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Analysis of the merchant of venice
Critical notes on Shakespeare's Merchant of Venice
Analysis on the play Merchant of Venice by William Shakespeare
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Upon an initial examination of William Shakespeare’s play, The Merchant of Venice, a reader is provided with superficial details regarding the moral dilemmas embedded in the text. Further analysis allows a reader to recognize the multi-faceted issues each character faces as an individual in response to his or her surroundings and/or situations. Nevertheless, the subtle yet vital motif of music is ingrained in the play in order to offer a unique approach to understanding the plot and its relationship with the characters. Whether the appearance of music be an actual song or an allusion to music in a mythological or social context, the world of Venice and Belmont that Shakespeare was writing about was teeming with music. The acceptance or denunciation …show more content…
Bassanio’s contemplation is underlined by a song that utilizes rhyme and meter in order to subconsciously provide Bassanio with the correct material for the casket: lead. The first two lines of the song immediately contextualize the concept of love and introduce two words that rhyme with the word lead. The following lines elaborate upon that theme by reassuring the listener that love will confirm itself yet fall prey to the inevitability of a love that dies; that afterthought can be heard echoing through a round of choruses. Bassanio essentially becomes a victim of determinism, both in his character and in terms of his role in the plot. The final two instances demonstrate the extreme emotional power that music holds over the lives of individuals. In defense of his bond with Antonio, Shylock invokes animal imagery as a strong emotional defense against the forfeiture of his bond. Perpetually invoking these images, Shylock also includes a line which states, “when the bagpipe sings i’th’ nose; Cannot contain their urine; for affection; Mistress of passion, sways it to the mood” (4.1.49-51). Shylock recognizes the immense power that music has over emotions. Music is able to bypass all cognitive faculties and permeate the deepest fathoms of our emotional capabilities, thus exploiting them. To find music included in a passage riddled with animal imagery permits a reader to understand the intensity of music, being a conduit that can access an individual’s deepest fears. Fear is the inherent system that drives animals to survive, much like the way it drives Shylock to maintain his way of
The musical score proficiently provides the viewers with a sense of what is happening in the scene which could not be communicated through text. Dramatic music is played for Creon’s entrance; this immediately communicates to us that he is a man of great importance and power. When Antigone enters after being arrested, the music is dynamic and tense. This conveys the seriousness and desperate atmosphere of the scene. The score is also a representation of the varying moods of the characters. An example of this is when Antigone is anxiously trying to appeal her sentence. The music makes the audience drawn is drawn to feel sympathy and pity her when she is preaching her views on death. For instance, a solemn melody is played when Haemon’s dead corpse is brought to King Creon. Creon grieves by himself as he is overcome with devastation caused by his foolish actions; his emotions are intensified by the sorrowful and sombre background music. The music is able to complement the play, while accentuating the more significant events.
Marriages everywhere have their troubles, yet everyone is able to relate to other couples problems. By looking at A Delicate Balance and The Merchant of Venice we will see their perspective on how marriages have changed over time of the martial relationship. After getting an overview of these books we will then apply it to present day and see if anything really has changed. The marriages I’ll be analyzing is Bessanio and Portia from The Merchant of Venice and Tobia ad Agnes from A Delicate Balance. By examining Bessanio’s behavior towards Portia and Tobia’s toward Agnes, we can see how the role of the husband has changed from emotional support and conversations to the development of the wives having bigger roles.
Shakespeare, William, and Kim F. Hall. Othello, the Moor of Venice: Texts and Contexts. Boston: Bedford/St. Martin's, 2007. Print.
speaks of music which is to be played while Bassanio makes his choice. Ok, this seems innocent enough; but examine the song--the first two lines of the song rhyme with lead! It doesn't take long for the subliminal message to be absorbed in Bassanio's brain, and the lead casket is chosen. This manipulative device is an indication to me that Portia has a need to make things go her way. She is afraid that Bassanio will make the wrong choice, and therefore assists him.
“The Merchant of Venice” is one of William Shakespeare’s most complex and controversial stage plays. “The Merchant of Venice” is a comedic, tragedy that enveloped everything that an audience wants to experience. From love to hate, justice to revenge “The Merchant of Venice” has it all. William Shakespeare focused many themes that were controversial in society during his time and some that are still controversial in society. This essay will focus on analyzing and connecting the major theme of 16th century anti-Semitism to underplayed racism and anti-Islamic ideas of today’s society.
Since middle school, I have believed that all of Shakespeare’s works, similar to A Mid Summer Night’s Dream, were plays that one would read to hear a happy, entertaining story; but, it was not until this year, after reading The Merchant of Venice, that I recognized the darker, more sinister, side of Shakespeare’s plays. The Merchant of Venice supports the Jewish, anti-Semitic stereotype as the wicked character of Shylock is developed. Many individuals fear that it is improper to teach and discuss The Merchant of Venice in high school classrooms because of the negative way it presents Jews; however, I believe that it is important to read this controversial play in high schools because it enables students to learn anti-Semitic history and because reading Shakespeare’s works, due to their complexity, expands the literary mind of those who read it.
In examining popular, tragedy-style theater pieces, it becomes apparent that human morality is a prevalent theme, as it consistently appears throughout various stories. William Shakespeare’s notable play Macbeth, to provide an exemplar, contains such a matter; the literary masterpiece explores the issues of guilt, and the loss of one’s integrity. A perfect display of these conflicts occurs in Act III, scene IV, during which Macbeth struggles with the realisation that he has become a murderer, and will remain forever bound to his crimes:
...ivisive agent, actually been voided, or only cast aside? Is Shylock and Antonio’s code of honor truly obsolete? A sense of false sincerity permeates the final scene. The temporal ambiguity between night and day with which the play ends suggests that a complete resolution has not been achieved. In being neither night nor day, it ends in a kind of dramatic unreality. Metatheatrical in its elevation of words and language, The Merchant of Venice is consciously distinct from the realism of the off-stage world. And yet in the course of its five acts, the play fails to define a solid dramatic “otherworld,” in which new values and authorities are introduced and made permanent. Rather, it seems to end ambiguously, and fragmented. It falls short of true resolution, and concludes with a statement of shortcoming, informing us that there are still “two hours to day” (V.i.325).
Using the chosen texts, Twelfth Night and The Merchant of Venice, this essay will consider whether or not the dramatic effects of deception and disguise are significant in Shakespearean works. Deception and disguise show the difference between appearance and reality and often go hand in hand within many, if not all of Shakespeare’s plays. There are, for example, many instances of disguise leading to accidental deception, the use of disguise as a means to deceive in a form of self-preservation such as the tactics used within Twelfth Night and there are occasions when deception is used in a more malevolent fashion as shown in both Twelfth Night and The Merchant of Venice. Other characters are known to even deceive themselves, ultimately believing they are something they are not, as such deception and disguise is one of the most significant dramatic effects used in any Shakespearean play.
Among the tragedies of Shakespeare Othello is supreme in one quality: beauty. Much of its poetry, in imagery, perfection of phrase, and steadiness of rhythm, soaring yet firm, enchants the sensuous imagination. This kind of beauty Othello shares with Romeo and Juliet and Antony and Cleopatra; it is a corollary of the theme which it shares with them. But Othello is also remarkable for another kind of beauty. Except for the trivial scene with the clown, all is immediately relevant to the central issue; no scene requires critical justification. The play has a rare intellectual beauty, satisfying the desire of the imagination for order and harmony between the parts and the whole. Finally, the play has intense moral beauty. It makes an immediate appeal to the moral imagination, in its presentation in the figure of Desdemona of a love which does not alter ‘when it alteration finds’, but ‘bears it out even to the edge of doom’. (139)
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.
Compared to plays written for public playhouses, The Tempest offers a unique emphasis on music. Hiring extra musicians, along with the time constraints usually resulted in small attention given to this area (Long 95). Given the large degree of detail allotted to music in the play, it is believed the audience to have been upper class, however, music of The Tempest serves a variety of functions beyond that of mere entertainment. By exploring the evidence provided in The Tempest, we can reveal some of these functions that music serves in the play.
more alive and the love that is in the story line more prevalent. Portia hooks in Bassanio with the gift she bestows upon him. For example, “In “The Merchant of Venice” spotlights shiny displays of sacrifice and gift giving. At the same time he (Shakespeare) lets the shadows of darker motives encroach on the glitter of those displays”(Berger 1). The darker motives show that Portia is a little bit conniving in her way the she bestows the ring onto Bassanio. She uses the ring to self-protect, setting herself into a win-win situation. For example, “Portia’s gift to Bassanio is an act of self-protection “in a naughty world”(Shakespeare 5.1.91), a something for nothing that she can transform
...are’s writings. Edward W. Naylor writes in his essay that, “this is the more satisfactory, as no subject in literature has been treated with greater scorn for accuracy, or general lack of real interest, than this of music”. Music is the only topic that the audience and the readers view with content and a smile on their face. Shakespeare’s musical references are mostly found in comedies, but the musical stage direction that is presented in tragedies is due to the military nature or politics that bound the play. Shakespeare knew the impact of music on the society and during his time. Naylor also suggests that music “was considered an essential part of a clergymen’s education” and this notifies the value music held in the society. In the Duke’s case, “If music be the food of love, play on”, music seems to be rigorous and the musicians perform it with peacefulness.
The novella Death in Venice by Thomas Mann describes the journey of an older German writer, Gustav Aschenbach, who comes to Venice on vacation and falls deliriously in love with a young boy. This love, and the obsession it culminates in lead to the demise of the writer. Mann’s story seems to be about an ill-fated love but in truth it tells a tale of a man who goes from total control of his life and his being to an irrational creature who is controlled by wild emotions that he will eventually succumb to. Such a story line perfectly illustrates the differences between the two Greek gods of art and how people can fall under the influence of each. Both Apollo and Dyonisis are gods of creativity and art in the Greek world yet they have such different