Romantics and Merchants in The Merchant of Venice
Shakespeare's comedies usually follow a clearly defined pattern. He presents a conflict, and the characters eventually resolve the conflict in a relatively happy ending, which involves marrying off the hero and his entourage to the heroine and her companions, leaving the villain outside the "magic circle" of protagonists. In The Merchant of Venice, Antonio is presented as the hero, and Shylock the villain, but neither is within the circle of marriages at the end of Act V. In fact, Antonio's depression exposed at the beginning of the play seems unresolved at the end, and he goes on his melancholy way, as he supposes he must. Can The Merchant of Venice, then, be considered a true comedy?
The strongest argument discounting Merchant as a true comedy is that though Antonio appears to be the major protagonist in the story, he is also as far outside the magic circle as his villain, Shylock. While Bassanio, Portia, and their associated parties marry off at the end of Act V, Antonio is left to his ships and his money, still going about his depressed way. At the beginning of the play, Antonio expresses his dissatisfaction with his situation to his friends. "I hold the world but as the world, Gratiano, a stage where every man must play a part, and mine a sad one" (I.i.81-83). Throughout the play, and Shylock's relentless pursuit of his macabre repayment, Antonio remains in this dreary, defeated state. He seems almost too eager to end his suffering at the hands of his debtors and his apparently lost business. "Grieve not that I am fall'n to this for you," he tells Bassanio in court, "for herein Fortune shows herself more kind than is her custom: it is still her use to let the wretched man outlive his wealth, to view...an age of poverty, from which ling'ring penance of such misery doth she cut me off" (IV.i.278-284). He begs the court to make no more attempts to save his life, comparing such futile endeavors to abate the flood waters or question the wolf's killing of sheep (IV.i.71-84). Completely resigned to his grisly fate, he announces, "I am a tainted wether of the flock, meetest for death. The weakest kind of fruit drops earliest to the ground, and so let me" (IV.i.116-118). Even in Act V, after the dispute with Shylock is decided in Antonio's favor, the melancholy merchant plays no role in the resolution of the play.
“It is a wise father that knows his own child,” said shakespeare in the sixteen hundreds. These words directly resemble both The Merchant of Venice and Night by Elie Weizel in their father son relationship. Portia and her late father, Jessica and Shylock as well as Elie and his father Shlomo. All of the fathers in the stories try hard to build up the person to be the best version of himself, but do not always succeed.
Risk is the exposure to danger. Taking risks are necessary because risk reveals experience to an individual. Hazard has both malevolent and benevolent outcomes, which can affect the overall atmosphere in a play. The content of William Shakespeare’s The Merchant of Venice includes many scenarios of risk-taking among the relationships between characters. The Merchant of Venice consists of four different plots: the bond plot, casket plot, love plot, and ring plot; in which characters are exposed to danger. Risk serves a major responsibility as it divulges many elements of dramatic significance throughout the play. Shakespeare manifests hazard through rival arguments, lovers’ commitments, and father and child agreements.
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 The Merchant of Venice by William Shakespeare, there is a concept of otherness throughout the play. Many characters had roles in which they were examples of the outsiders, that occurred during the time the play was written. If not all but in most plays by William Shakespeare, there is always a character who is categorized as the outsider. However, The Merchant of Venice took the concept into a deeper level, instead of depicting differences in social class as otherness, the play included race and religion, instead of social class. These beliefs shaped not only the way the play was written, but how the characters treated certain individuals in the play and how the personality of each character
What is comedy? Funk and Wagnalls New Encyclopedia says: "A comedy depicts the follies and absurdities of human beings." Webster's Dictionary defines comedy as: "A drama or narrative with a happy ending." Shakespeare's play, Measure for Measure, fits both of these descriptions. Follies and absurdities are present in the play: Lucio slanders the Duke, not realizing that his crude remarks are being spoken to the Duke himself; Angelo abuses his power thinking that the Duke is not present to know; and Ragozine happens to die in prison the day a head is needed to substitute for Claudio's. The play also ends on several merry notes, consistent with the definition of comedy. For example, Angelo's life is spared and he is forgiven; Mariana is married to Angelo; the Duke punishes Lucio humorously with marriage; Barnardine is pardoned; and Claudio is saved. The parallels between Measure for Measure and three other Shakespearean comedies, The Merchant of Venice, As You Like It, and Twelfth Night, also help to classify Measure for Measure as a comedy. In Measure for Measure, like in The Merchant of Venice, As You Like It, and Twelfth Night, an arbitrary law or obstacle is eventually overcome; a disguised character affects the outcome of the play; a clown adds humor to the plot; a female character bears a large responsibility for the final resolution; and forgiveness and reconciliation mark the conclusion of the action.
At the end of The Merchant of Venice, Shylock has been both a victim and a villain. He is a victim of his religion, and a victim of his greed and overwhelming need for revenge. Shylock is definitely the most villainous character in the play, and only a few elements can show him as a victim overall, even then, his victimisation only seems to be a consequence of his own actions. His daughter running away, because of her treatment, and apparent lack of love. The taking of his assets, because he would show no mercy towards Antonio. The final conclusion must be that Shylock is unreasonable, spiteful, heinous, greedy - and a villain.
& nbsp;   ; “The Merchant of Venice” is a play that relies on soliloquies to advance the plot, create mood and atmosphere, and to develop character among all the actors. I am here to prove how this happens in two different soliloquies and show you why Shakespeare put them into the play.
soon have several ships in port, agrees to part with a pound of flesh if the
Drama and Tension in William Shakespeare's The Merchant of Venice Introduction The merchant of Venice is about a merchant who borrows a loan to help a friend who wants to go to Belmont to Marie a woman called Portia. The person who borrows a loan is a merchant name (Antonio), and Antonio goes and gets the loan off a Jew name (Shylock). After Antonio borrows the loan, Antonio sign a bond saying that if in three month Antonio ships don’t return, shylock would have his pond of flesh.
It is worthwhile to take a close look at the marriage and trial plots in The Merchant of Venice. The antagonists of the respective plots have similar goals; they seek access to power and privilege. However, the types of power they seek is very different. The methods they use of gaining power are also differ. Bassanio succeeds with his intent, but Shylock fails. Focusing on the before mentioned plots, one may draw some conclusions concerning the reasons of success and failure in this play.
At the end of The Merchant of Venice, Shylock has been both a victim and a villain. He is a victim of his religion, and a victim of his greed and overwhelming need for revenge. Shylock is definitely the most villainous character in the play, and only a few elements can show him as a victim overall, even then, his victimisation only seems to be a consequence of his own actions. His daughter running away, because of her treatment, and apparent lack of love. The taking of his assets, because he would show no mercy towards Antonio. The final conclusion must be that Shylock is unreasonable, spiteful, heinous, greedy - and a villain.
Women of the late 16th century were subjected to patriarchal ways and not granted the same rights and privileges as males. Yet, Shakespeare gives women in The Merchant of Venice significant roles in controlling the fates of all of the other characters. Portia and Nerissa cleverly disguise themselves as an esteemed lawyer and clerk, respectively, and interpret the law in such a way that Antonio and Bassanio are saved from Shylock’s bond, while Shylock is forced into a position of utter humiliation. The William’s Center for the Arts takes The Merchant of Venice and amplifies the play’s feminist qualities, not only through context of the play and performance, but also through gender-blind casting.
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.
Shakespeare highlights three of Portia’s suitors, the Prince of Morocco, the Prince of Arragon and Bassanio. He does this to heighten dramatic tension, as these three men are the most important candidates to win Portia’s hand in marriage. They reveal the contents of the three caskets and their different characters as exposed as being proud, vain and humble. They also emphasise the racial prejudices of Venice a place where many races clash. Their attitudes towards the caskets and their choices indicate what their character is like. This essay will compare and contrast the three suitors and will explore how Shakespeare influences the audience’s attitudes towards the three men.
Shakespeare’s Merchant of Venice contains many themes and elements that are considered timeless or universal. Samuel Taylor Coleridge defines a timeless or universal element as a “representation of men in all ages and all times.” A universal element is relevant to the life of every human being – it is universal. The first major theme that plays an important role in the play is the Christians’ prejudice against the Jews. A second important theme is the attitude toward money. Perhaps the most important theme of the play is the love between people. This love can occur between the same sex, or the opposite sex, platonic or romantic. In Merchant of Venice, the three timeless elements are prejudice, money, and love.