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Appearances merchant of venice
Analysis of merchants of Venice
Analysis of merchants of Venice
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Dramatic Contributions of the Character Antonio The Merchant of Venice by William Shakespeare
Antonio is the namesake of Shakespeare's The Merchant of Venice, but in addition to contributing to the title, his constant search for emotional martyrdom adds an air of depth and drama to an otherwise lighthearted and laughable play. Like many of Shakespeare's best characters, Antonio could easily be overlooked as a mere plot-device. However, upon further inspection, he's more than just two-dimensional; he has a history, a personality, and a raison d'être.
Entering with complaints of phantom depressions, Antonio explains his woes to two of his friends, Salerio and Solanio.
ANTONIO:
In sooth, I know not why I am so sad.
It wearies me, you say it wearies you.
But how I caught it, found it, or came by it
What stuff 'tis made of, whereof 'tis born
I am to learn.
And such a want-wit sadness makes of me
That I have much ado to know myself (I.i.1-7).
The audience never does learn the cause of this depression. Nor, it seems, does Antonio. Many speculate it is foreshadowing of his melancholy to come, while others say it is just a display of Antonio's default attitude: romantic sadness. His emotions are not those of a cell-bound manic-depressive, but rather those of a large hearted person doting ceaselessly for the unattainable. Why does this open the play? Shakespeare often cleverly manipulated his characters' actions for the sake of plot revelations. For instance, Shakespeare uses his depression to let Salerio and Solanio question him about his affairs, thus introducing him to the audience. Throughout the play, the repercussions of many adventures fall upon Antonio; his 3,000-ducat debt, and Shylock's subsequent rancor, as well as...
... middle of paper ...
...f further sadness.
So Antonio, the established "dose of drama", acknowledges that he is best (and most useful plot-wise) when sad, and perhaps subconsciously does what he can do to keep himself this way. And he does: by yearning for a man he can never have, digging himself into debt with Shylock (even when aware of the dangers), and dramatically lamenting, even without a good reason to. While most characters change from beginning to end, Antonio only gains in his gloom. He begins sad, and ends unfulfilled. Portia mentions briefly that his ships have returned safely, but this somewhat artificial (and all too convenient) relief is not what he wants. He wants to remain himself: to remain dejected, forlorn and inconsolable. For if he remains himself, than the play has authentic drama and emotion.
Bibliography:
Shakespeare, William. "The Merchant of Venice"
...ce. In the very last dream, he witnesses three deaths that occur in front of him. This shows that he is losing his innocence because the people that die in the dream were not evil but good. This makes Antonio realize that the world is unfair and unjust. In his dream, “the Golden Carp appeared and Cico struck with his spear and the water ran blood red” (176). The Golden Carp dies which signify his loss of innocence, because only the innocent who have not sin can see the Golden Carp.
When Antonio first became homeless, an older man tried to steal one of his belongings, which was a simple hot plate. His first instinct was to attack the man and take back his property. While doing so, Antonio thought, “We have almost nothing, and this man wants to take it from us” (43). In addition, he mentions how, “It felt good to hit this man… For a moment, he felt strong and free; fury was a much better drug than self-pity.” (43). When Antonio discusses about the old man and his crimes, he may be alluding to Longoria and what he did to Antonio’s family. The man who tried to take away part of Antonio’s possessions is referring to Longoria and how he took away Antonio’s family. The act of beating the old man refers Antonio’s eventual act of revenge against Longoria and the satisfaction he experiences afterwards. Both acts demonstrate Antonio’s willingness to sacrifice and harm other in certain scenarios where it is necessary. The significant difference between Longoria and Antonio is the intention behind their actions. Longoria killed hundreds in cold blood for his own selfish desires and beliefs, while Antonio only harmed a total of two people to get revenge and to enforce justice in the only way he could. As mentioned before, Longoria’s actions are evil because he commits them for selfish reasons and without remorse. In contrast, Antonio’s actions are seen as necessary evils. A necessary evil is defined as an act of evil (as perceived by society) that is committed in a certain scenario where it follows a utilitarian approach; an approach in which the action does more good than harm. When Antonio beat up the old man, he was merely protecting his belongings and enforcing the law. More importantly, when Antonio killed Longoria, it was for his wife, his son, and the hundreds of other innocent lives that Longoria had claimed; Antonio did an act of
In the story, the death of Narciso and Lupito cause Antonio to doubt his religion because he cannot understand why God let them happen. Lupito’s death is significant because it is the first death that Antonio witnesses. The murder of Lupito causes Antonio to wonder about religion, sins, and death. After Lupito dies, Antonio says that “a priest could have saved Lupito” (Anaya 23). Antonio questions his religion and the power of a priest because the priest could not save Lupito. Antonio doubts if he is capable of being a priest and he is unsure of his destiny of becoming a one. When Antonio sees Lupito at the river, he believes that he should have been able to save Lupito’s soul, since he might become a priest. Because Antonio could not save Lupito, he feels regret. Antonio shows that he is feeling guilty when he asks himself, “How would I ever wash away the stain of blood?” (23). Antonio’s guilt implies that his future of being a priest might not be suitable for him because he should not feel guilt in something he is destined to do. In addition, Narciso’s death causes Antonio to lose faith in Cath...
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.
Antonio’s dream in Chapter 7, in which his brothers are three giants who ask for his “saving hand,” is open to many metaphorical interpretations, all of which address Antonio’s gradual entrance into adolescence. The dream could mean that Antonio is reluctant to give up his innocent, childish idea that his brothers are infallible and unchanging. It could also mean that they are dying because they have changed too much to settle seamlessly into their old lives. When they do arrive, they are restless and aimless. Finally, León and Eugene decide to build independent lives elsewhere. The dream also reveals Antonio’s awareness that the people he loves can sin despite his attempts to save them.
That’s Othello’s weakness that Iago deems as useful. Othello’s love turns to jealousy. The question is how sympatric is Othello to the reader. Othello feels betrayed. But Othello loses his look of a gullible, good guy when he decides he wants Cassio and Desdemona dead. The rage of his jealousy turns the character of Othello the readers know on its head and creates a different look. Only during and after the death of Desdemona can the reader see the good that was once in him. Othello shows regret and kind of a sense of torment. Clearly parts of him doesn’t want this to happen. And after the death of Desdemona he sees the misplaced change and rage he had. When Othello hears of Iago’s disseat he changes back to the good Othello that was present in the start of the play. He might be filled with regret and a new rage for Iago, but is morals seem solid
The theme of reason versus emotion can be found by analyzing individual character’s actions in William Shakespeare’s Othello. However, the line between to the two decision-making mindsets is not always very apparent. Three characters – Iago, Desdemona, and Othello – will be analyzed to show that Shakespeare wanted to blur the line between reason and emotion and demonstrate that individuals do not necessarily operate with only one or the other.
Othello is one of Shakespeare’s four pillars of great tragedies. Othello is unique in comparison to the others in that it focuses on the private lives of its primary characters. When researching the subject of Othello being an Aristotelian tragedy, there is debate among some critics and readers. Some claim that Shakespeare did not hold true to Aristotle’s model of tragedy, according to his definition in “Poetics,” which categorized Othello as a classic tragedy as opposed to traditional tragedy. Readers in the twenty-first century would regard Othello a psychological thriller; it definitely keeps you on the edge of your seat creating the emotions of terror, heart break, and sympathy. This paper will focus on what Shakespeare actually intended regarding “Othello” and its Aristotelian influences.
‘The Merchant of Venice’ is a play set in Italy in the late 16th Century, written by William Shakespeare. One of the main characters in the play is a cunning Jewish moneylender named Shylock. Shylock is part of a race that was discriminated against, despised and hated for their religion.
Portia play’s a major role in trying to persuade Shylock to be merciful to Antonio, as the story continues. Basannio, the loyal friend of Antonio also tries to persuade Shylock to show some sympathy towards Antonio, but is not shown.
Emotions have some control over our actions. However, there are other factors that influence what we do. In the play Othello though, emotions have way more power over the characters' actions. For example, the actions committed by characters consumed by love are greatly amplified. Another example of this is that the characters in the play that are consumed by jealousy go to far greater lengths than one normally would to quench their thirst for vengeance. The last instance that proves this is that the actions of characters overcome by despair are based solely on their hopelessness. These three points all help to show that in the play Othello, Shakespeare exaggerates how much our actions are affected by the major emotions of love, jealousy, and despair.
Conclusively, it is evident that in this Shakespearean tragedy, Othello’s downfall comes to be due weakness in his character, which comes into existence due to his major character flaws. Through his poor judgement, Othello can not figure out who is trustworthy and who he should find as not being loyal. Furthermore, jealousy overpowers Othello and his mindset, which fills him with thoughts of anger and hate. Likewise, Othello’s insecurity is a major flaw that bewilders him and causes him to be very distraught. Thus, with these points, it is unmistakeable that Othello faces a set of character flaws, that when found alongside each other, are almost impossible to overcome, which in the end lead to the tragic downfall and death of Othello in the end of this play.
In the final scene of Othello, the hero, with that utter lack of self-consciousness of self-criticism which is the height of human vanity, strikes a heroic attitude, makes an eloquent plea for himself, at the height of his eloquence stabs himself – and the innocent spectator feels a lump in his throat or dissolves in te...
The lines selected for analysis are Act II, Scene I, lines 277-291, when Antonio is trying to reassure Sebastian that killing his brother—the King of Naples—is a good idea and well worth the effort. As the reader knows, Antonio usurped his brother, Prospero, and became the Duke of Milan. This sets the stage for his attitude towards Sebastian’s wanting to kill his brother, King Alonso. Because of Antonio’s past actions he sees nothing wrong with getting rid of a family member for personal gain, but his reasons for doing so began at a young age and have been etched into his brain. Antonio’s psychological depth reveals that he is a man jealous of his brother’s rightful power, and stemming from that is his insecurity and lust for power wherever he may find it (in this case, having power over Sebastian). Antonio is not a good person, has few conscientious thoughts, and is now trying to convince his companion to follow his lead. If Antonio’s brother, Prospero, was to hear the selected lines, he would say that the only time Antonio thinks about performing acts that will get him power, by eliminating those who currently have it, is when it is to his advantage. He would say that Antonio devises plans to get rid of leaders when they are at a disadvantage, and he at an advantage, because he doesn’t feel that he could succeed otherwise—his insecurities kicking in. I don’t think Shakespeare agrees with Antonio, and there are two examples in the play to support that.
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.