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Essay on antonio in the merchant of venice
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Consequences of ineffective communication
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Head v. Heart in the Merchant of Venice by William Shakespeare The first problem posed in The Merchant of Venice is that of Antonio who is wondering the reasons for his feeling weary and down. Like a typical, well-respected Renaissance gentleman, Antonio goes about his predicament in an intelligent manner. He looks within himself, down to his centre of being to try and discover the rational meaning of his emotions - he searches to the very core of his soul. With clear objectives, Antonio uses his head and thinks philosophically. There is no hint of rash self-pity or bemusement, only incisive cogitation. This shows how Antonio can be a calm, measured man, capable of carefully thinking things over in order to come to the best conclusion - he can control his natural impulses and uses his intellect to reason. It reflects his attitude to his job and Antonio is evidently a competent and successful businessman. He deliberately fathoms out the cause of his sorrow and is able to comprehend the true meaning of things. Antonio eloquently dismisses his friends' reasoning, ignoring Salerio's vivid scaremongering imagery and responding with the measured, "My ventures are not in one bottom trusted" (I, i, l. 42). However, Antonio's response to a later problem provides a stark contrast to his apparent shrewd composure and calculated deliberation. Although he is clearly able to comfortable and skilfully trade with large sums of money in business, when it comes to personal relations, Antonio's apperception of important issues is rather lacking. His lack of concern in relation to loaning the indebted Bassanio an exorbitant amount of money is so absurd... ... middle of paper ... ...ttentive had personal issues not been involved. As it is, he swiftly agrees without even an infinitesimal pause for thought and says, "I'll seal to such a bond," even though Bassanio objects. This is unusually harebrained and unwise for a businessman such as Antonio, again demonstrating how he lets his heart rule his body. Throughout the play, we can observe conflict within characters between their heads and their hearts. When people rely on just their head, they are successful but often miss out on more subtle sensitivities, whereas always following your heart means imprudent judgements are made and it is foolish at best - especially when people are unable to return or understand your love. As the story progresses, the compromisers tend to come out best as they can balance their brain and their emotions equally.
In the play,”Hamlet, Act 3 scene 1” the target audiences between both plays were to a wide variety of people. Back when Hamlet was first written, it was made to be viewed by a wide variety of audiences. Typically during the renaissance era, plays were made more common to the lower part of society; this being why Hamlet was written. Although both plays are to the same audience, the first one is more distinct into who it wants viewed. It had elegance, and was more formal and professional. You could see in the audience people were wearing suits a formal attire. As to the second one, it was smaller scale, and the audience had people in shorts and sweats.
Ear and hearing is an important motif throughout the play because of the huge contrast it reveals; the truth or the lies. One important challenge in Hamlet is the difficulty of attaining the truth, without any deception or manipulation involved. Although characters have a tendency to believe what they hear, hearing can in reality be a source of deception and lies. In Hamlet, Claudius uses words to manipulate people around him to exile Hamlet from Denmark; words are served as tools in order to gain power. He eventually treasures his power and his safety over his love for his wife, Gertrude. Although he says “Gertrude, do not drink” he does not prevent Gertrude from drinking the poisoned drink by loudly exclaiming it (V.ii.286). Even at the end he states, “It is the poisoned cup. It is too late” to himself rather than directly to Gertrude (V.ii.288). His comment to himself reveals his first priority: conquest of powers, and that he is willing to sacrifice his wife for his gain of power. His manipulation does not end there. Despite the fact that he is revealed to the whole palace that he put the
1. In the text, Shakespeare places a scene in Belmont against one in Venice. As mentioned earlier Shakespeare constantly juxtaposes throughout The Merchant of Venice. Juxtaposition is a literary technique that creates comparisons between two dissimilar objects. One reason that Shakespeare constantly juxtaposes is for the reason that Shakespeare’s end goal is to evoke interest and surprise the readers throughout the story with dramatic changes. In the beginning of act one scenes one and two, Antonio and Portia, two different characters are introduced. An incident involving Antonio in Venice and Portia in Belmont further illustrates the comparison between the two. For example Antonio states, “In sooth, I know not why I am so sad” (I.I.1). In contrast, Portia states, “By my troth, Nerissa, my little body is aweary of this great world” (I.II.1). This illustrates how these two characters connect to each other in a way. Both Nerissa and Antonio are going through a few troubles, and one has a reason for it and the other does not. An
Though the action moves in a single line, with none of the intricate interweaving of parallels displayed in Hamlet, the emotional pattern has, as it were, two poles of concentration: mounting horror at the insatiable malice of Iago, pity for the suffering helplessness of his victims. These effects are securely attained at the expense of a good deal of arbitrariness in the manipulation of the plat and even inconsistency of character [. . .] . (54)
Shakespeare’s Hamlet is an interesting play in many ways. The character Hamlet is particularly intriguing in regards to his fatal flaw. Hamlet’s fatal flaw is a specific trait that forces him to postpone killing the king and it is this trait that drives Hamlet mad (Shakespeare 1.4.23-38). This Shakespearean tragedy is open to many interpretations of Hamlet’s fatal flaw. Two recent film productions of the play, Kenneth Branaugh’s Hamlet and the Zeffirelli’s Hamlet, each show a different fatal flaw in Hamlet. Branaugh shows his fatal flaw to be that Hamlet over thinks everything. Zeffirelli accentuates the Oepipus Complex in Hamlet meaning that Hamlet is jealous over his mother. Branaugh and Zeffirelli both use different methods to illustrate their interpretations.
In Venice, time is of the essence. If one were to momentarily forget the real world, one would be trampled down by its massive stampede of events, bonds, et cetera constantly being made, ubiquitously in its domain. Shylock and Antonio are just one pair of culprits adding to the ultimate imperfection of Venice. However, the bond made between Shylock and Antonio sets them completely apart from the normal villainy dealings, "If you repay me not on such a day... let the forfeit / Be nominated for an equal pound / Of your fair flesh, to be cut off and taken..." [Act 1, Scene 3]. A shrewd merchant, Antonio does not immediately agree to this. He first reasons it out: "Within these two months--that's a month before / This bond expires--I do expect return / Of thrice three times the value of this bond." [Act 1, Scene 3] If all goes well, our merchant of Venice would have no difficulties in paying Shylock back. However, not all goes well; a while after this bond, rumors on the Rialto suggest that Antonio has lost his fortunes at sea. With not enough wealth to compensate for his due payment, Antonio is now in danger of losing a pound of his flesh, which in those days meant almost certain death.
Two Sides of Hamlet Hamlets confrontation with Gertrude leaves her questioning her son’s. sanity. This is because she attests to him talking to thin air, which he claims was his father’s ghost. It seems like Gertrude has every right to think Hamlet is mad. Her judgement is also fuelled by Polonius’ murder is a crime.
Laurence Sternes’ “Tristam Shandy”, specifically volume 1 ch: 12, holds patronage to sentimentality through a compilation of juxtaposing emotions that are exchanged between the two characters Yorick, and Eugenius. This exchange moving towards the climatic moment in the chapter where Parson Yorick’s is murdered by the ambiguous debtors who desired revenge for his sallies. However, the chapter in entirety is expressed in a particular manner. Since the time-span of the chapter itself is short, and spontaneous. In effect, I will analyze volume 1, chapter 12 of “Tristam Shandy”, put emphasis to the literary innuendoes and (half-)ironic moments expressed through the exchange of dialogue. For chapter 12 sets Yorick and Eugenius as binaries (or foils)
The relationship between Antonio and Bassanio exemplifies the business nature of friendship portrayed throughout The Merchant of Venice.
Throughout the Merchant of Venice, while Portia is being courted. the reader can see that she does not like any of the suitors, except Bassanio. She finds a flaw in all the suitors and readers, as well, can see. the flaws in each as they present themselves to her. Her true love however, is for Bassanio
Men such as Antonio and Bassiano lend money without interest or even thought at times, and end up taking far more risks for those they care about. “He lends out money gratis, and brings down | The rate of usance here with us in Venice.”(1.3.45) Shylock complains to the audience in an aside. Antonio agrees to Shylock’s nasty terms simply because he loves Bassiano that much.
In response to Sebastian’s question about whether his conscience would bother him after committing fratricide, Antonio replies, “Ay, sir, where lies that? If `twere a kibe / `Twould put me to my slipper…” meaning that if his conscience was a small sore on the heel of his foot (a kibe), it would drive him to wear comfortable shoes but it would certainly not disrupt his life or stop him from doing what he’s doing. This shows Antonio to be a cold-hearted man, one who is able to quiet that little voice inside his head and push it to the back of his brain and continue with his terrible acts. In the next thought, he says, “…but I feel not this deity in my bosom,” admitting he doesn’t feel the tug of a conscience in his heart.
Bosola's inconsistency makes him different to some of the other characters in the play; the Cardinal is always cold and calculating, Antonio is honorable and benevolent and Ferdinand is fierce and aggressive, even in his mad state. There is no change in their characters, yet Bosola reaches beyond the confinements of the stereotypical role of `black malcontent', as Antonio describes him, altering his opinion of the Duchess as a prostitute, `this precise fellow is the Duchess' bawd', to seeing her as a noble woman and feeling compassion for her in her last moments of life, `Return fair soul from darkness, and lead mine out of this sensible hell!' Bosola's capricious nature makes him more convincing and realistic as a character. At the beginning of the play, the audience will probably dislike Bosola's cruel, pessimistic look on life. His change in opinion t...
Throughout the play, Hamlet, the main character, Hamlet, is at war within himself. Fighting against two demons: one named insanity, the other, suicide; Insanity, the state in which one is seriously mentally ill, and suicide, the aftermath of being insane. Is it better to live or to die? Is it better to put up with the bad things we know in life than to fall away into a mind full of madness? Hamlet is not only talking to himself but to the audience as well, questioning the existence of humanity. He is no longer fascinated with the thought of death but with the knowledge of mortality. That our world is made of death and decay. If insanity is the cause of suicide Hamlet must find a way to deal with both.
“Now, what I want is, Facts. Teach these boys and girls nothing but Facts. Facts alone are wanted in life. Plant nothing else, and root out everything else” (Dickens 5). So says Mr. Thomas Gradgrind, the proponent of a Utilitarian educational philosophy in Charles Dickens’ Hard Times. Cold, hard facts are what Mr. Thomas Gradgrind’s philosophy consists of, and cold hard facts are exactly what Tom and Louisa Gradgrind are raised on. They are taught by their father and by society to live their lives based on these facts. They are instructed to conduct themselves in accordance to them and nothing else. As stated by Taylor Stoehr, “Tom and Louisa Gradgrind are products of the Gradgrindian system, raised in Stone Lodge, taught in the school of hard facts, model grindings off the parent stone” (Stoehr 171). As a result of being raised in the loveless atmosphere of Stone Lodge and in accordance with the strictly enforced rules of the Gradgrindian system, Tom and Louisa are deprived of opportunities to cultivate imagination, emotions, and “fancy” (Dickens 5). The children are themselves fragmented and insufficient fragments who have been formed by a hard system of hard facts. By blocking every available outlet for the interplay of fantasy and emotion, Mr. Gradgrind unintentionally generates two extreme outcomes for his children. Even though the Gradgrind philosophy has completely different effects on Tom and Louisa Gradgrind, it ultimately deprives them both of the happiness that only a balance between the wisdom of the Head and the wisdom of the Heart can create.