Antonio — a prominent merchant of Venice in a melancholic mood. Bassanio, a young Venetian of noble rank, wishes to woo the beautiful and wealthy heiress Portia of Belmont.
Othello's Relationship with Desdemona From Hamlet, an ideal prince, and other essays in Shakesperean interpretation: It is at this point that the second of the great problems of the play emerges. The proper understanding of the relations of Othello and Desdemona is equally important with the question of the relations of lago and Othello.
The exposition of these two elements of the play is set forth by the dramatist with his usual clearness, and at considerable length, but has nevertheless escaped the notice of the critics, or has been discounted as a factor in the interpretation.
But it is high time to learn that whatever Shakespeare put deliberately into his dramas is to be considered in the interpretation. The meeting of the two search parties, each seeking Othello for a different reason, brings the relations of Othello and Desdemona into prominence. The party of Cassio, with the Senate's hasty summons to Othello, serves to give dramatic importance to Othello's great ability as a commander, and to emphasize his military value to Venice.
Brabantio and his troop serve to bring out the private side of Othello's character, hither-to unsuspected. When the two parties meet, Brabantio is in Merchant of venice essay on shylock very quarrelsome mood.
The cool words of Othello prevent a clash between the two: The sudden danger from the Turks at Cyprus has made great dispatch necessary, and the Merchant of venice essay on shylock has ordered Othello before him "even on the instant. The Moor now finds that his old friend, the Signior Brabantio, formerly his admirer, has unexpectedly become his accuser before the Senate.
Formerly honored as a friend and as a great soldier, and gladly admitted to Brabantio's house, Othello discovers that he is now considered an enemy, and execrated as the husband of Brabantio's daughter.
For the first time, possibly, Othello becomes aware of the fact that he is not accepted on terms of full and exact equality in all particulars with the Venetians. It is likely, however, that Othello had feared this, and so took Desdemona in marriage without asking her father, evidently satisfied that as a black man he could not obtain Brabantio's consent.
When the matter is brought before the Senate, Brabantio's objections to Othello all have to do with his difference of race and color. He thinks it utterly unnatural for Desdemona to accept him willingly and knowingly.
He cannot conceive how his daughter, a fair maid of Venice, could consent to marry a man of Othello's color and nationality, unless in some way out of her senses. So preposterous does it appear to him that he must suppose Othello has charmed her with drugs and magic.
He cries out in his desperation: He reiterates his belief that it is "against all rules of nature," and speaks of Othello's supposed magic as "practices of cunning hell. It seems likely that this was also the opinion of the dramatist, for there is abundant evidence that it was always so regarded on the Elizabethan stage.
Only the development of the drama will show how far Shakespeare sympathizes with this opinion. Two deeds upon the part of Othello have now brought him into active collision with other persons, and the two are related to each other.
Because of his obligations to Cassio in the matter of his love-making with Desdemona he has appointed him to an important position over lago, thus making an enemy of his faithful officer. He has also stolen away Desdemona from her father, and secretly married her, making an enemy of Brabantio, who had been one of his greatest admirers among the Senate.
In both cases there is evidence of his callousness and dullness of mind. Up to this point Othello had been able to carry successfully his exalted responsibility in his adopted state, but in these matters he makes a complete break-down. Not even his superior military training could save him.
He could perform well the duties of military life, but now it begins to be evident that he is not fitted for the higher and more exacting arts of peace, and especially of love, in a civilized state.
When Othello leaves "the tented fields" for the streets and homes of a refined city he utterly goes to pieces, and whatever sense of honor he may have had speedily gives place to a dangerous caprice.
An unsuspected weakness, or deficiency, in his character is thus laid bare, upon which the whole tragedy will later be seen to turn.
This deficiency, it is now important to notice, the play implies is due to his racial character, and comes from the fact that he is a Moor. The half- civilized Othello is but ill adapted for life in civilized and cultured Venice.
Some critics endeavor to make out that nothing whatever of the happenings of the play are in any way connected with the fact that Othello is a Moor.
They allege he is nothing but a man, though he happens to be a black man. His color, they say, is an entirely indifferent matter in the play, and can be all but ignored in the interpretation. On this assumption, however, the many references to his color and race throughout the play cannot well be explained.
This view takes for granted that the dramatist heaps up idle words having no significance, and refuses to believe that there was a meaning in all he wrote.
It is not necessary to hold, as Professor Bradley would have us believe, that the dramatist must be credited with clear doctrines of Kulturgeschichte if we are to maintain that he made the problem of Othello at least in part a problem of race. Feelings of racial differences did not have to wait for the Germans of later times to write histories of culture.
In Shakespeare's day the discovery of new lands and new peoples must have impressed all thoughtful Europeans with the conception of their own superiority in all the arts and character of civilized life. And the play makes Othello quite as conscious as any one else of his diversity of race, though it is to other causes that he assigns his want of grace and culture.Shylock: Villain or Victim It is without doubt that William Shakespeare’s suspenseful play of The Merchant of Venice evokes complex feelings within a reader.
Throughout the play, Shylock is portrayed as the antagonist, a miserable, cruel and prosaic figure menacing enough to endanger the happiness of Venetian citizens. Identity Theft, By Margaret Rouse - Identity Theft According to Margaret Rouse, “Identity theft is a crime in which an imposter obtains key pieces of personal information, such as Social Security or driver 's license numbers, in order to impersonate someone else”.
Shylock as a Villian or Victim in The Merchant of Venice by William Shakespeare The Merchant Of Venice is the story of Antonio, a merchant, borrowing money from Shylock, a Jewish moneylender, in order to fund his best friend Bassanio’s romantic ambitions.
Arkansas Regional Library. NARL is a consortium of public libraries from Clay, Greene and Randolph Counties.
The regional library allows for the pooling of resources to better serve the three counties. Merchant of Venice Shylock and Antonio Relationship Essay Sample.
Shylock and Antonio resent and dislike one another. Firstly, Shylock hates Antonio because he is a Christian; secondly, because Antonio is a Christian and therefore not allowed to charge interest, Antonio undercuts Shylock’s business by lending money without charging .
The Merchant of Venice is a 16th-century play written by William Shakespeare in which a merchant in Venice must default on a large loan provided by a Jewish moneylender, kaja-net.com is believed to have been written between and Though classified as a comedy in the First Folio and sharing certain aspects with Shakespeare's other romantic comedies, the play is most remembered for its.