essay on merchant of venice

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The Merchant of Venice

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• Shakespeare Birthplace Trust - The Merchant of Venice - Synopsis and Plot Overview
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The Merchant of Venice , comedy in five acts by William Shakespeare , written about 1596–97 and printed in a quarto edition in 1600 from an authorial manuscript or copy of one.

Bassanio, a noble but penniless Venetian, asks his wealthy merchant friend Antonio for a loan so that Bassanio can undertake a journey to woo the heiress Portia . Antonio, whose money is invested in foreign ventures, borrows the sum from Shylock , a Jewish moneylender, on the condition that, if the loan cannot be repaid in time, Antonio will forfeit a pound of flesh. Antonio is reluctant to do business with Shylock, whom he despises for lending money at interest (unlike Antonio himself, who provides the money for Bassanio without any such financial obligation); Antonio considers that lending at interest violates the very spirit of Christianity. Nevertheless, he needs help in order to be able to assist Bassanio. Meanwhile, Bassanio has met the terms of Portia’s father’s will by selecting from three caskets the one that contains her portrait, and he and Portia marry. (Two previous wooers, the princes of Morocco and Aragon, have failed the casket test by choosing what many men desire or what the chooser thinks he deserves; Bassanio knows that he must paradoxically “give and hazard all he hath” to win the lady.) News arrives that Antonio’s ships have been lost at sea. Unable to collect on his loan, Shylock attempts to use justice to enforce a terrible, murderous revenge on Antonio: he demands his pound of flesh. Part of Shylock’s desire for vengeance is motivated by the way in which the Christians of the play have banded together to enable his daughter Jessica to elope from his house, taking with her a substantial portion of his wealth, in order to become the bride of the Christian Lorenzo. Shylock’s revengeful plan is foiled by Portia, disguised as a lawyer, who turns the tables on Shylock by a legal quibble: he must take flesh only, and Shylock must die if any blood is spilled. Thus, the contract is canceled, and Shylock is ordered to give half of his estate to Antonio, who agrees not to take the money if Shylock converts to Christianity and restores his disinherited daughter to his will. Shylock has little choice but to agree. The play ends with the news that, in fact, some of Antonio’s ships have arrived safely.

The character of Shylock has been the subject of modern scholarly debate over whether the playwright displays anti-Semitism or religious tolerance in his characterization, for, despite his stereotypical usurious nature, Shylock is depicted as understandably full of hate, having been both verbally and physically abused by Christians, and he is given one of Shakespeare’s most eloquent speeches (“Hath not a Jew eyes?…”).

For a discussion of this play within the context of Shakespeare’s entire corpus, see William Shakespeare: Shakespeare’s plays and poems .

A Summary and Analysis of William Shakespeare’s The Merchant of Venice

By Dr Oliver Tearle (Loughborough University)

The Merchant of Venice is one of Shakespeare’s most popular comedies, and is widely studied and has been subject to considerable analysis. Contrary to what many people think, the ‘merchant’ of the title isn’t Shylock (of whom more below) but the far less famous character, Antonio. So how well do we know The Merchant of Venice ? Below, we offer some words of analysis, but first, it might be worth recapping the plot of the play.

Plot summary

There are two main plot strands to The Merchant of Venice , both closely intertwined. The first involves Portia, the wealthy heiress of Belmont, who decides that she will marry whichever suitor picks the right casket when faced with a choice of three (made of gold, silver, and lead).

The second involves a loan the Jewish moneylender, Shylock, makes to Antonio, the merchant of the play’s title. These two plot lines are connected because Antonio borrows money from Shylock in order to help out his friend, Bassanio, who wishes to finance a trip to Belmont to try his hand at Portia’s ‘three caskets’ trial. (The princes of Morocco and Aragon both choose the wrong caskets, but Bassanio correctly guesses that the lead casket, and the two are engaged.)

The terms of the loan are as follows: Antonio will repay the money to Shylock when his ships return from their voyage; if he fails to pay up then, Shylock will be entitled to a pound of Antonio’s flesh. When Antonio’s ships are declared lost at sea, he cannot repay the debt to Shylock, who promptly demands his pound of flesh.

These two threads run through the play, becoming united towards the end of the play, when Portia disguises herself as a male lawyer in order to defend Antonio against Shylock’s knife. She is aided by her maid, Nerissa, who is engaged to Bassanio’s friend, Gratiano; Nerissa is also disguised as a man (Portia’s clerk).

After trying, unsuccessfully, to appeal to Shylock’s ‘quality of mercy’ (a famous speech which we have analysed here ), Portia changes tack, and saves Antonio on a legal technicality: whilst his agreement with Shylock allows the Jewish moneylender a pound of Antonio’s flesh, it does not entitle him to a drop of the merchant’s blood – and if he tries to remove a pound of his flesh and makes him bleed, he will be liable. Shylock is defeated, and Antonio saved.

And Shylock is well and truly defeated: he has to pay ‘damages’ to Antonio – half of his entire wealth – and is also forced to convert from Judaism to Christianity. However, Antonio gives the money he gets from Shylock immediately to Jessica, Shylock’s daughter, who had earlier eloped with Lorenzo, against her father’s wishes.

There is one last, romantic, twist to the plot: before the trial, Portia and Nerissa had made gifts of rings to their betrotheds, Antonio and Gratiano. After the trial is over, to express their gratitude to the lawyer and clerk for saving Antonio’s skin (literally), they both give their rings to the lawyer and ‘his’ clerk as tokens of thanks.

To test (and have a bit of fun with) the two men, Portia and Nerissa, back in Belmont and out of their male disguises, ask the returning Antonio and Gratiano where the rings are which they gave them. The two men say they have lost them, and the two women produce new ones – which are really, of course, the originals. As a final piece of good luck, Antonio learns that not all of his ships were lost at sea, and the two couples celebrate their upcoming wedding.

Venice has a long-standing association with trade, commerce, and money. The materialistic world of this city-state regards people only in terms of their financial worth, and Shylock embodies this cold materialism in the extreme. To him, Antonio is only a debtor, so much flesh, from whom he can extract his pound if Antonio is unable to repay his loan. The great clash in The Merchant of Venice is between money and love, as both Shylock’s trial and Portia’s very different ‘trial’ – the test of the three caskets – demonstrate.

Against this heartlessly materialistic worldview is set the world of mercy and compassion, expressed in the two most famous speeches from The Merchant of Venice : Portia’s ‘The quality of mercy is not strained’ and Shylock’s own ‘Hath not a Jew eyes? If you prick us, do we not bleed?’

The valorisation of wealth and gold above all else is also famously rejected and criticised in Portia’s three caskets: gold and silver seem to promise the suitor wealth (in the form of Portia’s inheritance), but it is only by rejecting these in favour of the relatively worthless lead that Bassanio proves his worth as a potential husband to her.

However, the plot of The Merchant of Venice doesn’t entirely reject the world of money: Antonio borrows money from Shylock in an act of friendship (to help his relatively poor friend Bassanio travel to Belmont to undertake Portia’s three caskets test), but it’s also a financial reality that money is needed to be in the ‘race’.

And it’s worth noting that mercy doesn’t triumph over materialism at the trial: Shylock is deaf to Portia’s appeals, and his contract with Antonio can only be defeated on a technicality which speaks the only kind of language Shylock recognises.

And Shylock is the key to the whole play, as the confusion over him being mistaken for its title character demonstrates. For Harold Bloom, in a persuasive analysis of The Merchant of Venice in his book Shakespeare: The Invention Of The Human , The Merchant of Venice presents a number of difficult problems.

First, there’s no denying it is an anti-Semitic play; second, for Bloom, Shylock should be played as a comic villain and not a sympathetic character for the play to have ‘coherence’ and make full sense; third, to play Shylock this way would no doubt exacerbate the play’s anti-Semitic properties.

Many recent productions of The Merchant of Venice have certainly depicted Shylock more sympathetically than he was probably played when the play was first staged, in the 1590s which gave London not only Christopher Marlowe’s The Jew of Malta (whose title character, Barabbas, is a cartoon villain too exaggerated to be taken with complete seriousness) but also the execution of the Portuguese Jewish immigrant Roderigo Lopez, physician to Queen Elizabeth I, who was accused of plotting to kill the Queen (he was, almost certainly, innocent).

If the casual anti-Semitism that was widely tolerated as recently as the early twentieth century is anything to go by, Shakespeare’s original audience would probably have viewed Shylock as a money-grubbing villain.

But as is so often with Shakespeare’s characterisation, the character can be interpreted more sympathetically (his famous ‘If you prick us, do we not bleed?’ speech is one example of where we can find evidence for this interpretation), and this is the line most modern productions of the play have taken. And it must be a hard-hearted reader or spectator who can watch Shylock being forced to convert to Christianity (by Antonio) and not feel a twinge of uneasiness.

What’s more, the parallels between Antonio and Shylock arguably don’t end with that popular misconception over who the title character is. Antonio is just as money-driven as Shylock, and – as his insistence that Shylock be made to convert to Christianity shows – not exactly overflowing with Christian charity. This is the mentality that Venice seems to engender: a world of financial interests, account books, and hatred and mistrust of others.

The Merchant of Venice has become Shylock’s play, eclipsing all else, and whilst there may not be much else besides him that makes the play interesting, the one exception here is Portia, who is one of Shakespeare’s finest female roles from the 1590s.

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4 thoughts on “A Summary and Analysis of William Shakespeare’s The Merchant of Venice”

Definitely one of Shakespeare’s problematic plays. I view it more as a tragi-comedy and believe Shakespeare provided ambiguity towards Shylock in that he did not lampoon him but gave him full characterization. Perhaps Shakespeare wanted the audience to see beyond the culture and see a person.

Problematic indeed! Thank you for your most interesting exploration of the issues.

VERY CLEAR SUMMARY AND ANALYSIS. THANK YOU FOR ALLOWING ME TO READ IT AS ONE PART OF MY READINGS

Wouldn’t thou allow such mercy to Shylock if he show an ounce of pennant thought, or would it rather be rendered he suffer the harsh justice he demanded upon Antonio that you, in your fraudulent identity, chastised him for. You ask that Shylock grant mercy, but you refuse him such the like. Surely, you present him the harshest of consequences. Perhaps, opportune his chance of recompense and change of heart. Allow the man his beliefs and as well an example to present to his like minded. Allow him at least the the humane existence, some mere portion of fortune. There must be thoughts and consistency of mercy , although through consequential reasoning, placed upon both arguments.

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The Merchant of Venice

William shakespeare.

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Welcome to the LitCharts study guide on William Shakespeare's The Merchant of Venice . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

The Merchant of Venice: Introduction

The merchant of venice: plot summary, the merchant of venice: detailed summary & analysis, the merchant of venice: themes, the merchant of venice: quotes, the merchant of venice: characters, the merchant of venice: symbols, the merchant of venice: literary devices, the merchant of venice: quizzes, the merchant of venice: theme wheel, brief biography of william shakespeare.

Historical Context of The Merchant of Venice

Other books related to the merchant of venice.

• Full Title: The Merchant of Venice
• When Written: 1596–8
• Where Written: England
• When Published: 1623
• Literary Period: The Renaissance
• Genre: Comedy/tragicomedy; Revenge tragedy
• Setting: Venice, and the nearby country estate of Belmont
• Climax: The trial of Antonio, the merchant, and Shylock, the Jewish moneylender
• Antagonist: Shylock

Extra Credit for The Merchant of Venice

"Which is the merchant here? And which the Jew?" Modern audiences of Merchant of Venice often mistake Shylock for the "merchant" of the title—which actually refers to Antonio.

• Quizzes, saving guides, requests, plus so much more.

The Merchant of Venice

Introduction.

William Shakespeare, the world’s pre-eminent dramatist or playwright and the renowned poet, was born in 1564, in Stratford. During the Elizabethan ages of theatre, he was one of the creative writers. His plays, no doubt, are his everlasting heritage, however, plays are not the only thing he wrote; his poetry is also renowned to this day.

The Merchant of Venice by William Shakespeare Summary

However, he agrees to lend the loan without interest with a condition that is if Antonia doesn’t repay or is not able to repay his loan with a fixed duration, Shylock will exact a pound of Antonia’s flesh. Antonio, being confident that his ships will return at the time, accepts the offer.

In the court of Duke of Venice, Shylock declines Bassanio’s offer of double payment of loan i.e. 6000 ducats and demanded the pound of Antonio’s flesh. The Duke wishes to save Antonio’s life but was unable to do so, he handover the case to the visitors- the visitors are Portia, the lawyer in disguised and maid Nerrisa, the clerk in disguised. As the wise lawyer, Portia recurrently asks Shylock to have mercy on Antonio but shylock declines her requests and insists on the demand of pound of flesh.

Themes in the Merchant of Venice

Love versus self-interest, hatred and prejudice, the merchant of venice characters analysis.

Antonia is a rich Christian merchant in Venice. His love for his friend Bassanio prompts him to sign a contract of one pound of his flesh. He is a character who possess both the characteristics of the protagonist and antagonists. He shows great love and affection towards his Christian friends but is harsher towards Jews and abuse them with his outspoken Anti-Semitism. However, at the end of the story, being representative of Christian’s New Testament, he shows great mercy towards Shylock, A Jewish Character, too.

He is a kind friend of Bassanio who accompanies him to Belmont. He is overly talkative and flippant representing the flat character of the play. He marries Portia’s maid Nerrisa.

He is a friend of Bassanio and Antonia and loves Shylock’s daughter Jessica. He schemed to escape with Jessica and marry her in Belmont.

Duke of Venice:

The merchant of venice literary analysis.

There is no narrator in the play. All the story is presented through dialogues of the characters on the stage.

More From William Shakespeare

Everything You Need to Know About ‘The Merchant of Venice’ for English: Summary, Context, Themes & Analysis

Shakespeare’s Merchant of Venice explores a Christian merchant’s bond with a Jewish moneylender, their high-stakes loan, and a controversial trial. Check out the plot summary, key characters, themes, quotes and a step-by-step guide on how to analyse an excerpt from the text.

Studying this text for the HSC English Common Module  right now?

We’ve also got a sample analysis table (also called a TEE table ) and a sample Band 6 paragraph!

So, what are you waiting for? It’s time to ace your analysis of The Merchant of Venice — let’s go!

Summary of The Merchant of Venice  Historical Context  Key Characters in The Merchant of Venice Themes and Quotes from The Merchant of Venice   Connection to Texts and Human Experiences How to Analyse The Merchant of Venice in 4 Steps Sample Band 6 Paragraph and TEE Tables

Plot Summary of The Merchant of Venice

The Merchant of Venice follows  Bassanio , who is too poor to attempt to win the hand of his true love, Portia . In order to travel to Portia’s estate, he asks his best friend, Antonio , for a loan.

Because Antonio’s money is invested in a number of trade ships, the two friends ask to borrow money from Shylock, the Jew.  

Shylock tells the men that if they cannot repay the money, he will claim a pound of Antonio’s flesh. They borrow the money regardless, and Bassanio and Portia fall happily in love.

Meantime, Antonio’s ships have been lost so he is unable to repay Shylock the money that had been loaned. Shylock takes Antonio to court in order to claim his pound of flesh.

Portia dresses up as a legal doctor and disguises herself as the judge of the court. During the court scene, Bassanio offers Shylock twice the money lent, but Shylock refuses.

At the last minute, as Shylock is about to cut a pound of flesh from Antonio , the judge (Portia) claims that the law does not state he can have any of Antonio’s blood .

Shylock finally agrees to take the money, but Portia argues that because he is guilty of conspiring against a Venetian citizen, he must give away all of his property to the state and Antonio.

Antonio does not ask Shylock to pay the money, but requires him to convert to Christianity and give his inheritance to Lorenzo, and his daughter, Jessica, who abandoned him.

Portia eventually reveals her disguise to Antonio and Bassanio, and it is revealed that Antonio’s ships have returned safely.

The Merchant of Venice: Characters, Themes, Quotes, Analysis + Sample Paragraph

Key characters in the merchant of venice.

Antonio Antonio is arguably the protagonist of The Merchant of Venice, and the merchant the play is named after. As an audience we are drawn to Antonio due to his melancholy demeanour and devotion to his best friend, Bassanio. However, Antonio shows his dark side through the cruel and racist comments he makes towards Shylock throughout the play. 

Bassanio Bassanio is Antonio’s best friend. He’s obsessed with two things: money and Portia. And since Portia is super rich, we could argue it’s just money. Bassanio is also manipulative and cunning throughout the play, using convoluted rhetoric to convince Antonio to lend him money and using figurative language to make it pretty clear he likes Portia for her money. 

Portia Portia is the wealthy heiress of Belmont. Before his death, her father created three caskets and only the man to choose the correct casket could marry his daughter. Not being able to choose her own husband and being forced into limited feminine roles, Portia lacks autonomy within her society. However, she finds ways to circumvent the systems which oppress her, and demonstrates a surprising amount of agency by the end of the play. 

Shylock Shylock is the Jew that lends Antonio 3000 Ducats on the condition that if he does not return the loan in three months, Shylock can take a pound of flesh from Antonio. Shylock hates the Christians and curses them throughout the play, yet we might feel sorry for Shylock when we see the abuse he endures from his society. Shylock stands out as a “what you see is what you get” kind of character, which contrasts against the deceitfulness of many of the Christian characters in the Merchant of Venice.

Jessica Jessica is Shylock’s daughter. She steals her father’s money and treasures and runs away to marry Lorenzo, converting to christianity. You may want to consider whether Jessica was justified in leaving her cruel father, or whether she abandoned her family and religion. 

Lorenzo Lorenzo is close friends with Antonio and Bassanio. He marries Jessica, who, much like Portia, is loaded with cash after stealing it from her father. However, unlike Bassanio who just wants Portia for her money, Lorenzo seems much more likely to love Jessica for who she is. He also marries a jew, something his society would have condemned. So, you may like to consider whether Lorenzo is less confined to his society’s prejudices than other characters in the Merchant of Venice. 

Nerissa Portia’s lady in waiting and bestie. Nerissa and Portia enjoy mocking her suitors together.

Minor Characters in the Merchant of Venice Gratiano: Bassanio’s friend. The Duke of Venice: The Duke of Venice’s job is to hold up the law. He has little power to help Antonio after he owes Shylock a pound of flesh. Prince of Morocco: O ne of Portia’s suitors. Portia and Nerissa mock him for the dark colour of his skin. The Prince of Arragon: One of Portia’s suitors. Salarino and Solerio: These two are difficult to differentiate from one another. These characters are merchants in Venice and friends with Antonio and Bassanio.  Launcelot Gobbo: Initially Shylock’s servant, he leaves to work for Bassanio. Launcelot Gobbo is the clown of the play, and often misuses big words.  Old Gobbo: Launcelot Gobbo’s dad. Tubal: A friend of Shylock. Balthasar: Portia’s servant, who she sends to Doctor Bellario to provide the documents she needs to appear as The Duke in court.

Context of The Merchant of Venice

The Merchant of Venice was written when antisemitism (hostility against Jews) was prevalent in Europe.

A fresh wave of this antisemitism erupted after the trial and execution of Roderigo Lopez, a doctor of Jewish ancestry who served and was accused of poisoning Queen Elizabeth I.

Jewish people were stereotyped as ‘greedy’ and ‘cruel money lenders’.

The Merchant of Venice has been criticised by some for appealing to this antisemitism, yet others have acknowledged the ways in which Shakespeare challenged the antisemitism of his time by humanising Shylock.

Shylock contrasts against other depictions of Jews at the time, such as Barabas from Christopher Marlowe’s play, The Jew of Malta , which gave a more one-dimensional and stereotypical depiction of a Jew.

This was also a time in which women were seen as property by males, and it was very difficult for women to have any property or real power of their own .

It is important to consider this in order to understand the actions of Portia throughout the play, who circumvents and exploits patriarchal structures in order to gain power for herself.

If The Merchant of Venice isn’t your prescribed text for the Common Module and you’re studying Kenneth Slessor’s poetry instead, we’ve got you covered! Check out our analysis and summary of ‘Wild Grapes’.

Themes & Quotes from The Merchant of Venice

1. value of money over human life.

Throughout the play, Shakespeare  contrasts the value of human life and monetary value — we’re prompted to consider whether characters favour commodities or human life.

This quote conveys this idea in particular:

“I would my daughter were dead at my foot and the jewels in her ear! Would she were hearsed at my foot and the ducats in her coffin!” – Shylock, Act 3 Scene 1

In this speech, Shylock is so enraged that his daughter ran away and stole all his money and jewels that he wishes his daughter was dead. Though, there’s more than one way this quote can be interpreted:

Does it suggest that he desires all the jewels and ducats back, and his daughter dead, upset with what she’s done? Or is he saying that he doesn’t really care for the money, but is hurt by what Jessica has done, that he wants her dead?

2. Commodification of love

From the start of the play, Bassanio evidently shows that he cares a lot about Portia’s money, even just in the way he talks about her, stating:

 “many Jasons come in quest of her” – Bassanio to Antonio, Act 1 Scene 1.

In this quote, Bassanio alludes to the Greek myth of Jason and the argonauts, where a team of heroes go on a quest in search of a golden fleece. By suggesting that Portia is a prize, like the golden fleece, what can be said about the way Bassanio views Portia?

Need more key lines from the play? Here are all the important quotes you need from The Merchant of Venice to write your analysis!

3. Marginalisation of oppressed groups

Another The Merchant of Venice theme is the marginalisation of not only Jewish people in 16th Century Venetian society, but women too.

In Act 4 Scene 1, Gratiano insults Shylock: “thy currish spirit Govern’d a wolf, who, hang’d for human slaughter, Even from the gallows did his fell soul fleet, And, whilst thou lay’st in thy unhallow’d dam, Infused itself in thee; for thy desires Are wolvish, bloody, starved and ravenous.” – Gratiano, Act 4 Scene 1

This quote illustrates Gratiano insulting Shylock by suggesting he was reincarnated from a wolf. He also calls Shylock’s mother an “unhallow’d dam”, playing on the word “dam”, referring both to a female parent of an animal but also suggesting she is “damned”.  

Interestingly, his language is Christian, but this idea of reincarnation is starkly non-Christian.  

Is Shakespeare complicit in Gratiano’s racism, or is Shakespeare self consciously pointing out the hypocrisy of a Christian using non-Christian logic to insult Shylock?

4. The individual desire for power and agency

Portia expresses her yearning for power to circumvent her marginalisation. As she tells Bassanio:

“This house, these servants, and this same myself Are yours, my lord’s. I give them with this ring, Which when you part from, lose, or give away, Let it presage the ruin of your love And be my vantage to exclaim on you.”

In this speech, Portia warns Bassanio that if he loses her ring, their love is ruined and that she will have power over him.  

We could then say that Portia’s ring is a way for her to manipulate Bassanio and gain power over him, especially since she’s the one who plans for him to lose the ring.

The paragraph for download below argues that Portia’s character spends the play manipulating others to gain her own power. Do you agree?

Connection to Texts and Human Experiences

Before analysing The Merchant of Venice, it’s important to get familiar with the Common Module: Texts and Human Experiences so you know how to relate to the module in your assessment.

Let’s take a look at the syllabus!

In short, this module is about deepening your understanding of how texts represent the individual and collective human experience. This can include examining how texts represent human qualities and emotions associated with, or arising from human experiences.

Shakespeare was a playwright who was very interested in the idea of the human being , meaning “human experiences” are central to his thematic concerns. Here are some key ways that the play relates to the HSC Common Module syllabus:

• The Merchant of Venice represents the collective human experiences of oppression, racism and marginalisation, as well the individual human experiences of overcoming these limitations.
• Shakespeare represents the human qualities of ambition, and motivations of greed and power, by showing how all of his characters will do anything to get what they want. For example, Bassanio will do anything to get money (oops, I mean Portia), Portia will do anything for power, and Shylock will do anything for revenge.
• Shakespeare represents characters in the Merchant of Venice paradoxically , as simultaneously marginalised (whether by money, gender or religion) as well as in positions of power. Shylock is particularly paradoxical as he is simultaneously depicted as cruel and vengeful, and a victim of an antisemitic society.
• Bassanio and Portia are presented as inconsistent , ostensibly motivated by their love for one another, but on a deeper level, motivated by money and power respectively. Shakespeare challenges the responder to see the world differently by suggesting people are not what they seem: loving protagonists perhaps have ulterior motives, and cruel antagonists can be marginalised victims of their society.

Check out our list of recommended related texts for the HSC Common Module that you can use for The Merchant of Venice!

Analyse The Merchant of Venice in 4 Steps

Students will often try to start writing their essay with a thesis when trying to answer an essay question.

But you should without a doubt start with your analysis!

You need to equip yourself with the knowledge of your text before you can answer anything about it.

We’re going to walk you through  how to prove a topic sentence using literary analysis of The Merchant of Venice in 4 Steps.

The Topic Sentence

It’s important that whenever we are writing analysis we do it with a theme or a topic sentence in mind.

For the following analysis, this is the topic sentence we are trying to prove:

Portia moves from an object of male consumption to a subject with individual agency throughout the Merchant of Venice, yet she uses her power to marginalise others

Step 1: Choose your example

When we choose examples, we want to use quotes that have a strong technique which we are able to analyse.

That’s why we have chosen Bassanio’s descriptions of Portia:

He calls her a “lady richly left,”  a “golden fleece,” and speaks of her “worth.”

Note: It’s okay to have multiple quotes in an example, so long as they prove the same point!

Step 2: Identify techniques

When trying to find a technique within your example, it’s not about finding the fanciest technique or just any old technique for that matter!

It’s about identifying a technique which will enable you to say something about your idea that’s interesting and can contribute to your argument and analysis.

We have identified a few techniques from these quotes. For the first two quote, “a lady richly left” and “worth” , the technique is consumerist imagery.

For the second quote “golden fleece” the technique is allusion to Greek mythology.

Notice that we haven’t pointed out the alliteration in “lady richly left” because we have nothing to say about this alliteration.

We should only use a technique if it has an effect which we can link back to our topic sentence.

If you need to brush up on your literary techniques, check out this cheat sheet of literary techniques to improve your vocabulary

Step 3: Carry out your analysis 

Now that you’ve identified your techniques, you need to conduct some analysis!

There are three steps to good analysis:

• Focus on your chosen techniques and identify what it reveals about an idea.
• Show how the effect of the quote links to the idea of your topic sentence
• Say something new about your topic sentence (don’t just repeat the previous point!)

We are going to analyse the first two quotes and the third quote separately, however our analysis is going to suggest the same idea about both of them.

Technique #1: Consumerist imagery 

The consumerist imagery of “a lady richly left” and “worth”  position Portia as an object for male consumption and a commodity .

Technique #2: Mythological allusion

This reference to Jason and the Argonauts positions portia as a prize to be won, rather than as an individual with her own subjective experience.

Have a think about how we have fulfilled the two steps for analysis above. 

Step 4: Put it all together!

So we have found an example, identified a technique and written some analysis. Now let’s put it all together into the beginning of a paragraph:

Portia moves from an object of male consumption to a subject with individual agency throughout the Merchant of Venice, yet she uses her power to marginalise others. Bassanio describes Portia as an object through consumerist imagery. He calls her a “lady richly left” and speaks of her “worth.” He couples this with an allusion to Greek mythology, calling her a “golden fleece.” This reference to Jason and the Argonauts positions Portia as a prize to be won, rather than as an individual with her own subjective experience.

Sample Band 6 Paragraph and TEE Tables

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A Modern Perspective: The Merchant of Venice

By Alexander Leggatt

The Merchant of Venice is a comedy. Comedies traditionally end in marriage, and on the way they examine the social networks in which marriage is involved: the relations among families, among friends, among parents and children, and what in Shakespeare’s society were the all-important ties of money and property. Comedies also create onstage images of closed communities of right-thinking people, from which outsiders are excluded by being laughed at. If The Merchant of Venice has always seemed one of Shakespeare’s more problematic and disturbing comedies, this may be because it examines the networks of society more closely than usual, and treats outsiders—one in particular—with a severity that seems to go beyond the comic.

In the interweaving of the play’s stories we see a chain of obligations based on money. Bassanio needs money to pay his debts, and plans to get it by marrying the rich heiress Portia. To make money he needs to borrow money—from his friend Antonio, who borrows it from Shylock, who borrows it, according to the patter of his trade, from Tubal. Once Bassanio has won Portia she becomes part of the network, and the obligations become more than financial. She imposes on herself the condition that before her marriage is consummated, Antonio must be freed from his bond to Shylock; as she tells Bassanio, “never shall you lie by Portia’s side / With an unquiet soul” ( 3.2.318 –19). She takes on herself the task of freeing Antonio. As Bassanio must journey to Belmont and answer the riddle of the caskets, Portia must journey to Venice and answer the riddle of Shylock’s bond. Antonio thus becomes “bound” ( 4.1.425 ) to the young doctor (Portia) who saved him, and the only payment the doctor will take is Bassanio’s ring. Antonio now, in effect, has to borrow from Bassanio to pay Portia: it is at Antonio’s insistence that Bassanio reluctantly gives away the ring. Yet the ring represents Bassanio’s tie of loyalty to Portia, the husband’s obligation to be bound exclusively to his wife; she gives the ring, as Shylock gives money, with conditions attached:

Which, when you part from, lose, or give away,

Let it presage the ruin of your love,

And be my vantage to exclaim on you.

( 3.2.176 –78)

The line of obligation runs, like the play itself, from Venice to Belmont, then from Belmont to Venice, and back to Belmont again. The ring exemplifies the paradox of marriage: it binds two people exclusively to each other, yet it does so within a social network in which they have inevitable ties with other people, ties on which the marriage itself depends. Portia and Bassanio depend on Antonio, who is Portia’s chief rival for Bassanio’s affection. The story of the ring is based on paradoxes: Bassanio, in giving it to the young “doctor,” is betraying Portia at her own request, and giving her back her own. In the final scene Portia gives the ring to Antonio, who returns it to Bassanio, thus participating in a symbolic exchange that cements the marriage relationship from which he is excluded. As Portia’s ring comes back to Portia, then back to Bassanio, the line of obligation becomes at last a circle, the symbol at once of perfection and exclusion.

Portia is also bound to her father. When we first see her she is chafing at the way her father has denied her freedom of choice in marriage: “So is the will of a living daughter curbed by the will of a dead father” ( 1.2.24 –25). But by the end of that scene she is reconciled to her father’s will when she hears that her unwanted suitors have departed rather than face the test; and of course Bassanio, the man she wants—the man who visited Belmont in her father’s time ( 1.2.112 –21)—is the winner. The will of the dead father and the will of the living daughter are one. Portia sees the value of the test from her own point of view when she tells Bassanio, “If you do love me, you will find me out” ( 3.2.43 ), and in the moment of victory he insists that to have satisfied her father’s condition is not enough “Until confirmed, signed, ratified by you” ( 3.2.152 ). The dead father is satisfied, but theatrically the emphasis falls on the satisfaction of the living daughter.

In the story of Shylock and Jessica all these emphases are reversed. Jessica’s loyalties are divided. She recognizes a real obligation to her father—“Alack, what heinous sin is it in me / To be ashamed to be my father’s child?” ( 2.3.16 –17)—and she hopes her elopement will “end this strife” ( 2.3.20 ). For her it does (with reservations we will come to later); but Shakespeare puts the focus on the pain and humiliation it causes Shylock. The vicious taunts he endures from the Venetians identify him as an old man who has lost his potency, “two stones, two rich and precious stones” ( 2.8.20 –21), and his cry, “My own flesh and blood to rebel!” draws Solanio’s cruel retort, “Out upon it, old carrion! Rebels it at these years?” ( 3.1.34 –36). While Portia’s father retains his power beyond the grave, Shylock is mocked as an impotent old man. We may find Lancelet Gobbo’s teasing of his blind father cruel; while Shakespeare’s contemporaries had stronger stomachs for this sort of thing than we do, Shakespeare’s own humor is not usually so heartless. With the taunting of Shylock he goes further: the jokes of Salarino and Solanio, like those of Iago, leave us feeling no impulse to laugh.

This brings us to the problem of the way comedy treats outsiders, and to the cruelty that so often lies at the heart of laughter. Portia begins her dissection of her unwanted suitors “I know it is a sin to be a mocker, but . . .” ( 1.2.57 –58) and goes on to indulge that sin with real gusto. The unwanted suitors are all foreigners, and are mocked as such; only the Englishman, we notice, gets off lightly. (His fault, interestingly, is his inability to speak foreign languages; in one of the play’s more complicated jokes, the insularity of the English audience, which the rest of the scene plays up to, becomes itself the target of laughter.) Morocco and Arragon lose the casket game for good reasons. Morocco chooses the gold casket because he thinks the phrase “what many men desire” is a sign of Portia’s market value. This is a tribute, but not the tribute of love. Arragon thinks not of Portia’s worth but of his own. Besides, Morocco and Arragon are foreign princes, and Morocco’s foreignness is compounded by his dark skin, which Shakespeare emphasizes in a rare stage direction specifying the actor’s costume: “a tawny Moor all in white” ( 2.1.0 SD). Portia’s dismissal of him, “Let all of his complexion choose me so” ( 2.7.87 ), is for us an ugly moment. The prejudice that is, if not overturned, at least challenged and debated in Titus Andronicus and Othello is casually accepted here.

The most conspicuous problem, of course, is Shylock, and here we need to pause. The Merchant of Venice was written within a culture in which prejudice against Jews was pervasive and endemic. It can be argued that this goes back to the earliest days of Christianity, when the tradition began of making the Jews bear the guilt of the Crucifixion. Throughout medieval and early Renaissance Europe the prejudice bred dark fantasies: Jews were accused, for example, of conducting grotesque rituals in which they murdered Christian children and drank their blood. The story of a Jew who wants a pound of Christian flesh may have its roots in these fantasies of Jews violating Christian bodies. Shylock’s profession of usury is also bound up with his race: barred from other occupations, the Jews of Europe took to moneylending. Antonio’s disapproval of lending money at interest echoes traditional Christian teaching (Christian practice was another matter). Shylock’s boast that he makes his gold and silver breed like ewes and rams would remind his audience of the familiar argument that usury was against the law of God because metal was sterile and could not breed. Not just in his threat to Antonio, but in his day-to-day business, Shylock would appear unnatural.

Prejudice feeds on ignorance; since the Jews had been expelled from England in 1290, Shakespeare may never have met one. (There were a few in London in his time, but they could not practice their religion openly.) Given that the villainy of Shylock is one of the mainsprings of the story, it would have been far more natural for Shakespeare to exploit this prejudice than resist it. Many critics and performers, however, have insisted that he did resist it. His imagination, so the argument runs, worked on the figure of Shylock until it had created sympathy for him, seeing him as the victim of persecution. The great Victorian actor Henry Irving played him as a wronged and dignified victim, representative of a suffering race. Shylock’s famous self-defense, “Hath not a Jew eyes? Hath not a Jew hands . . .?” ( 3.1.57 –58), has been taken out of context and presented as a plea for the recognition of our common humanity. In context, however, its effect is less benevolent. Shylock’s plea is compelling and eloquent, but he himself uses it not to argue for tolerance but to defend his cruelty: “The villainy you teach me I will execute, and it shall go hard but I will better the instruction” ( 3.1.70 –72). Gratiano’s taunt, “A Daniel still, say I! A second Daniel!— / I thank thee, Jew, for teaching me that word” ( 4.1.354 –55), shows that Gratiano, along with the word “Daniel,” has also picked up from Shylock, without knowing it, the word “teach,” and the echo is a terrible demonstration of the ways we teach each other hate so that prejudice moves in a vicious circle.

Does the play itself break out of this circle? There is little encouragement in the text to think so. In other plays Shakespeare casually uses the word “Jew” as a term of abuse, and this usage is intensified here. The kindest thing Lorenzo’s friends can find to say about Jessica is that she is “a gentle and no Jew” ( 2.6.53 ). We are aware of the pain Shylock feels in defeat; but the play emphasizes that he has brought it on himself, and no one in the play expresses sympathy for him, just as no one—except Shylock—ever questions Antonio’s right to spit on him. Given the latitude of interpretation, there are ways around the problem. Critics and performers alike have found sympathy for Shylock in his suffering, and have attacked the Christians’ treatment of him. But these readings are allowed rather than compelled by the text, and to a great extent they go against its surface impression.

It has to be said that many people who normally love Shakespeare find The Merchant of Venice painful. It even has power to do harm: it has provoked racial incidents in schools, and school boards have sometimes banned it. One may reply that the way to deal with a work one finds offensive is not censorship but criticism; in any case, everyone who teaches or performs the play needs to be aware of the problems it may create for their students and audiences, and to confront those problems as honestly as they can. At best, there are legitimate interpretations that control or resist the anti-Semitism in the text. At worst, it can be an object lesson showing that even a great writer can be bound by the prejudices of his time. To raise this kind of question is of course to go beyond the text as such and to make the problem of Shylock loom larger than it would have done for Shakespeare. In discussions of this kind, the objection “Why can’t we just take it as a play?” is often heard. But we cannot place Shakespeare in a sealed container. He belonged to his time, and, as the most widely studied and performed playwright in the world, he belongs to ours. He exerts great power within our culture, and we cannot take it for granted that this power is always benevolent.

To return to the text, and to explore the ramifications of the figure of Shylock a bit further: Shylock, Morocco, and Arragon are not the play’s only losers. The group, paradoxically, includes Antonio, who is the center of so much friendship and concern. In the final scene he is a loner in a world of couples, and the sadness he expressed at the beginning of the play does not really seem to have lifted. He resists attempts to make him reveal his secret; but when to Solanio’s “Why then you are in love” he replies “Fie, fie!” ( 1.1.48 ), we notice it is not a direct denial. Solanio himself later makes clear the depth of Antonio’s feeling for Bassanio: “I think he only loves the world for him” ( 2.8.52 ). In the trial scene Antonio tells Bassanio to report his sacrifice and bid Portia “be judge / Whether Bassanio had not once a love” ( 4.1.288 –89). Antonio has not only accepted Bassanio’s marriage, he has helped make it possible—yet there is a touch of rivalry here. In the trial his courageous acceptance of death shades into an actual yearning for it, and in the final restoration of his wealth there is something restrained and cryptic. Portia will not tell him how she came by the news that his ships have been recovered; his own response, “I am dumb” ( 5.1.299 ), has the same curtness as Shylock’s “I am content” ( 4.1.410 ), and the same effect of closing off conversation. Whether we should call Antonio’s love for Bassanio “homosexual” is debatable; the term did not exist until fairly recently, and some social historians argue that the concept did not exist either. Our own language of desire and love does not necessarily apply in other cultures. What matters to our understanding of the play is that Antonio’s feeling for Bassanio is not only intense but leaves him excluded from the sort of happiness the other characters find as they pair off into couples. This gives Antonio an ironic affinity with his enemy Shylock: both are outsiders. Many current productions end with Antonio conspicuously alone as the couples go off to bed.

Another character who is in low spirits at the end of some productions of The Merchant of Venice is Jessica. There is less warrant for this in the text, apart from her line “I am never merry when I hear sweet music” ( 5.1.77 ). Jessica is a significant case of a character who has broken the barrier between outsider and insider, joining a group (the Christians) to which she did not originally belong. She is welcomed, and seems at ease in her new world, but Lancelet Gobbo, the plainspoken and sometimes anarchic clown of the play, raises doubts about the efficacy of her conversion—she is damned if she is her father’s daughter, and damned if she isn’t ( 3.5.1 –25)—and about its economic consequences: “This making of Christians will raise the price of hogs” ( 3.5.22 –23). In a play in which money counts for so much, this is a very pointed joke. Lancelet uses his clown’s license to raise the question of whether Jessica will ever be fully accepted in Christian society. (His own contribution to race relations has been to get a Moor pregnant, and his reference to her does not sound affectionate.) Jessica’s uneasiness at going into male disguise could suggest a worry about the deeper change she is making in her nature.

Her uneasiness also makes a revealing contrast with Portia’s attitude to her disguise, and suggests there may be a parallel between the two women. Given her easy dominance of every scene in which she appears, it may seem odd to think of Portia as an outsider. But she is a woman in a society whose structures are male-centered and patriarchal. She greets her marriage with a surrender of herself and her property to a man who, like her father, will have full legal control over her:

Myself, and what is mine, to you and yours

Is now converted. But now I was the lord

Of this fair mansion, master of my servants,

Queen o’er myself; and even now, but now,

This house, these servants, and this same myself

Are yours, my lord’s.

( 3.2.170 –75)

Yet she continues to dominate Bassanio, and more than that: like Jessica, she uses male disguise to enter another world, the exclusive male club (as it then was) of the legal profession. Unlike Jessica, she moves into this new world with confidence. Her mockery of swaggering young men as she plans her disguise is irrelevant to the story but seems to answer a need in the character to poke fun at the sex whose rules she is about to subvert. Not for the only time in Shakespeare, we see a stage full of men who need a woman to sort out their problems.

Portia may also be seen as bringing fresh air from Belmont into the sea-level miasma of Venice, and readings of the play have often been constructed around a sharp opposition between the two locations, between the values of Portia and the values of Shylock. Shakespeare, however, will not leave it at that; there are constant echoes back and forth between the play’s apparently disparate worlds. Portia gives a ring to Bassanio, who gives it away; Leah gave a ring to Shylock, and Jessica steals it. Keys lock Shylock’s house and unlock the caskets of Belmont. Portia calls Bassanio “dear bought” ( 3.2.326 ) and Shylock uses almost the same words for his pound of flesh, which is “dearly bought” ( 4.1.101 ). Shylock’s proverb, “Fast bind, fast find” ( 2.5.55 ), could be a comment on the way the women use the rings to bind the men to them. His claim on Antonio’s body is grotesque, but the adultery jokes of the final scene remind us that married couples also claim exclusive rights in each other’s bodies. Marriage is mutual ownership, and Shylock’s recurring cry of “mine!” echoes throughout the play.

The final images of harmony are a bit precarious. The moonlight reminds Lorenzo and Jessica of stories of tragic, betrayed love, in which they teasingly include their own. These stories are stylized and distanced, but not just laughed off as the tale of Pyramus and Thisbe is in A Midsummer Night’s Dream . The problem of the rings is laughed off, but there is some pain and anxiety behind the laughter. The stars are “patens of bright gold” ( 5.1.67 )—that is, plates used in the Eucharist which are also rich material objects. The play’s materialism touches even the spiritual realm, and Lorenzo’s eloquent account of the music of the spheres ends with a reminder that “we cannot hear it” ( 5.1.73 ). When Portia describes the beauty of the night, she creates a paradox: “This night methinks is but the daylight sick; / It looks a little paler” ( 5.1.137 –38). So, as we watch the lovers go off to bed, we may think of their happiness, or of the human cost to those who have been excluded; we may wonder how much it matters that this happiness was bought in part with Shylock’s money. A brilliant night, or a sickly day? We may feel that this is another harmony whose music eludes us. Or we may conclude that the happiness is all the more precious for being hard-won, and all the more believable for the play’s acknowledgment that love is part of the traffic of the world.

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Essays on Merchant of Venice

The importance of writing an essay on merchant of venice.

Writing an essay on Merchant of Venice is important as it allows students to critically analyze the themes, characters, and messages portrayed in the play. It also helps in developing critical thinking and analytical skills, as well as improving writing abilities.

When writing an essay on Merchant of Venice, it is important to carefully analyze the characters and their motivations. For example, Shylock’s character can be explored in depth to understand the themes of prejudice, justice, and revenge. Additionally, the themes of love, friendship, and loyalty can be examined through the relationships between the characters.

Furthermore, it is crucial to consider the historical and social context of the play, as it provides a deeper understanding of the themes and messages conveyed by Shakespeare. For instance, the portrayal of anti-Semitism in the play reflects the societal attitudes of the time, and this can be analyzed in the essay.

When writing the essay, it is important to provide evidence from the text to support the arguments and analysis. This can include direct quotes, references to specific scenes, and interpretations of the characters’ actions and dialogue. Additionally, it is essential to structure the essay in a coherent and logical manner, with a clear introduction, body paragraphs, and a strong conclusion.

In conclusion, writing an essay on Merchant of Venice is important for students to develop critical thinking, analytical, and writing skills. By carefully analyzing the characters, themes, and historical context of the play, students can gain a deeper understanding of the text and its significance.

Best Merchant of Venice Essay Topics

• The portrayal of Shylock as a villain or victim
• The role of women in The Merchant of Venice
• The theme of mercy and justice in the play
• The symbolism of the bond and the caskets
• The use of language and imagery in The Merchant of Venice
• The significance of the title in relation to the themes of the play
• The role of friendship and loyalty in The Merchant of Venice
• The portrayal of prejudice and discrimination in the play
• The relationship between Antonio and Bassanio
• The concept of appearance vs reality in The Merchant of Venice
• The motif of money and wealth in the play
• The portrayal of love and romance in The Merchant of Venice
• The role of religion in the play
• The use of comedy and tragedy in The Merchant of Venice
• The significance of the courtroom scene
• The portrayal of power and authority in the play
• The role of fate and destiny in The Merchant of Venice
• The theme of deception and manipulation
• The portrayal of outsiders and insiders in the play
• The relevance of The Merchant of Venice in today's society

Merchant of Venice Essay Topics Prompts

• Imagine you are Shylock's defense attorney. Write a closing argument that challenges the court's decision.
• Write a letter from Portia to Bassanio, expressing her feelings about the outcome of the bond and the caskets.
• Create a modern-day adaptation of The Merchant of Venice, set in a different cultural or social context.
• Write a dialogue between Antonio and Shylock, exploring their conflicting views on money and morality.
• Imagine you are a journalist interviewing Jessica after she elopes with Lorenzo. Write a series of questions and answers that reveal her motivations and feelings.

How Shakespeare Presents The Character of Shylock in The Merchant of Venice

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Juxtaposition of Love and Wealth in The Merchant of Venice

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The Theme of Inequality in Shakespeare’s Merchant of Venice

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Shylock's Personality in Shakespeare's "The Merchant of Venice"

Depiction of religious and racial prejudice in the merchant of venice, racial and religious issues in the merchant of venice, anti-semitism as a major controversy in the merchant of venice, a study of the theme of mercy in the merchant of venice, questioning anti-semitic ideas in the merchant of venice, being human as a profound paradox in the merchant of venice, the meaning behind portia's trick in merchant of venice, the question of anti-semitism in the merchant of venice, the relationship between father and daughter in the merchant of venice, the merchant of venice and modern connotations of the play, depiction of false love and marriage in the merchant of venice, a theme of deception in the merchant of venice by william shakespeare, shylock’s character and anti-semitism of elizabethan era in the merchant of venice, portia and the three caskets game in the merchant of venice, socisl dilemma in the merchant of venice, others as a mirror: anti-semitism in the merchant of venice and jew of malta, the trial of the rings as a climax of the conflict in the merchant of venice, the fluidity of justice in shakespearean comedy, the contrast of two cities in the merchant of venice.

1596-1599, William Shakespeare

Shakespearean comedy

Antonio, an antisemitic merchant, takes a loan from the Jew Shylock to help his friend to court Portia. Antonio can't repay the loan, and without mercy, Shylock demands a pound of his flesh. The heiress Portia, now the wife of Antonio's friend, dresses as a lawyer and saves Antonio.

The Merchant of Venice is structured partly on the contrast between idealistic and realistic opinions about society and relationships. On the one hand, the play tells us that love is more important than money, mercy is preferable to revenge, and love lasts forever

Antonio, Bassanio, Gratiano, Lorenzo, Portia, Nerissa, Balthazar, Stephano, Shylock, Jessica, Tubal, Launcelot Gobbo, Old Gobbo, Leonardo, Duke of Venice, Prince of Morocco, Prince of Arragon, Salarino and Salanio

The forfeit of a merchant's deadly bond after standing surety for a friend's loan was a common tale in England in the late 16th century. In addition, the test of the suitors at Belmont, the merchant's rescue from the "pound of flesh" penalty by his friend's new wife disguised as a lawyer, and her demand for the betrothal ring in payment are all elements present in the 14th-century tale Il Pecorone by Giovanni Fiorentino, which was published in Milan in 1558.

The Merchant of Venice is one of the most famous plays of Shakespeare. The play is frequently staged today, but is potentially troubling to modern audiences because of its central themes, which can easily appear antisemitic. Critics today still continue to argue over the play's stance on the Jews and Judaism.

“You speak an infinite deal of nothing.” “With mirth and laughter let old wrinkles come.” “The devil can cite Scripture for his purpose.” “All that glisters is not gold.”

1. Shakespeare, W., Shakespeare, W., & Kaplan, M. L. (2002). The merchant of Venice (pp. 25-120). Palgrave Macmillan US. (https://link.springer.com/chapter/10.1007/978-1-137-07784-4_2) 2. Lewalski, B. K. (1962). Biblical Allusion and Allegory in" The Merchant of Venice". Shakespeare Quarterly, 13(3), 327-343. (https://www.jstor.org/stable/2866826) 3. Halio, J. L. (2006). The Merchant of Venice. Shakespeare Bulletin, 24(2), 63-68. (https://muse.jhu.edu/pub/1/article/199046/summary) 4. Ferber, M. (1990). The Ideology of The Merchant of Venice. English Literary Renaissance, 20(3), 431-464. (https://www.journals.uchicago.edu/doi/abs/10.1111/j.1475-6757.1990.tb01442.x?journalCode=elr) 5. Willson, M. J. (1994). View of Justice in Shakespeare's the Merchant of Venice and Measure for Measure. Notre Dame L. Rev., 70, 695. (https://heinonline.org/HOL/LandingPage?handle=hein.journals/tndl70&div=24&id=&page=) 6. Metzger, M. J. (1998). “Now by my hood, a gentle and no Jew”: Jessica, The Merchant of Venice, and the discourse of early modern English identity. PMLA, 113(1), 52-63. (https://www.cambridge.org/core/journals/pmla/article/abs/now-by-my-hood-a-gentle-and-no-jew-jessica-the-merchant-of-venice-and-the-discourse-of-early-modern-english-identity/51E9B840D2AB9DB0ABAB356C6FBC0B20) 7. Moisan, T. (2013). " Which is the merchant here? and which the Jew?": subversion and recuperation in The Merchant of Venice. In Shakespeare Reproduced (pp. 196-214). Routledge. (https://www.taylorfrancis.com/chapters/edit/10.4324/9781315018584-15/merchant-jew-subversion-recuperation-merchant-venice-thomas-moisan-188) 8. Sokol, B. J., & Sokol, M. (1999). Shakespeare and the English Equity Jurisdiction The Merchant of Venice and the Two Texts of King Lear. The Review of English Studies, 50(200), 417-439. (https://academic.oup.com/res/article-abstract/50/200/417/1531451)

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Merchant of Venice

By william shakespeare, merchant of venice essay questions.

In what ways does The Merchant of Venice defy the comedic genre?

While The Merchant of Venice is firmly placed in the genre of comedy, it is a unique comedy in that it features many tropes of early modern tragedy – namely, the gruesome predilections and rhetorical skill of its central antagonist, the long-winded soliloquies interrogating major philosophical concepts, and the bleak, anxious tone that characterizes most of the play before its "twist" of a conclusion. As such, many interpret the play as an ambiguous take on the nature of prejudice and the tragic consequences it can have (though they do materialize in this play in particular).

To what extent is Shylock a true antagonist?

A major contributing factor to the play's ambiguous tone is its antagonist, Shylock. Shylock is both a selfish, money-hungry, vengeful schemer and a victim of prejudice at the hands of the Christian characters. As such, the play encourages its audience to question wether Shylock can be considered a pure villain or pure victim throughout. While he is inarguably the play's central antagonist, his character development over the course of the play asks the audience to reflect on where that antagonism may have been generated.

What, or who, triumphs at the end of the play?

Generally speaking, it is the Christian characters who triumph at the end of the play, specifically Antonio as he is freed from his contract with Shylock. However, Portia's speech during the trial (when she is disguised as Balthazar) suggests that the real victor in the play is mercy, or qualities of the righteous Christian soul. Mercy was and continues to be associated with Jesus Christ, and in speaking about the importance of mercy between Shylock and Antonio, Portia suggests that the teachings of Christianity will triumph in the end.

Why does Shylock demand a pound of Antonio's flesh instead of money?

During the trial, Shylock refuses to accept 6,000 ducats from Antonio (double the amount of the original loan). While Shylock is portrayed as a money-hungry miser throughout the play, he rejects this offer and continues to demand the pound of flesh from the original contract. This moment suggests that Shylock is not motivated entirely by money or financial gain. On the contrary, it seems his dedication to receiving the pound of flesh stems from his deep desire for revenge on a member of the Christian community, after he has suffered years of abuse at their hands for being Jewish.

How does the play comment on gender?

In one of the play's more lighthearted plots, Portia and Nerissa disguise themselves as male officials of the Venetian court in order to intervene on Antonio's behalf. While cross-dressing was always entertaining on the early modern stage, Portia's confidence that she can sway the court serves as commentary on the relationship between gender and power. Portia suggests that masculinity – and the power associated with it – is itself performative, and that it only takes a male disguise for a woman to be taken seriously among men.

Merchant of Venice Questions and Answers

The Question and Answer section for Merchant of Venice is a great resource to ask questions, find answers, and discuss the novel.

Explain Portias tactics. Why does she appear to support Shylock at first?

When Portia arrives in court, she asks, "Which is the merchant here, and which the Jew?" (4.1.169). Indeed, given the confusion so many people have with the title, it is often this very question which is asked. Scholars have tried to attribute her...

Describe merchant of venice as romantic comedy

While the story hits upon the tragic element of despair, The Merchant of Venice by William Shakespeare, is a comedy because lovers are separated, characters are in disguise, and the story has a happy ending.

ACT III SCENE 3: What do you think Shylock means when he says, “it is my humour”?

This could be defined as "this is what I feel like doing".

Study Guide for Merchant of Venice

Merchant of Venice study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Merchant of Venice
• Merchant of Venice Summary
• Merchant of Venice Video
• Character List

Essays for Merchant of Venice

Merchant of Venice literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Merchant of Venice.

• The Victorious Woman in Measure for Measure and The Merchant of Venice
• Father-Daughter Relationships in The Merchant of Venice
• Mercy and the Masquerade: Trial and Performance in The Merchant of Venice
• Christianity and Judaism in The Merchant of Venice: Imperfect Faith
• The Anti-Semitic Question in Shakespeare's The Merchant of Venice

Lesson Plan for Merchant of Venice

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Merchant of Venice
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Merchant of Venice Bibliography

E-Text of Merchant of Venice

Merchant of Venice E-Text contains the full text of Merchant of Venice

• List of Characters

Wikipedia Entries for Merchant of Venice

• Introduction

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