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Representation of women in the merchants of venice
Representation of women in the merchants of venice
Representation of women in the merchants of venice
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Antonio's Love for Bassanio in The Merchant of Venice
Antonio feels closer to Bassanio than any other character in The Merchant of Venice. Our first clue to this is in the first scene when, in conversation with Antonio, Solanio says, "Here comes Bassanio, your most noble kinsman, / Gratiano, and Lorenzo. Fare ye well: / We leave you now with better company" (i. i. 57-59). Once Antonio is alone with Bassanio, the conversation becomes more intimate, and Antonio offers an indebted Bassanio "My purse, my person, my extremest means" (137). We find out later that Bassanio needs money to woo Portia, a noble heiress who Bassanio intends to marry. And though Antonio is not in a position to loan money at the time, he does not disappoint Bassanio:
Neither have I money, nor commodity
To raise a present sum; therefore, go forth;
Try what my credit can in Venice do:
That shall be racket, even to the uttermost,
To furnish thee to Belmont, to fair Portia. (124-128)
Antonio does not make these offers to any other character in The Merchant of Venice. In fact, there is only one scene in which Antonio is present and Bassanio not; in act 3 scene 3, and even then Antonio ends the scene with a plea for Bassanio: "Pray God, Bassanio come / To see me pay his debt, -- and then I care not" (iii, iii, 35-36).
Antonio expresses love for Bassanio to him several times throughout the play ("You know me well, and herein spend but time / To wind about my love with circumstance" [i, i, 154]; "Commend me to your honourable wife: / Tell her the process of Antonio's end; / Say how I loved you" [iv, i, 273-275]). But whether the love Antonio holds for Bassanio is either sexual or platonic is never overtly answered, which leaves speculation ...
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...of Venice."
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Criticism, Leonard Dean, ed. New York: Oxford University Press, 1967.
Kahn, Coppelia. "The Cuckoo's Note: Male Friendship and Cuckoldry in The Merchant
of Venice." Shakespeare's "Rough Magic", Peter Erickson & Coppelia Kahn, eds. Newark: University of Delaware Press, 1985.
Patterson, Steve. "The Bankruptcy of Homoerotic Amity in Shakespeare's Merchant of
Venice." Shakespeare Quarterly 49, 1: 9-32
Shakespeare, William. "The Merchant of Venice." The Complete Works of William
Shakespeare. Oxford: Shakespeare Head Press, 1998.
Sinfield, Alan. "How to Read The Merchant of Venice Without Being Heterosexist."
Alternative Shakespeare Volume 2, Terrance Hawkes, ed. New York: Routledge,
1996
Mack, Maynard. Everybody’s Shakespeare: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Despite the negative foregrounding of Othello’s character by Iago, our first impressions of Othello in Act 1 are of a noble and well-spoken man, his nobility is conveyed through his speech ‘most potent grave and reverend signiors’(1.3.76) to his future father-in-law Brabantio of Othello’s love for his daughter Desdemona in Act 1 Scene 3. This is a very different character to what we expect from Iago’s preparation for the introduction of Othello. Where we are expecting an angry and possibly violent character, we instead are met with something completely surprising, a quiet and calm man who dismisses Roderigo’s insult and even avoids the prospect of a conflict.
In the play “Hamlet”, Shakespeare uses two characters, Hamlet and Laertes, to develop a recurring theme of revenge. These two characters experience similar emotional suffering, as both of their fathers were murdered. One idea that made the readers question the mentality of these two characters was their motives. Hamlet was hesitant throughout the entire interval of the play to get revenge; which created confusion because Hamlet craved nothing more than revenge, yet he continued putting it off. In contrast to Hamlet’s tentativeness, Laertes, a man who initially did not know who killed his father, was willing to take his anger out on nearly anyone. Throughout the play, Laertes is seen as one who is eager to get to action, a quality often found in heroes, whereas Hamlet, the actual hero of the play, lacks this quality and hesitates to get revenge. In an attempt to portray the difficulty of revenge, Shakespeare uses the different ways Hamlet and Laertes see to their problems.
Shakespearean revenge tragedy is most remarkable in Hamlet, where no happy ending occurs for any of the characters. External forces steer Hamlet’s internal considerations. The internal is what is going on in Hamlet’s mind, presumably what is right and what is just. The external are constant pressures coming in from an outside source. Equally, both forces contribute to the development of Hamlet’s character; from a melancholy man who could not make his mind up to a courageous and ready man. Moreover, leaves Hamlet on an emotional rollercoaster contemplating over and over in his mind the nature of his action. In what may be Shakespeare’s most remarkable soliloquy “To Be or Not to Be . . .” (3.1.1), Hamlet endeavors to contemplate the righteousness of life over death and his suicide. Hamlet cannot escape the feeling of being trapped internally and weighing the moral ramifications of life and death. These forces
Hamlet although he believes that suffering must be endured or battled, he also understands that suffering is optional and that suffering is caused from pain and all pain can be relieved. At times Hamlet no longer sees the point of bearing the huge burden of suffering as he does, but rather to end the burden through suicide. These thoughts are however based or can be linked back to Hamlet’s emotion and how his negative emotions overcome his logical thinking. We see however Hamlet’s ability to think logically and understand the reasoning behind suffering and the preciousness of his life. At this point in the play Hamlet no longer doubts his meaning in life, this is quite pivotal because this then allows him the confidence and power to seek revenge on Claudius.
Othello is a fundamentally different character to all others in the play [1]. He is an outsider to Venice and therefore an outsider to the customs and society of Venice. In one way this is good for him. He is a renowned strong general who is much in demand from the Venetians. Rather than fight the war against the Turks for themselves, they hire Othello to do so, indicating that he is respected by the Venetians but not considered, as a civilized Venetian would be, above having to fight wars barbarically. This lack of cultural acceptance is indicated by the way Brabantio is willing to Îloveâ, invite to his house and ask him to tell battle stories. However, when there is the possibility of Desdemona marrying Othello, Brabantio is vehemently opposed, exclaiming;
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
It's clear that Othello is held in high esteem when, as he enters, one of the senators states "Here comes Barbantio and the valiant Moor"(47). Othello's confidence in himself, another of his positive attributes, is clearly portrayed as he defends himself and his recent marriage to Desdemona, the daughter of the Venetian Senator Barbantio. In his defense, he associates himself with one of the "great ones" of the world. He also demonstrates confidence in himself and his actions when Barbantio, Desdemona's outraged father, accuses the Moor of witchcraft. His stature, that of a tall, dark, African Moor, combined with his personal magnetism, assist him in gaining the respect and allegiance of the Venetian people and its senators. The respect of the people is brought forth in Act 1, Scene 2, when Montano, the Governor of Cyprus, is awaiting the arrival of Othello's ship, following a strong storm at sea, and remarks he has "served him' and the man [Othello] commands/ Like a full soldier" (35-36).
When the play begins, Othello is introduced as a military leader and a Christian, both characteristics of a noble "Venetian." According to Bell: " When we first meet him (Othello), he is a Christian and a `self-made man' who has overcome the handicaps of being foreign and black in the white Venetian world in which he has found his place" (2). Once Desdemona's father, Brabanzio, discovers the wedlock that has taken place, he is the first to point out that Othello is, in fact, a Moor when he states: "Here is this man, this Moor..." (1.3.71). Othello responds to this with the courtesy, modesty, and refined manners of any noble Venetian by saying: "It is most true, true I have married her/ The very head and front of my offending/ Hath this extent, no more. Rude am I in my speech/ And little blessed with the soft phrase of peace..."(1.3.79-82). In every way, Othello has portrayed himself to be equal to the most noble of "Venetians," even when faced with the accusations that he must have wooed Desdemona using potions or witchcraft. Othello asks that they let Desdemona speak for herself on how she came to love this Moor that he is. Desdemona...
Hamlet has a clear idea of reality and it was vivid enough for him to use his intellect to guide the map of his brain. Davis explains Hamlet had, "a great, an almost enormous, intellectual activity, and a proportionate aversion to real action consequent upon it. This character Shakespeare places in circumstances under which it is obliged to act on the spur of the moment”(Davis). Hamlet is broken yet determined to get his revenge. The beginning of the play explains a lot about why Hamlet has valid reasons to react the way he does throughout the play. The only way for him to survive his own internal conflicts was to have a firm understanding of his thoughts. ...
With his thinking mind Hamlet does not become a typical vengeful character. Unlike most erratic behavior of individuals seeking revenge out of rage, Hamlet considers the consequences of his actions. What would the people think of their prince if he were to murder the king? What kind of effect would it have on his beloved mother? Hamlet considers questions of this type which in effect hasten his descision. After all, once his mother is dead and her feelings out of the picture , Hamlet is quick and aggressive in forcing poison into Claudius' mouth. Once Hamlet is certain that Claudius is the killer it is only after he himself is and and his empire falling that he can finally act.
At the beginning of the play, Iago and Roderigo imply that Brabantio’s property it’s stolen by “thieves” (1.1.81) when referring to Othello marrying her Daughter. Furthermore, because Brabantio sees her daughter like a possession, she can only have one “lord of duty” (1.3.185) and acts as if he has passes his property to Othello. In addition to this, Othello refers to his marriage with Desdemona as “The purchase made” (2.3.10), implying buying a possession from Brabantio. In Act 5, Scene 2 Othello kills Desdemona, although it 's believed an act of jealousy, it can be considered that is because his “purchase made” (2.3.10) did not serve the purpose of a wife because “she was a whore” (5.2.146). Similar, Iago decides to kill Emilia because she is no good for his purposes anymore and betrays
Throughout Hamlet, each character’s course of revenge surrounds them with corruption, obsession, and fatality. Shakespeare shows that revenge proves to be extremely problematic. Revenge causes corruption by changing an individual’s persona and nature. Obsession to revenge brings forth difficulties such as destroyed relationships. Finally, revenge can be the foundation to the ultimate sacrifice of fatality. Hamlet goes to show that revenge is never the correct route to follow, and it is always the route with a dead
The relationship between Antonio and Bassanio exemplifies the business nature of friendship portrayed throughout The Merchant of Venice.
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.