This essay Merchant of Venice has a total of 599 words and 3 pages.
Merchant of Venice
Many people are villainous in the
way they act, and their villainous acts may be rooted in the
desire to destroy others, or in the hopes of elevating
themselves. Many people may only act "villainous" in
reaction to the way they have been treated in the past.
Shylock the Jew is the villain or antagonist in the play The
Merchant of Venice. Shylock mistreats Antonio the
Christian, his daughter, Jessica and Launcelot. The first
person Shylock mistreats, is Launcelot. He mistreats this
servant by complaining behind Launcelot\'s back of his
laziness. Shylock says, "The patch is kind enough, but a
huge feeder, Snail-slow in profit, and he sleeps by day More
than the wildcat. Drones hive not with me.. ..His borrowed
purse." 1 Shylock also acts villainous towards Launcelot by
acting belligerent towards him. "Who bids thee call? I do not
bid thee call." 2 Shylock mistreats this man because of his
poverty, and because Launcelot is socially beneath him. You
also start to wonder about how fair Shylock is, when
Launcelot is deciding whether or not to leave him. Shylock
also mistreats his own daughter, Jessica. He mistreats her by
keeping her as a captive in her own house, not letting her
out, and not letting her hear the Christian music around her.
He orders her to: "Lock up my doors; and when you hear
the drum... ..But stop my house\'s ears-I mean casements.
Let not the sound of shallow fopp\'ry enter My sober house."
3 Jessica considers her home to be hell, and she calls
Launcelot, a "merry little devil". She even states that her
father is Satan. Shylock also mistreats his own daughter, by
not loving her enough, even to the point where he complains
about all of the money he\'s spending in a search to find her.
"Why, there, there, there, there! A diamond gone cost me
two thousand ducats in Frankford! The curse.. ..ill luck
stirring but what lights o\' my shoulders; no sighs but o\' my
breathing; no tears but o\' my shedding."4 Salerio makes the
audience wonder about Shylock, when he raves about when
Shylock was calling out, "Oh my ducats, my daughter, my
ducats, my daughter.." This makes you wonder which he
misses the most. This proves that he mistreats, even his own
daughter. He values his money more than his own blood.
Shylock mistreats Antonio. He does so by talking behind
Antonio\'s back, and he reveals his hatred of Antonio, when
he says, "How like a fawning publican he looks! I hate him
for he is a Christian; But more for that...Cursed be my tribe
If I forgive him!" 5 Shylock feels justified in exacting revenge
for all the ills Antonio causes him. He then draws up an
unbelievable bond. He blames Antonio for all of his
problems, even his race\'s problems are blamed on people
like Antonio, and he feels Christians have persecuted his
race when he says, "To bait fish withal. If it will feed nothing
else, it will feed my revenge...The villainy you teach me I will
execute, and it shall go hard but I will better the instruction."
6 He shows that he will copy the example of Christians.
Shylock becomes the true villain when he atkes Antonio to
court. These actions prove that Antonio is mistreated by
Shylock, the villain. Shylock is the villain of The Merchant
of Venice. He mistreats too many people, and then asks
for mercy in a court. Shylock is mad for revenge towards all
Christians, especially Antonio. He is such a villain that even
his daughter and servant are eager to escape him. Villains
are oftenly antagonists in story plots and normally are a
threat to the main character. Villains normally have motives
behind their evil doings.
Category: Book Reports
Topics Related to Merchant of Venice
Orientalism, The Merchant of Venice, Shylock, Antonio, Miser, Mercy
Essays Related to Merchant of Venice
The Subjectivity of the Character 'Safie' in FrankThe Subjectivity of the Character \'Safie\' in Frankenstein The Subjectivity of the Character Safie in Frankenstein Even though she is only mentioned in Mary Shelley\'s Frankenstein for a relatively brief period, the character, Safie, is very interesting as she is unique from the other characters in that her subjectivity is more clearly dependent on her religion and the culture of her nation. Contrasts can be made between the Orient and the European society which attempts to interpret it. Ofte
What Is Orientalism?What Is Orientalism? Said made a clear analogy between orientalism and colonialism. They are both set with the same binary opposition. white/ non white occidental/ non occidental In a very detailed and structured study of the orient (behavior, habit, tradition ...) we document a large amount of fact and data. All compile in a general study they produce the illusion of a well understood and objectively constructed knowledge. These are, in fact, mere observations and purely subjective entities (se
Frankenstein: The Subjectivity of the Character SFrankenstein: The Subjectivity of the Character Safie Even though she is only mentioned in Mary Shelley\'s Frankenstein for a relatively brief period, the character, Safie, is very interesting as she is unique from the other characters in that her subjectivity is more clearly dependent on her religion and the culture of her nation. Contrasts can be made between the Orient and the European society which attempts to interpret it. Often, this creates stereotypes such as western feminists that hav
“Orientalism” “Orientalism” Political Science3835 Fall 2000 The phenomenon that is generally known as Orientalism is just another Western misrepresentations of Islam. Most Muslims living in the West would agree that the majority of this misrepresentation comes from the media: newspapers, magazines or television. Edward Said, world known Arab scholar and the author of the book that we read, Orientalism, exposes the Orientalist approach in his book and defines Orientalism as “ . . . by Orientalism I mean sever
Reality Based ProgrammingReality Based Programming “By crossing into a space whose curvature is no longer that of the real, nor that of truth, the era of simulation of inaugurated by a liquidation of all referentials-worse: with their artificial resurrection in the systems of signs, a material more malleable than meaning, in that it lends itself to all systems of equivalences . . . It is no longer a question of imitation, nor duplication, nor even parody. It is a question of substituting the signs of the real for the re
OPERA IN SECOLUL al XIX-leaOPERA IN SECOLUL al XIX-lea Referat la “Istoria Muzicii”, anul II, semestrul I Diana Damsa Opera s-a dezvoltat in Italia începând cu anul 1597 _i s-a rspândit rapid în Europa. De_i la origini opera avea mai degrab o form „literar”, modalitatea de baz a intepretrii fiind recitatul, textul cântat având o linie melodic slab, aproape inexistent, in secolul al XIX-lea devine o form primordial melodic, piesa de rezistenc fiind „aria” – solo lung în timpul cruia acciunea este suspendat _i