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Merchant of Venice themes,symbols and motifs
shakespeare struggle of power
merchant of venice symbolism
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In William Shakespeare’s tale of The Merchant of Venice and Richard III both plays show similar qualities as well as differences between the two plays.
The Merchant of Venice and Richard III are similar in that both plays have women that are independent. These women are not afraid to speak up and lash out with hard words towards who they do not prefer. In the Merchant of Venice, Portia never gives up. She is a very strong character and goes as far as to dress as a man and pretends to be a lawyer in order to save Antonio.
The women of Richard III are also quite strong willed and determined. They talk freely at whomever they please and are not afraid to state their opinion. Queen Margaret shows this confident attitude when she speaks by saying, “What, were you snarling all before I came, Ready to catch each other by the throat, and turn you all your hatred now on me? Did York’s dread curse prevail so much with heaven that Henry’s death, my lovelly Edward’s death, their kingdom’s loss, my woeful banishment, could all but answer for that peevish brat? Can curses pierce the clouds and enter heaven? Why then, give way, dull clouds, to my quick curses! Though not by war, by surfeit die your king, as ours by murder to make him a king” (Act 1, Scene 3, Page 9).
In both The Merchant of Venice and Richard III, some of the male characters want to marry the ladies because it means that they are gaining something in return. In The Merchant of Venice, Portia is wealthy which makes her desirable in others eyes. They want to marry her because they will be gaining wealth which they did not have before or adding to the wealth that they already have.
In Richard III, Richard kills off the powerful characters who are royal, in order to get closer to...
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...he ring was his wife’s. This little bit of information shows that Shylock is grieving inside and has not stopped. He wants the people around him to understand him but he is still an awful person for the things he says.
Richard III and The Merchant of Venice are both in their own way manipulating plays. The reader knows Richard is the bad guy however one cannot help but find his words entertaining.
These two stories show the reader similarities of these two plays in that they both have strong willed female characters. The difference of a happy ending and a tragic ending can only be determined by one’s own interpretation. However one can assume that because Richard was killed off in the end it might result in a happy ending because his reign of terror is over. Yet, because so many deaths occurred one would assume the opposite and label this tale as a tragic story.
Shakespeare constructs King Richard III to perform his contextual agenda, or to perpetrate political propaganda in the light of a historical power struggle, mirroring the political concerns of his era through his adaptation and selection of source material. Shakespeare’s influences include Thomas More’s The History of King Richard the Third, both constructing a certain historical perspective of the play. The negative perspective of Richard III’s character is a perpetuation of established Tudor history, where Vergil constructed a history intermixed with Tudor history, and More’s connection to John Morton affected the villainous image of the tyrannous king. This negative image is accentuated through the antithesis of Richards treachery in juxtaposition of Richmond’s devotion, exemplified in the parallelism of ‘God and Saint George! Richmond and victory.’ The need to legitimize Elizabeth’s reign influenced Shakespeare’s portra...
...f control of scenes and verbal encounters, which finally ends with his magnificent downfall. [implement more Margaret control/curses/competition in the beginning]. Despite Richard's best attempts to write his own ending, the audience is now forced with the truth that it was Margaret's prophecy that ripened to fruition. With Richard's final soliloquy taking blame for his actions and "the outward movement away from any semblance of Richard's control, completes the separation of Richard and audience" (Schellenberg 66). Through the course of Act V, Richard takes part in only two of the six scenes. Of these two scenes, he shares the stage with Richmond, the rising actor to take the lead role.
Shakespeare's Richard III is from the outset a very moral play. It opens with an introduction to the character of Richard in his "Now is the winter..." speech. In this we are first introduced to the idea of a man becoming evil from his own free will, excused (by him) on the grounds of his inability to fit in with the physical ideals of society, saying, "And therefore, since I cannot prove a lover... I am determined to prove a villain." Although we are not, at this point, given a definite indication of Shakespeare's opinion on this moral position, it is the opening for a discussion on what is morally acceptable, which is continued quite decisively throughout the play.
Shakespeare Richard III was a traitor, a murderer, a tyrant, and a hypocrite. The leading characteristics of his mind are scorn, sarcasm, and an overwhelming contempt. It appears that the contempt for his victims rather than active hatred or cruelty was the motive for murdering them. Upon meeting him he sounds the keynote to his whole character. " I, that am curtailed of this proportion, cheated of feature by dissembling nature, Deform'd, unfinish'd sent before my time Into this word scarce half made up"( 1.1.20-23)
Richard had weakened since he had become king and was no longer ruthless as he had no reason to be ruthless. He had got what he wanted and was pleased with himself. He thought he was invincible, and he was too confident, which cost him his life. If he had been more careful, he would have been aware of the danger that lied before him. But, he did use some similar techniques in both the scenes.
...in themes similar to those found in the two Henry IV plays, such as usurpation, rebellion, and the issue of lineage of royal right. But Richard II and King Henry V are decidedly more serious in tone, and in comparing them to I Henry IV and II Henry IV, the argument can be made that it is these two latter plays which resound with greater realism with the broader spectrum of life which they present. Shakespeare carefully balances comedy and drama in I Henry IV and II Henry IV, and in doing so the bard gives us what are perhaps the most memorable characters in all of English literature.
King Richard II is Shakespeare's example of a king who removes himself from the reality of the common people. Richard views his position as a source of amusement. His "cares" as King, other than an opportunity for an agreeable audience, are merely a burden. Instead of investigating the accusations of treachery from Henry and Mawbrick, he exiles both men as an easy way out. Richard was born a King, and knows no life other than that of royalty. Unfortunately the lesson that must know men to rule them costs him the thrown. Richard's lesson influences his usurper and his usurper's heir to the thrown, demonstrating to them both the value of humility.
The undeniable pursuit for power is Richard’s flaw as a Vice character. This aspect is demonstrated in Shakespeare’s play King Richard III through the actions Richard portrays in an attempt to take the throne, allowing the audience to perceive this as an abhorrent transgression against the divine order. The deformity of Richards arm and back also symbolically imply a sense of villainy through Shakespeare’s context. In one of Richard’s soliloquies, he states how ‘thus like the formal Vice Iniquity/ I moralize two meanings in one word’. Through the use of immoral jargons, Shakespeare emphasises Richard’s tenacity to attain a sense of power. However, Richard’s personal struggle with power causes him to become paranoid and demanding, as demonstrated through the use of modality ‘I wish’ in ‘I wish the bastards dead’. This act thus becomes heavily discordant to the accepted great chain of being and conveys Richard’s consumption by power.
He breeds anger in Clarence and the populace, not of himself, but of Edward and the rightful heirs. "We are not safe, Clarence, we are not safe,"3 he exclaims as his brother is hauled away to the tower. He preys on the "hateful luxury And bestial appetite"4 of the citizenry, catapulting himself to the thrown over a heap of bodies: deaths that hang on his head. But, it is Richard's attitude that his end goal of the crown justifies the murderous means that so closely links ...
In the Shakespeare play Richard III was depicted as a malformed mean, ill looking, tyrant. But this was not the case. Richard
The Derek Jacobi production of Richard II provides its own answers to many of the ambiguities posed by the text alone. Richard is portrayed as an ineffective ruler ripe for overthrow, and Bullingbrook as a more capable man boosted to power by the scheming of the Machiavellian Northumberland. Many other interpretations are valid -- indeed, some of this production's choices were made easier by judicious cuts in the script -- but this production provides an entertaining, reasonable, and self-consistent interpretation of the welter of events surrounding the deposition of a king. And, in so doing, the production proves the almost limitless variety of theater, particularly of Shakespeare.
Shakespearean works are well known for their depth, symbolism and philosophical view upon different aspects of life. Mirroring is one of Shakespeare’s favorite tools. Mirroring is used to emphasize the contrast and show differences between the sides of the society and ways of living of the characters. The Merchant of Venice is no exception. Just like all other plays of Shakespeare it has many of antagonisms and it portrays the most important and hot conflicts that used to be popular at that time just as much as they are now. Exploring this multi dimensional play is exciting, because the more you think about it, the more hints and tints you discover. The play takes place in two main locations – Venice and Belmont. These two places portray two different lifestyles. One of the most important and essential themes of the Merchant of Venice is wealth. Shakespeare has a special view of this subject; he sees love as a form of wealth (Milton 34). Venice represents earning of money, accumulating it, protecting it, fighting for it; and at the same time Belmont demonstrates having money an all other life’s pleasures, this is why life in Belmont is so happy, slow and peaceful, and the whole location is so dreamlike. Being rich and having nothing to worry about is a dream of most people. To my mind, Belmont and Venice present two different sides of wealth.
The Merchant of Venice is a play set in a very male and Christian dominated society where other religions and women rights weren’t very well accepted by the community. However Portia, a rich woman who had previously been controlled by men, triumphs as she manipulates tricks and saves the lives of the men.
...n moral and royal principles. By the end of this play, it’s clear that Richard has completely questioned the concept of divine right and when he has to shed his crown and turn over England to his enemy, he dramatically states “Throw away respect, Tradition, form, and ceremonious duty; For you have but mistook me all this while. I live with bread like you, feel want, Taste grief, need friends. (3.3.172-76). Just because Richard as a divine right to be the King doesn’t mean that he is the right choice to accomplished the requirement of what it takes to be a great king. Richard was lacking on the will power of a leader. His downfall was his fault in the sense that he couldn’t concentrate to see what he was doing to his region as a ruler. He failed as a leader but at the same time he gain sometime much better than a crown, Richard gain the understanding of who he is.
William Shakespeare shows how two tradesmen can have completely different lives when others view them differently in the play The Merchant of Venice. In the play, Bassanio, Antonio’s friend, needs money to pursue his love. They seek a loan from Shylock, a Jewish moneylender in Antonio’s name. The contract is for three times the value of the bond in three months or else Shylock cuts off a pound of flesh from Antonio. While all this is happening, there are love plots going on. One of which is for Shylock’s daughter to elope with Lorenzo, a Christian. Later on, Antonio’s source of money, his ship, is reported sunken in the English Channel, dooming him to the loss of one pound of his flesh. There is a trial on the bond, and when it seems sure that Antonio will die, Portia, disguised as a doctor of laws legally gets Antonio out of the situation and Shylock recieves harsh penalties. Antonio and Shylock, two similar businessmen of Venice, are viewed differently and are treated oppositely to heighten the drama of the play and mold a more interesting plot.