubal, his
Jewish associate, both receive verbal abuse from the Christian groups
e.g.
Solanio: 'The villain Jew with outcries raised the duke, who sent him
to search Bassanio's ship'
and:
Solanio: 'I never heard a passion so confused, so strange, outrageous,
and so variable, as a dog Jew did utter in the streets'
The Christians such as Solanio and Salerio never refer to Shylock by
his name. They call him Jew as if his name did not matter i.e. as if
he is not worthy of a name, and when referring to him, it is always
with contempt. I think this puts the writer across as prejudice
against non-Christian people and their beliefs. On the other hand,
this story could also put across the point that Shakespeare ridicules
prejudice and discrimination because some phrases in the play where
Christians are prejudice seem to be emphasised ridiculously.
Another point of racial prejudice is conveyed in the sub plot of
Portia's courtship. Left riches by her late father, she is obliged to
obey his will that suitors may come to her mansion and court her, but
...
... middle of paper ...
...ylock will be
prosecuted.
Shylock breaks down at the news. He is forced by the Christians to
bless Jessica in her marriage to Lorenzo and, as if he had not
suffered enough punishment, he is ultimately disgraced, by being
forced to give up his religion and become a Christian.
In my opinion, the play is prejudice and immoral. However, I also
think there is a hidden meaning, the Christians are even more
contemptible than Shylock. They are displayed throughout the play as
being selfish and disrespectful towards Shylock. The play seems to
mean different things to different people. Shakespeare could well be
ridiculing the Jewish religion, but he could be mocking Christians
also. Alternatively, it could be Shakespeare's intention not to mock
either religion. I think the answer remains ultimately with the
audience.
Some propagandists use name-calling as a way to condemn and reject other races, religions, nations, political parties, or candidates that are running for some position in a political party. To do this, all the propagandist has to do is apply a bad name to the candidate, race, religion, nation, or political party. People, being as gullible as they are, will most likely take the name at face value, and completely trust the propagandist. People will react almost automatically to the bad name, almost as if they have been taught as small children to never trust that race, religion, nation, political party, or candidate ("Propaganda - Good and Bad - for Democracy" para. 5).
Moor; A simple word, in current English it brings to mind an image of ships or sailboats docked in the harbor. For this reason I was slightly confused why it would be assigned to a person, seemingly as a rank or title. However, the Oxford English Dictionary defines moor as “[A] native or inhabitant of ancient Mauretania, a region of North Africa corresponding to parts of present-day Morocco and Algeria” (OED). Knowing the true definition of this term brings forth a whole new angle under which to view this work by Shakespeare.
could call another human being by a term and not by a name is not only
It is often nice to encounter a piece of prose that challenges our minds to search for deeper underlying truths then finish the text with a sense of accomplishment at having been able to detect these truths with little effort. However, when the creator of the work is under pressure to cater to their society's standards, it becomes more difficult to determine which of the ideas presented are truly accurate and are still currently relevant in our own society. A very common example is when we analyze works by William Shakespeare in high school or in college, or sometimes even just in one's leisure time. In Shakespeare's time, society valued colonialist ideas, which comes through in his work The Tempest when we analyze the roles he assigns for
point of view. I don't think we are given a name for him, all we know
In theatrical performance, the fictional realm of drama is aligned with the factual, or “real” world of the audience, and a set of actors feign re-creation of this factual world. At the same time the audience, by participating as spectators, feigns believability in the mimic world the actors create. It is in this bond of pretense between the on-stage and off-stage spheres of reality—the literal and the mock-literal—that the appeal of drama is engendered. The Merchant of Venice then, like any effective drama, ostensibly undermines realism by professing to portray it. The work contains no prologue to establish dramatic context; it offers no assertion of its status as imitation, a world separate from our own. And yet, the bond of pretense forged between actors and audience prevents the line between the fictional and the factual from being blurred completely. This division allows the device of metatheatricality to emerge as a means by which the play can ally itself with realism, rather than undermining it, by acknowledging its own status as drama.
William Shakespeare attained literary immortality through his exposition of the many qualities of human nature in his works. One such work, The Merchant of Venice, revolves around the very human trait of deception. Fakes and frauds have been persistent throughout history, even to this day. Evidence of deception is all around us, whether it is in the products we purchase or the sales clerks' false smile as one debates the purchase of the illusory merchandise. We are engulfed by phonies, pretenders, and cheaters. Although most often associated with a heart of malice, imposture varies in its motives as much as it's practitioners, demonstrated in The Merchant of Venice by the obdurate characters of Shylock and Portia.
In both of Shakespeare’s plays, "Othello" and "The Merchant of Venice", there are several instances in which the non-white and non-Christian characters are marginalized and are often the victims of prejudice and outright racism. This occurs in both "Merchant of Venice" and "Othello" particularly through the use and power of language and terms of reference. What is most fascinating about this seeming racism and bias against these characters, Othello and Shylock, is that they aren’t represented in either text as completely fitting the villainous or negative stereotypes other characters wish to put them in. Both Othello and Shylock are presented as sympathetic to varying degrees and although they posses several character flaws that some of the white and Christian characters wish to attribute to their race (Jewish as greedy and heartless and Moors as savage and barbarous) Shakespeare does not completely rely on these stereotypes to draw his characters of these two men. Although Shylock is indeed money-hungry, greedy, and oftentimes heartless, he is still portrayed sympathetically at points and his faults are not shown to be something associated with his race. Othello, most notably at the end of the play commits a savage act, but throughout the rest of the text, he is shown to be mild-mannered and exceptionally “civilized” as a general and aristocrat. This softening allows the characters to be represented as more rounded, but the fact still remains that racial bias and outright racism and prejudice are present in both texts.
Committing deceptive deeds not only hurt others, but also the ones who deceive. The Merchant of Venice, by William Shakespeare, is a romantic-comedy play about a Christian merchant named Antonio who agrees to a bond that a Jewish moneylender named Shylock, his enemy, creates to help his best friend Bassanio see Portia, an heiress whom he is in love with. Shylock warns Antonio that if he forfeits the bond, by not repaying him three thousand ducats, he must allow him to remove a pound of his flesh. Throughout the play, deceptive behaviour causes the moral values of individuals to decline. First, this is seen through wealth as it pertains to the desire to have what is valuable. Second, moral values decline when people deceive the family members that they encounter. Finally, deceiving others through love leads to a decline of moral values. In the play, The Merchant of Venice, deception, as seen through wealth, family encounters, and love, causes the moral
In the play Othello, there are many jealous and selfish characters. Each of the characters at one point or another let their jealousy take over. It seems like they all have these plots and plans on how to hurt another character in the play either physically or emotionally, as an act of selfishness, so that they can feel better about themselves. One main character who seems extremely jealous in this play is Iago. Infact, probably the most jealous. Many bad things happen because of Iago. The first bad thing that Iago did, was tell Barbantio (Desdamona's father) that Desdemona has married Othello, the Moore. Iago was mad at Othello, because Cassio had made Othello a higher position and not Iago. Iago thought that he was the one who qualified for the position as general, not Othello. Iago was jealous because of this, so he decided to tell Barbantio about Desdemona and Othello. This was bad, because Barbantio did not know yet, and something like that should have been said by his own daughter, not someone who was not part of the family. The way Iago went about telling him was also bad. He called to his house in the middle of the night. He yelled it to Barbantio from downstairs into his window in a rude manner. " quote from Othello here." He wanted Barbantio to be upset about what had happened, and most of all, he wanted Barbantio to be mad at Othello and do something bad to him.
torture at the time. "Let me choose, for as I am, I live upon the
did for her. Before Shylock leaves the house in act 2 scene 5 he tells
which tells us that Shylock is being referred to as a dog, not like a
Shakespeare's Portrayal of Female Characters in The Merchant of Venice and Henry V. Shakespeare's presentation and portrayal of his female characters in The Merchant of Venice and Henry V follows a typical pattern that is present in all of the Shakespearean plays that I have read so far. When looking closely at the fate of his female characters, this pattern becomes even more evident as it repeats itself no matter how different the plays are. For instance, Henry V and The Merchant of Venice are different in every respect. The female characters not only come from different backgrounds, they also have very different personalities. However, as different as these plays and their characters are, the female characters end up suffering the same fate.
at the end of the 16th century was overtaken by England which was at a