Merchant of venice, Shakespeare, ICSE Drama, English Studies

 

Merchant of Venice - Critical Question Answers

1. Discuss Shylock’s dramatic function in The Merchant of Venice. What do critics mean when they suggest that Shylock is “too large” for the play? Does he fulfil or exceed his role?

 

In order to ensure that we understand Shylock as a threat to the happiness of Venice’s citizens and lovers, Shakespeare uses a number of dramatic devices to amplify Shylock’s villainy. In doing so, however, he creates a character so compelling that many feel Shylock comes to dominate the play, thereby making him “too large.” Certainly, Shylock is a masterful creation. At his cruellest, he is terrifying, even more so because all of his schemes exist within the framework of the law. Seen in this light, Shylock becomes a kind of bogeyman, turning Venetian society’s own institutions on themselves. On the other hand, Shylock is also pitiable, even sympathetic, at times. He has been harshly handled by Venetian society and has seen his daughter elope with one of the same men who despise him. His passionate monologue in Act III, scene i reveals that he feels the same emotions as his opponents, and we cannot help but see him as a man. In fact, Shylock’s character is so well-rounded and intricate that many see him as the only interesting figure in a play that is not, in theory, supposed to centre about him. Shylock’s scenes are gripping and fascinating, and many critics believe the play deflates every time he makes an exit.

2. In the end, how comic is The Merchant of Venice? Does the final act succeed in restoring comedy to the play? 

The Merchant of Venice contains all of the elements required of a Shakespearean comedy, but is often so overshadowed by the character of Shylock and his quest for a pound of flesh that it is hard not to find in the play a generous share of the tragic as well. Lovers pine and are reunited, a foolish servant makes endless series of puns, and genteel women masquerade as men—all of which are defining marks of Shakespearean comedy. In sharp contrast to these elements, however, Shakespeare also presents Shylock, a degraded old man who has lost his daughter and is consumed with a bloody greed. The light language of the play’s comedic moments disappears for whole scenes at a time, and Antonio’s fate is more suspenseful than funny. The final act redeems the play’s claims to be a comedy, piling on the necessary humour and serendipity, but the rest of the play is overcast by the fact that Antonio may soon pay Bassanio’s debt with his life.

 

3. Discuss the relationship between Jessica and Shylock. Are we meant to sympathize with the moneylender’s daughter? Does Shakespeare seem ambivalent in his portrayal of Jessica?

In looking at the relationship between Jessica and Shylock, we are again forced to walk a fine line between sympathizing with and despising Shylock. For all intents and purposes, the play should label Shylock’s mistreatment by his own daughter as richly deserved. After all, he is spiteful, petty, and mean, and in his more cartoonish or evil moments, it is hard to imagine why Jessica should stay. At other times, however, Jessica’s escape seems like another cruel circumstance inflicted on Shylock, and her behaviour offstage borders on heartless. Shylock is never more sympathetic than when he bemoans the fact that Jessica has taken a ring given to him in his bachelor days by his wife and has traded it for a monkey, the most banal of objects. Nor is Jessica ever able to produce satisfactory evidence that life in her father’s house is miserable. Her seeming indifference to Antonio’s fate—she and Lorenzo are more interested in the price of bacon—makes us wonder whether Jessica is actually more selfish and self-absorbed than the father she condemns. While Shylock is no saint, his resolve to collect his debt only seems to strengthen beyond reason after he discovers that Jessica has fled his house.

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MERCHANT OF VENICE, ACT 2, SCENE 1 & 2 ICSE DRAMA SHAKESPEARE LINE BY LINE SUMMARY ANALYSIS

  Merchant of Venice

Act II: Scene 1

Summary

Amidst the flourish of trumpets the Prince of Morocco enters. Portia, along with her confidante, Nerissa, and several ladies-in-waiting are seen present. Prince begins his courtship rather straightforwardly. He looks obsessed with the color of his skin. Being from Morocco, he comes "in the shadowed livery of the burnished sun." He has a very dark complexion, and he begs Portia to "mislike [him] not for [his] complexion." He equates bravery with reddishness of blood. He proposes a test. Let the blood of his and the far northman be tested. His blood will prove more red. Having more red colour of blood, according to Morocco, is equivalent to being more loyal in love. 

Portia tells him that he is "as fair" as any of the men who have come to seek her "affection." She is bound by the terms of her father's will. Therefore, he stands as good a chance as any other suitor. According to her father's will, however, if the prince wishes to try for her hand, he must take his chances like all the others. If he chooses wrongly, he must remain a bachelor forever.  He would "never to speak to lady afterward / In way of marriage."

The prince is not easily deterred; he is ready for the test. Portia guggests him to take rest and visit the temple to take oath before the God before initiating the hazard of casket opening.

Analysis

This act begins with much visual and verbal pomp. Visually, the Prince of Morocco and Portia enter from opposite sides on stage with a "flourish of cornets," each followed by a train of attendants. Morocco then opens the dialogue with rather a meek, hesitant  reference to his dark skin. Elizabethan inclination towards disliking black skin is evident from Shakespear’s play here. Morocco seems to belittle his dark complexion. Portia, on the other hand is cold but courteous- "Yourself, renowned Prince, then stood as fair / As any comer I have looked on yet / For my affection."

 

There are three caskets for Portia's suitors to choose from and there are three occasions in which suitors will attempt the test of the caskets to win Portia in marriage. The three suitors bear stark contrast in there pomp, gait, dialogue, outlook, and love.

 

Morocco, is intensely physical; he is a warrior. He speaks of his red blood, the power of his scimitar, and of the courage that can "mock the lion when 'a roars for prey." Morocco is a straightforward soldier-prince; he is rightly self-assured and is contrasted to the Prince of Arragon. He is concerned with lineage and position. Both of these suitors will fail, and although the audience knows that Bassanio will make the right choice and win Portia).

 

Act II: Scene 2

Summary

This is a comedy scene. After the serious scene at Belmont, we are brought back to Venice, and the initial emphasis here is on Launcelot Gobbo, Shylock's servant. Launcelot is seen hesitating, debating with himself as to whether he should remain in Shylock's service. He is inclined to leave and find employment elsewhere, but he is unable to make up his mind. The decision is difficult, he says, for he feels the weight of his "conscience hanging about the neck of his heart."

The comedy intensifies when Launcelot's father, Old Gobbo, arrives on stage. Old Gobbo is "more than sandblind" and does not recognize his son. He sees before him only the dim image of a man who he hopes can direct him to Shylock's house. Launcelot is not very happy to see his father. He left him when he was a mere child and could not fend for himself. Gobbo was young, strong. For him this son was a liability for, his mother Mergery must have been dead and there was none to look after the child. Launcelot has seen his father since then. He conceals his true identity and playfully confuses the old man with much clowning and double-talk, before revealing who he really is. He needs his father’s support to enter Bassanio’s services. It was the custom in those days to seek formal release from the previous employer before being appointed by a newer one. Shylock here needs to consent to Lancelot’s changing employment under Bassanio. There was another way. If the father would voluntarily take the son to the new employer, the former may get the engagement without the previous employer’s active consent.

Bassanio now enters, along with Leonardo and other followers, and he is enthusiastically talking of elaborate and gaudy preparations for a dinner tonight, followed by a masque. He has invited his friends to celebrate his departure for Belmont. He is planning to win Portia there. Launcelot is quick to note Bassanio's good mood, and he immediately appeals to Bassanio to have him hired as a servant. Bassanio agrees and orders a new set of livery for his new servant.

Gratiano requests Bassanio- "I must go with you to Belmont." Bassanio initially declines but he finally consents, urging Gratiano to modify his "wild behaviour,".

Analysis

This scene acts as a minor diversion. It paves the way to certain developments in the plot — the elopement of Lorenzo and Jessica, and Launcelot Gobbo's transfer of his services from Shylock to Bassanio.

This scene provides comedy of the Elizabethan stage. It’s staged between two serious scenes. This kind of comic scene gives the audience the much needed comic relief. Two of the most important members of any Elizabethan theatrical company were the actor who played the tragic hero and the actor who played the clown. 

 

Shakespeare wrote them to give his actors as much scope as was necessary for visual antics. Launcelot's opening speech takes the form of a debate between "the fiend" and his own "conscience." The paradox in his dialogue seems wavering- "Well, my conscience says, 'Launcelot, budge not.' 'Budge,' says the fiend. 'Budge not,' says my conscience".

In addition to this clowning business, verbal confusion was also a favorite device in this scene. Launcelot gives to his father: "Turn up on your right hand at the next turning, but at the next turning of all, on your left; marry, at the very next turning of no hand, but turn down indirectly." To this, Old Gobbo exclaims, "'twill be a hard way to hit!"

clowning is the confusion of word meanings. Launcelot speaks of his "true-begotten father," and he uses "infection" for affection, "frutify" for certify, "defect" for effect, and so on.

Toward the close of the scene, two more details of the central plot are developed. First, Launcelot leaves Shylock's household for that of Bassanio; this gives way to much greater defection from Shylock’s house by his daughter, Jessica in the following scene. It also makes it possible for Launcelot to appear at Belmont in the final act. His clowning presence adds to the general good humor. He exchanges wits with Jessica and Lorenzo. In this scene, Gratiano announces his intention of going to Belmont with Bassanio. He needs to be there to marry Nerissa and take part in the comedy of the "ring story," which ends the play in a lighthearted mood.