merchant of venice shylock essay

Shylock: from Villain to Victim and Beyond

This essay about the portrayal of Shylock in “The Merchant of Venice” examines how the character has been depicted through various cultural and historical lenses, ranging from a villain to a victim, and as a complex figure facing issues of identity, prejudice, and justice. It explores the evolution of Shylock’s character from early stereotypical antagonistic roles, influenced by anti-Semitic sentiments, to more sympathetic and nuanced interpretations reflecting societal changes. The essay highlights how modern adaptations have portrayed Shylock as a multifaceted character, grappling with his cultural and religious identity amidst Christian society’s malignance. It discusses how contemporary views on Shylock invite audiences to reflect on broader themes of mercy, justice, and humanity, making “The Merchant of Venice” relevant for examining complex societal issues like racism and xenophobia. Through Shylock’s character, the essay underscores Shakespeare’s ability to provoke thought and dialogue about enduring social themes.

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The character of Shylock in William Shakespeare’s “The Merchant of Venice” has been a subject of debate and analysis for centuries. Originally penned in the late 16th century, Shylock has been portrayed as a villain, a victim, and everything in between, depending on the cultural zeitgeist and interpretative angles of various adaptations and performances. This essay delves into the multifaceted portrayals of Shylock, exploring how his character has evolved from a stereotypical antagonist to a complex figure embodying themes of identity, prejudice, and justice.

Historically, Shylock was often depicted as the archetypal villain in early performances of “The Merchant of Venice.” This interpretation leaned heavily on anti-Semitic sentiments prevalent in Elizabethan England, casting Shylock as a greedy Jewish moneylender relishing in the misfortune of Christians. Such portrayals underscored the character’s demand for a pound of flesh as emblematic of his inhumanity and spite, aligning with broader societal prejudices of the time.

However, as societal attitudes toward race, religion, and identity began to shift, so too did interpretations of Shylock. By the 19th and 20th centuries, some adaptations started to present him as a more sympathetic figure, a victim of relentless anti-Semitic abuse and societal ostracization. This perspective highlights Shylock’s famous plea, “Hath not a Jew eyes?”, underscoring his humanity and the universal desire for respect and dignity. Through this lens, Shylock’s actions are seen not as inherently villainous but as responses to the prejudice and injustice he faces, offering audiences a critique of societal norms and the cycle of vengeance.

The complexity of Shylock’s character allows for a rich exploration of identity and the impacts of societal prejudice. Modern adaptations often portray him as a multifaceted character, navigating the challenges of maintaining his cultural and religious identity in a predominantly Christian society that maligns him for his differences. This nuanced approach considers both the moral ambiguity of his actions and the context that informs them, inviting audiences to reflect on the themes of mercy, justice, and revenge. Such portrayals encourage a deeper understanding of Shylock, not as a mere villain or victim, but as a man caught in a web of societal and personal conflicts.

Moreover, contemporary interpretations have continued to push the boundaries of how Shylock is viewed, often focusing on the broader implications of his portrayal in discussions about racism, xenophobia, and the human capacity for both cruelty and empathy. Theater productions and literary analyses now frequently explore the ways in which Shylock’s story reflects broader societal issues, making “The Merchant of Venice” a continually relevant work for examining the complexities of human nature and social justice.

In conclusion, the portrayal of Shylock in literature and theater serves as a mirror reflecting society’s evolving views on otherness, prejudice, and justice. From a villain to a victim, to a complex individual grappling with issues of identity and morality, Shylock embodies the shifting sands of cultural and societal norms. As adaptations continue to explore the depths of his character, Shylock remains a testament to the enduring power of Shakespeare’s work to challenge, provoke, and enlighten audiences across the ages. Through the lens of this iconic character, we are invited to confront our own prejudices and assumptions, encouraging a dialogue that transcends the boundaries of time and place.

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• The Merchant of Venice

William Shakespeare

• Literature Notes
• Play Summary
• Character List
• Summary and Analysis
• Act I: Scene 1
• Act I: Scene 2
• Act I: Scene 3
• Act II: Scene 1
• Act II: Scene 2
• Act II: Scene 3
• Act II: Scene 4
• Act II: Scene 5
• Act II: Scene 6
• Act II: Scene 7
• Act II: Scene 8
• Act II: Scene 9
• Act III: Scene 1
• Act III: Scene 2
• Act III: Scene 3
• Act III: Scene 4
• Act III: Scene 5
• Act IV: Scene 1
• Act IV: Scene 2
• Act V: Scene 1
• Character Analysis
• Critical Essays
• Major Themes
• Major Symbols and Motifs
• William Shakespeare Biography
• Famous Quotes
• Film Versions
• Essay Questions
• Cite this Literature Note

Character Analysis Shylock

Shylock is the most vivid and memorable character in The Merchant of Venice, and he is one of Shakespeare's greatest dramatic creations. On stage, it is Shylock who makes the play, and almost all of the great actors of the English and Continental stage have attempted the role. But the character of Shylock has also been the subject of much critical debate: How are we meant to evaluate the attitude of the Venetians in the play toward him? Or his attitude toward them? Is he a bloodthirsty villain? Or is he a man "more sinned against than sinning"? One of the reasons that such questions arise is that there are really two stage Shylocks in the play: first, there is the stage "villain" who is required for the plot; second, there is the human being who suffers the loss of his daughter, his property, and, very importantly for him, his religion.

Shylock's function in this play is to be the obstacle, the man who stands in the way of the love stories; such a man is a traditional figure in romantic comedies. Something or someone must impede young, romantic love; here, it is Shylock and the many and various ways that he is linked to the three sets of lovers. The fact that he is a Jew is, in a sense, accidental. Shakespeare wanted to contrast liberality against selfishness — in terms of money and in terms of love. There was such a figure available from the literature of the time, one man who could fulfill both functions: this man would be a usurer, or moneylender, with a beautiful daughter that he held onto as tightly as he did his ducats. Usury was forbidden to Christians by the church of the Middle Ages, and as a consequence, money lending was controlled by the Jews; as a rule, it was usually the only occupation which the law allowed to them. As a result, a great deal of medieval literature produced the conventional figure of the Jewish moneylender, usually as a minor character, but also too, as a major character.

It is from this medieval literary tradition that Shakespeare borrows the figure of Shylock, just as Marlowe did for his Jew of Malta. Some commentators have said that the character of Shylock is an example of Elizabethan (and Shakespeare's own) anti-Semitism. In contrast, many have seen the creation of Shylock as an attack on this kind of intolerance. But Shakespeare, they forget, was a dramatist. He was not concerned with either anti- nor pro-Semitism, except in the way it shaped individual characters in his plays to produce the necessary drama that he was attempting to create. The play is thus emphatically not anti-Semitic; rather, because of the nature of Shylock's involvement in the love plots, it is about anti-Semitism. Shakespeare never seriously defined or condemned a group through the presentation of an individual; he only did this for the purposes of comedy by creating caricatures in miniature for our amusement. Shylock is drawn in bold strokes; he is meant to be a "villain" in terms of the romantic comedy, but because of the multi-dimensionality which Shakespeare gives him, we are meant to sympathize with him at times, loathe him at others. Shakespeare's manipulation of our emotions regarding Shylock is a testament to his genius as a creator of character.

When Shylock leaves the courtroom in Act IV, Scene 1, he is stripped of all that he has. He is a defeated man. Yet we cannot feel deep sympathy for him — some, perhaps, but not much. Shakespeare's intention was not to make Shylock a tragic figure; instead, Shylock was meant to function as a man who could be vividly realized as the epitome of selfishness; he must be defeated in this romantic comedy. In a sense, it is Shakespeare's own brilliance which led him to create Shylock as almost too human. Shylock is powerfully drawn, perhaps too powerfully for this comedy, but his superb dignity is admirable, despite the fact that we must finally condemn him. Perhaps the poet W. H. Auden has given us our best clue as to how we must deal with Shylock: "Those to whom evil is done," he says, "do evil in return." This explains in a few words much of the moneylender's complexity and our complex reactions toward him.

Previous Portia

Next Major Themes

Shylock, The Merchant Of Venice

Shylock is a character in Shakespeare’s The Merchant of Venice .

There were not many Jews in Elizabethan London but those that were there did not have a comfortable time. They were outcasts and suffered extreme discrimination. Not many ordinary people had ever encountered a Jew and when playwrights put Jewish characters on the stage they presented them as villains. Audiences hissed and booed and threw things at the actors who played them.

It was forbidden to employ Jews and they were not allowed to enter the professions or conduct legitimate business and so, in order to survive they had to live on their wits. Many of them became money lenders, lending out money for interest. Jews therefore became associated with money-lending and those who borrowed from them accused them of charging unreasonable rates so the prejudice of their being thieves and swindlers took root and lasted for centuries.

Shylock played by Al Pacino

The stereotype of the Jew as a mean, dishonest money-grabbing individual has persisted, even into the twenty-first century. And Shakespeare has been accused of being anti-Semitic as a result of his portrayal of Shylock in that way in The Merchant of Venice .

But nothing could be further from the truth. It is true that Shakespeare presents Shylock as a bitter, Christian-hating, money-grabbing, stingy man, dressed in the gabardine that set Jews apart from other citizens, but he gives Shylock a strong reason for hating Christians and wanting to get revenge for how they have treated him and the Jewish community.

Shakespeare also gives us insight into the inner Shylock – not only his bitterness and anger but also his more sympathetic feelings such as the hurt he has experienced, his thoughts about the injustice of anti-Semitism and his isolation from normal society. Throughout the action of the play we see how nasty the Christians are – their shameless selfishness and brutal discrimination against Jews. Shakespeare makes Shylock’s hatred even more dramatic by having Shylock’s daughter elope with a Christian.

In The Merchant of Venice Shakespeare created a small Christian society of wealthy merchants and their friends – mainly young men who had nothing to do but hang around and gossip. Shakespeare makes them attractive people on the surface but on closer examination they are all thoroughly nasty.

One of the merchants, Antonio, is having a problem with his ships being late in returning to Venice. One of his friends, Basanio, asks him for money. He needs it to woo a wealthy woman and has no money himself but, if successful, and he marries Portia he will be able to pay it back very easily. Antonio’s money is all tied up in his business, which is in trouble and the only way he can help his friend is to borrow from a money-lender.

He approaches Shylock and even while asking for help he is unforgivingly insulting to him. He tells him that his ships will be in the port in three days and then he will be able to pay. Shylock agrees to lend him the money. He says, just as a little gambling game, more or less as a little joke, if he isn’t repaid in three months Antonio should give him a pound of his flesh . Antonio agrees to that.

The ships are lost in a storm and just at that time Shylock’s daughter, Jessica, runs off with a Christian, taking money and jewellery with her. Shylock, burning for revenge against the Christians generally, takes Antonio to court to claim his pound of flesh.

The Duke doesn’t know how to deal with it but Basanio, successful in his suit, recruits his clever fiancé Portia, who is schooled in matters of law, to appear as a judge, disguised as a man. The trial takes place and Portia grants Shylock the pound of flesh, and counsels him to show mercy. Shylock takes out his knife to cut the flesh from the area close to Antonio’s heart and she stops him and tells him that it is against the law for anyone to shed a drop of Christian blood.

Shylock pauses and she rules that for threatening the life of a Christian he will have to forfeit all his possessions and convert to Christianity.

The play ends with an image of a miserable Shylock and the Christian community celebrating their victory in grand style.

In The Merchant of Venice Shakespeare is decidedly not anti-Semitic. It is just the opposite. We are definitely attracted to the Christians and we can see how horrific Shylock’s intention is but that is outweighed by the provocation he is subjected to: his social shunning, attempts to exploit him, daily insults about him and his religion, and the dramatic acts of the abduction of his daughter and the stealing of his property.

Any writer who could write Shylock’s speech about being a Jew can see the anti-Semitic dialectic of his time for what it was. Shakespeare was far more in tune with the twenty-first century attitude than the sixteenth and seventeenth century view.

Two young Christian layabouts encounter Shylock just after his daughter has run off with Lorenzo. He is highly distraught but they mock him. He is furious and it all comes out at last.

“He hath disgraced me, and hindered me half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies; and what’s his reason? I am a Jew. Hath not a Jew eyes? hath not a Jew hands, organs, dimensions, senses, affections, passions? fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian is? If you prick us, do we not bleed? if you tickle us, do we not laugh? if you poison us, do we not die? and if you wrong us, shall we not revenge?”

In the way Shakespeare ends the play he shows how deeply-rooted anti-Semitism was in his time. A Twenty-first century audience will feel sorry for Shylock but an Elizabethan audience would probably have cheered.

All that shows how universal Shakespeare was in his perception of the world around him – how it was before his time, how it was in his time, and how it will be after his time. How will this play look in four hundred years from now? Audiences will most certainly find it relevant to their time as well.

Top Shylock Quotes

I hate him for he is a Christian, But more for that in low simplicity He lends out money gratis, and brings down The rate of usance here with us in Venice. If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him. He hates our sacred nation, and he rails, Even there where merchants most do congregate, On me, my bargains, and my well-won thrift, Which he calls ‘interest.’ Cursèd be my tribe If I forgive him! ( act 1, scene 3 )

I’ll have my bond. Speak not against my bond. I have sworn an oath that I will have my bond. ( act 3, scene 3 )

Signior Antonio, many a time and oft In the Rialto you have rated me About my moneys and my usances. Still have I borne it with a patient shrug (For suff’rance is the badge of all our tribe). You call me misbeliever, cutthroat dog, And spet upon my Jewish gaberdine, And all for use of that which is mine own. Well then, it now appears you need my help. Go to, then. You come to me, and you say “Shylock, we would have moneys”—you say so, You that did void your rheum upon my beard, And foot me as you spurn a stranger cur Over your threshold. Moneys is your suit. What should I say to you? Should I not say “Hath a dog money? Is it possible A cur can lend three thousand ducats?” Or Shall I bend low and, in a bondman’s key, With bated breath and whisp’ring humbleness, Say this: “Fair sir, you spet on me on Wednesday last; You spurned me such a day; another time You call’d me ‘dog’; and for these courtesies I’ll lend you thus much moneys”? ( act 1, scene 3 )

A pound of man’s flesh taken from a man Is not so estimable, profitable neither, As flesh of muttons, beefs, or goats. ( act 1, scene 3 )

I will buy with you, sell with you, talk with you, walk with you, and so following; but I will not eat with you, drink with you, nor pray with you. ( act 1, scene 3 )

my daughter is my flesh and my blood ( act 3, scene 1 )

I would my daughter were dead at my foot, and the jewels in her ear; would she were hears’d at my foot, and the ducats in her coffin! ( act 3, scene 1 )

See All The Merchant of Venice Resources

The Merchant of Venice | The Merchant of Venice summary | The Merchant of Venice characters : Portia , Shylock | The Merchant of Venice settings | The Merchant of Venice in modern English | The Merchant of Venice full text | Modern The Merchant of Venice ebook | The Merchant of Venice quotes | The Merchant of Venice monologues | The Merchant of Venice soliloquies

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i see the play as a tragedy the resulting from systemic antisemitism in the same vein as Romero & Juliet is to blood feuds. The only difference is Romero & Juliet were pure victims. Shylock & Antonio are both victims and collaborators. To much is made of Shylock’s conversion given the close proximity in time to the Inquisition where Jews had the choice of death or conversion (real or as a public performance). Antonio had no choice about accepting the judgement and thus for the first time felt the impact of the systems injustice without Christian privilege. His act of mercy is a resulted from his first hand lesson of an injustice system, not the greater mercy of Christianity. Had Antonio not insisted on Shylock’s conversion added to the pardon then the end would be the same lesson against systemic antisemitism as Romero & Juliet’s end with both families reconciling of blood feuds. However by insisted on Shylock’s conversion Shylock had no chance to identify with Christian privilege being a pariah to everybody. This reflects the nature of cognitive intelligence’s learning via pattern matching. Romero & Juliet’s families can reconcile because they see no difference in appearance between them other then name. When there are distinct differences intellect cannot overcome bias that pattern matching has ingrained. These differences can be physical (race) or dress as military uses uniforms for. Jews in Vienna dressed differently and were mandated to were a red cap.

In “the merchant of Venice” Jessica, the Jewish daughter of Shylock, falls deeply in love and elopes with Lorenzo, a Christian. As soon as Shylock leaves their house to attend a dinner event, Lorenzo arrives to flee with Jessica. Jessica disguises herself as a man in order to prevent revealing her identity. At first, she dislikes her disguise and proves to be self-conscious and somewhat ashamed thinking that Lorenzo will disapprove. She is relieved that it is dark outside. Despite her embarrassment, she comes to the realization that Lorenzo is in love her and hardly seems to notice her disguise. She thus proclaims that “love is blind”. Lorenzo doesn’t love Jessica for her physical appearance but rather for her personality, intellect and other nonvisible qualities. By this, Shakespeare means that two true lovers, both blindfolded, could fall in love anyways, no matter what.

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ARTS & CULTURE

Four hundred years later, scholars still debate whether shakespeare’s “merchant of venice” is anti-semitic.

Deconstructing what makes the Bard’s play so problematic

Brandon Ambrosino

The Merchant of Venice , with its celebrated and moving passages, remains one of Shakespeare’s most beautiful plays.

Depending on whom you ask, it also remains one of his most repulsive.

"One would have to be blind, deaf and dumb not to recognise that Shakespeare's grand, equivocal comedy The Merchant of Venice is nevertheless a profoundly anti-semitic work,” wrote literary critic Harold Bloom in his 1998 book Shakespeare and the Invention of the Human. In spite of his “ Bardolatry ,” Bloom admitted elsewhere that he’s pained to think the play has done “real harm … to the Jews for some four centuries now.”

Published in 1596, The Merchant of Venice tells the story of Shylock, a Jew, who lends money to Antonio on the condition that he get to cut off a pound of Antonio’s flesh if he defaults on the loan. Antonio borrows the money for his friend Bassanio, who needs it to court the wealthy Portia. When Antonio defaults, Portia, disguised as a man, defends him in court, and ultimately bests Shylock with hair-splitting logic: His oath entitles him to a pound of the Antonio’s flesh, she notes, but not his blood, making any attempt at collecting the fee without killing Antonio, a Christian, impossible. When Shylock realizes he’s been had, it’s too late: He is charged with conspiring against a Venetian citizen, and therefore his fortune is seized. The only way he can keep half his estate is by converting to Christianity.

It doesn’t take a literary genius like Bloom to spot the play’s anti-Jewish elements. Shylock plays the stereotypical greedy Jew, who is spat upon by his Christian enemies, and constantly insulted by them. His daughter runs away with a Christian and abandons her Jewish heritage. After being outsmarted by the gentiles, Shylock is forced to convert to Christianity— at which point, he simply disappears from the play, never to be heard of again.

The fact that The Merchant of Venice was a favorite of Nazi Germany certainly lends credence to the charge of anti-Semitism. Between 1933 and 1939, there were more than 50 productions performed there. While certain elements of the play had to be changed to suit the Nazi agenda, “Hitler's willing directors rarely failed to exploit the anti-Semitic possibilities of the play,” writes Kevin Madigan , professor of Christian history at Harvard Divinity School. And theatergoers responded the way the Nazis intended. In one Berlin production, says Madigan, “the director planted extras in the audiences to shout and whistle when Shylock appeared, thus cuing the audience to do the same.”

To celebrate that Vienna had become Judenrein , “cleansed of Jews,” in 1943, a virulently anti-Semitic leader of the Nazi Youth, Baldur von Schirach, commissioned a performance. When Werner Krauss entered the stage as Shylock, the audience was noticeably repulsed, according to a newspaper account , which John Gross includes in his book Shylock: A Legend and Its Legacy . “With a crash and a weird train of shadows, something revoltingly alien and startlingly repulsive crawled across the stage.”

Of course, Shylock hasn’t always been played like a monster. There’s little argument that he was initially written as a comic figure, with Shakespeare’s original title being The Comical History of The Merchant of Venice . But interpretations began to shift in the 18th century. Nicholas Rowe, one of the first Shakespearean editors, wrote in 1709 that even though the play had up until that point been acted and received comedically, he was convinced it was “designed tragically by the author.” By the middle of that century, Shylock was being portrayed sympathetically, most notably by English stage actor Edmund Kean, who, as one critic put it, “was willing to see in Shylock what no one but Shakespeare had seen — the tragedy of a man.” 

But just what exactly did Shakespeare see in the character? Was Shakespeare being anti-Semitic, or was he merely exploring anti-Semitism?

Susannah Heschel, professor of Jewish studies at Dartmouth College, says that critics have long debated what motivated Shakespeare to write this play. Perhaps Christopher Marlowe’s 1590 Jew of Malta , a popular play featuring a Jew seeking revenge against a Christian, had something to do with it. Or perhaps Shakespeare was inspired by the Lopez Affair in 1594, in which the Queen’s physician, who was of Jewish descent, was hanged for alleged treason. And of course, one has to bear in mind that because of the Jews’ expulsion from England in 1290, most of what Shakespeare knew about them was either hearsay or legend.

Regardless of his intentions, Heschel is sure of one thing: “If Shakespeare wanted to write something sympathetic to Jews, he would have done it more explicitly.”

According to Michele Osherow, professor at the University of Maryland, Baltimore County and Resident Dramaturg at the Folger Theatre in Washington, D.C., many critics think sympathetic readings of Shylock are a post-Holocaust invention. For them, contemporary audiences only read Shylock sympathetically because reading him any other way, in light of the horrors of the Holocaust, would reflect poorly on the reader.

“[Harold] Bloom thinks that no one in Shakespeare's day would have felt sympathy for Shylock,” she says. “But I disagree.”

Defenders of  Merchant , like Osherow, usually offer two compelling arguments: Shakespeare’s sympathetic treatment of Shylock, and his mockery of the Christian characters.

While Osherow admits that we don’t have access to Shakespeare’s intentions, she’s convinced that it’s no accident that the Jewish character is given the most humanizing speech in the play.

“Hath not a Jew eyes?” Shylock asks those who question his bloodlust.

Hath not a Jew hands, organs, dimensions, senses, affections, passions? Fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that.

“Even if you hate Shylock,” says Osherow, “when he asks these questions, there’s a shift: you have an allegiance with him, and I don’t think you ever really recover from it.”

In these few humanizing lines, the curtain is pulled back on Shylock’s character. He might act the villain, but can he be blamed? As he explains to his Christian critics early in the play, “The villainy you teach me I will execute.” In other words, says Osherow, what he’s telling his Christian enemies is, “I’m going to mirror back to you what you really look like.”

Consider general Christian virtues, says Osherow, like showing mercy, or being generous, or loving one’s enemies. “The Christian characters do and do not uphold these principles in varying degrees,” she said. Antonio spits on Shylock, calls him a dog, and says he’d do it again if given the chance. Gratiano, Bassanio’s friend, isn’t content with Shylock losing his wealth, and wants him hanged in the end of the courtroom scene. Portia cannot tolerate the thought of marrying someone with a dark complexion.

“So ‘loving one’s enemies?’” asks Osherow. “Not so much.” The play’s Christian characters, even the ones often looked at as the story’s heroes, aren’t “walking the walk,” she says. “And that’s not subtle.”

The clearest example of the unchristian behavior of the play’s Christians comes during Portia’s famous “ The quality of mercy ” speech. Although she waxes eloquent about grace, let’s not forget, says Heschel, “the way she deceives Shylock is through revenge, and hair-splitting legalism.” She betrays her entire oration about showing people mercy when she fails to show Shylock mercy. Of course, Portia’s hypocrisy should come as no surprise — she announces it during her very first scene. “I can easier teach twenty what were good to be do than to be one of the twenty to follow mine own teaching,” she tells her maid, Nerissa.

As a result of Portia’s sermonizing about how grace resists compulsion, Shylock is forced to convert, clearly the play’s most problematic event. But Osherow thinks some of Shakespeare’s audiences, like contemporary audiences, would’ve understood that as such. “There was so much written about conversion in the early modern period that some churchgoers would have thought [Shakespeare’s Christians] were going about it in completely the wrong way.”

For example, according to  A Demonstration To The Christians In Name, Without The Nature Of It: How They Hinder Conversion Of The Jews,  a 1629  pamphlet  by George Fox, conversion is not as simple as “bringing others to talk as you.” In other words, says Osherow, the forced conversion of Shylock “isn’t how it’s supposed to work according to early modern religious texts.”

Late American theatre critic Charles Marowitz, author of  Recycling Shakespeare , noted the importance of this interpretation in the  Los Angeles Times . “There is almost as much evil in the defending Christians as there is in the prosecuting Jew, and a verdict that relieves a moneylender of half his wealth and then forces him to convert to save his skin is not really a sterling example of Christian justice.”

Though it’s true that Shakespeare’s mockery (however blatant one finds it) of the play’s Christians doesn’t erase its prejudice, “it goes some way toward redressing the moral balance,” notes Marowitz. In other words, by making the Jew look a little less bad, and the Christians look a little less good, Shakespeare is leveling the moral playing field — which is perhaps what the play hints at when Portia, upon entering the courtroom, seems unable to tell the difference between the Christian and his opponent. “Which is the merchant here, and which the Jew?” she asks.

Now, with all of this in mind, is it accurate to label  The Merchant of Venice  an anti-Semitic play?

Heschel is correct to point out that Shakespeare isn’t championing Jewish rights (though it might be anachronistic of us to hold him culpable for failing to do so). But she’s also onto something when she suggests the play “opens the door for a questioning” of the entrenched anti-Semitism of his day.

“One thing I’ve always loved about this play is, it’s a constant struggle,” says Osherow. “It feels, on one hand, like it going to be be very conventional in terms of early modern attitudes toward Jews. But then Shakespeare subverts those conventions.”

Aaron Posner, playwright of  District Merchants , the Folger’s upcoming adaptation of  Merchant , also finds himself struggling to come to terms with the text.

“You can’t read  Hath not a Jew eyes?,  and not believe Shakespeare was humanizing Shylock and engaging with his humanity. But if you read [the play] as Shakespeare wrote it, he also had no problem making Shylock an object of ridicule.”

“Shakespeare is not interested in having people be consistent,” says Posner.

Like any good playwright, Shakespeare defies us to read his script as anything resembling an after-school special — simple, quick readings and hasty conclusions just won’t do for the Bard.

For  District Merchants , Posner has reimagined Shakespeare’s script as being set among Jews and Blacks in a post-Civil War Washington, D.C. In a way, he says, the adaptation reframes the original racism question, because it’s now about two different underclasses — not an overclass and an underclass.

“It was an interesting exercise to take issues raised in  Merchant of Venice , and see if they could speak to issues that are part of American history,” he says.

Posner sees it as his prerogative to engage with the moral issues of the play “with integrity and compassion.” Part of that means approaching the play without having his mind made up about some of these tough questions. “If I knew what the conclusion was, I’d be writing essays not plays. I don’t have conclusions or lessons or ‘therefores.’”

Four hundred years after his death, and we’re still confused by the ethical ambiguities of Shakespeare’s plays. That doesn’t mean we stop reading the difficult ones. If anything, it means we study them more intently.

“I think it is absolute idiocy for people to say [of  Merchant ], ‘It’s Anti-Jewish’ and therefore they don’t want to study it,” says Heschel. “It’s a treason to Western Civilization. You might as well go live on the moon.”

Despite its negativity towards Judaism, Heschel thinks  Merchant  is one of the most important pieces of literature from Western Civilization. “What’s important about is to read the play — as I do — in a more complex way, to see whether we are able to read against the grain. That’s important for all of us.”

Perhaps, on one level,  Merchant  is a play about interpretation.

“Remember Portia’s caskets,” says Osherow, referring to one of the play’s subplots, which has Portia’s would-be suitors try to win her hand by correctly choosing a casket pre-selected by her father. Those quick to be wooed by the silver and gold caskets are disappointed to learn they’ve made the wrong choice. The lead casket is in fact the correct one.

The lesson? “Things are not always what they seem,” says Osherow.

Indeed, a Jewish villain turns out to deserve our sympathy. His Christian opponents turn out to deserve our skepticism. And the play which tells their story turns out to be more complicated than we originally assumed.

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Merchant of Venice

Persecution and violence in shakespeare’s shylock penina beede college.

When a person suffers injustice for too long, it can often lead to blind rage. For the titular character of Shakespeare’s The Merchant of Venice, this rage leads Shylock, a Jewish moneylender who is accosted throughout the play for his “other”ness, to pursue justice by any means against those who treat him so poorly. At the top of Act three, Shylock is berated for pursuing his case against Antonio, a tradesman who has borrowed money from Shylock but is unable to repay the debt. Per the contract, Antonio is required to remove “a pound of flesh” in return for the unpaid debt. In his anger, Shylock rants against the unfairness of a system that persecutes him, and refuses to recognize his claims or desires for justice. The exaction of this contract is symbolic for Shylock in his anger-fueled pursuit of justice by any means possible. Shylock is portrayed as petty and seeking nothing but revenge, under a contract whose stipulations are nonsensical. However, upon close reading of his monologue at the beginning of act three, one can begin to understand that it is a matter of a more deeply rooted principal for Shylock. Shylock’s manner comes from a place of rage and frustration stemming from the persecution against him as a Jew, and the...

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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 – Shylock: Villain or Victim

In the play Merchant of Venice, there is always a lot of controversy about whether Shylock is a victim or a villain. The definition of victim is a person who dies or suffers as a result of voluntarily undertaking some enterprise or pursuit. Meaning someone who dies or suffers as a result of his or her own actions is still a victim. In accordance with the definition, in my opinion Shylock is a victim . When we first start to read the play, as a Jew Shylock is put at a huge disadvantage. 400 years ago when Shakespeare wrote the play , racism was commonplace.

Shylock was written to be hated! As a result the audience and characters were prejudice towards Shylock as he tells us in Act 1 Scene 3 Signor Antonio, many a time.. thus much moneys? You could say he was a victim of societys discrimination and bigotry. He was indeed a victim as he was looked down on and had to under go hardships put on him by the community. Antonio was one those citizens in the community who tormented Shylock. Antonio constantly insulting Shylock as shown in Act 1 Scene 3 I am as like to call thee so again.. Exact the penalty

Shylock simply replies saying he would have Antonios friendship and forgive him for what he has done Why look you.. This is kind I offer But Antonio still rejects Shylock for he is a Jew, but never the less Shylock is still willing to lend the money. If Shylock was truly a bad person he would have not even listened to the proposal of Bassanio and Antonio and would have wanted nothing to do with them, but as we can see from the above quotes, Shylock is actually a good person and is willing to forget and forgive Antonio for how he has mistreated him.

Not only does he suffer abuse from the local community and society as a whole , his own daughter Jessica steals from him before running away with her lover Lorenzo, a Christian and good friend of Antonio. Jessica not only stole ducats she also took the ring he received from his now departed wife Leah. He has lost his only daughter to a Christian and he has lost the ring in which he kept in remembrance of his deceased wife. This has put him through even more pain as we can tell by how he describes his agony and sorrow in Act 3, Scene 1 Once upon her.. for a wilderness of monkeys

This is yet another valid reason why Shylock should be analysed as a victim. The previous act would have only added to Shylocks strong hatred for Christians and Antonio. After his daughter abandoned him for Lorenzo and after Antonio himself continues to abuse Shylock, it is understandable why Shylock wants vengeance upon him. The motive behind Shylocks decision has simply been an act of revenge to Antonio as Shylock says in Act 3, Scene 1 To bait fish withal.. I will better the instruction He is human as all of us are and as humans we all let emotions get in the way when making decisions such as for love, anger or sympathy.

We all have done this at least once, but does that make us villains? Just because Shylock has acted on revenge as most of us do, it doesnt make him a villain. He is simply just a victim to human emotions . After so much suffering, Shylock took Antonio to court so that he could get his part of the bond. The bond was a pound of flesh from Antonios chest. Although this may seem murderous, Shylock was so filled with rage and fury he did not show any mercy when he most likely would have if Antonio had not provoked him. Shylock says in Act 3 Scene 3 Thou calldst me a dog.. beware my fangs.

He is stating that Antonio insulted him before he did anything wrong, but now that he has been insulted, Antonio should expect him to be vengeful. This quote proves that Shylocks actions are only a result of Antonios abuse , yet Shylock has been the one to ultimately pay. In the court it was decided that Shylock would have to give up all of his possessions and wealth as well as convert to Christianity . So not only did he have to give up all his assets, wealth and belongings, he had to suffer the ultimate humiliation for a Jew. Even more evidence to why Shylock should be classified as a victim, not villain.

In conclusion as we have discussed above, Shylock is indeed a victim on more than one account. He has been discriminated against for being a Jew, he has suffered repeated abuse from Antonio and his friends, he has lost his family and he has lost all of his possessions and wealth leaving him alone and penny-less in sorrow. When most people read the play they immediately interpret Shylock as a villain. That may be the readers own prejudice because Shylock is without doubt a victim as he has suffered losing everything; money, pride and even his family.

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Essay Sample on Merchant of Venice: Antonio And Shylock

In many stories, the protagonist is the hero who everyone loves while the antagonist, the chief foe of the protagonist, is the villain who is often despised by the audience. To elaborate, like Luke Skywalker and Darth Vader in Star Wars, the distinction between good and evil is explicitly shown through the protagonist and the antagonist. However, this does not seem to be the case with Shakespeare’s The Merchant of Venice. Taking place in an anti-semitic Venetian society, Shakespeare’s play is about the conflict between Antonio, the protagonist, and Shylock, the antagonist, whom they despise each other mainly because of their difference in religion. Although Antonio and Shylock have been seen as the antagonist and the protagonist, respectively, the modern audience questions the validity of this view of the characters: “Does Antonio really represent the good in the play? Is Shylock really the villain?” Throughout the play, despite the two characters having many problematic traits, the playwright skillfully positions the audience to sympathize with both the antagonist and protagonist—Shylock and Antonio—by portraying the characters as a victim of anti-semitism and a loving friend, respectively.

Through the dialogue between Antonio and Shylock, Shakespeare positions the modern audience to sympathize with Shylock by portraying the character as a victim of anti-semitism that existsed in the Elizabethan period. In Act 1 of the play, as Antonio asks for a loan, Shylock reminds the Christian how he often called Shylock a “misbeliever, cut-throat, dog / And [spat] upon [Shylock’s] Jewish gaberdine” (I.iii.107–108). Considering the anti-semitism that existed in the Elizabethan period, readers today are able to assume that Antonio’s malevolent actions towards Shylock are fueled by Antonio’s hatred towards Jews, especially Shylock. Adding on, how Antonio insists on continuing to mistreat Shylock, as if the Christian is unaware of his religious insults towards the Jew, suggests prejudice against the Jews in the Venetian society is prevalent and Shylock is one of the victims of such discrimination. Moving on, Shylock’s inferior position as a minority is also shown in the conversation between the Duke and Antonio in Act 5. As Antonio and the Duke awaits the arrival of Shylock to the court, the Duke expresses her sympathy towards Antonio for having to face a “A stony adversary, an inhuman wretch” who is “uncapable of pity, void and empty / From any dram of mercy” (IV, i, 4-6). From the way the Duke, who is supposed to be fair to everyone under the judicial system, refers to Shylock, the contemporary audience can realize how deeply anti-semitism is engrained in this society, including its judicial system. This allows the audience to further commiserate with Shylock, understanding that the world he lives in is full of hatred towards his own religion and it is his inevitable fate to receive the mistreatment as a Jew himself.

Despite the number of discriminatory remarks Antonio commits against Shylock, Shakespeare’s protrayal of Antonio as a loving man who is willing to do anything for his beloved friend, Bassiano, evokes sympathy with the protagonist from the audience. In scene 1, when Bassanio asks Antonio for money, Antonio says that “[his] purse, [his] person & [his] extremest means lie all unlocked to [Bassanio’s] occasion” (I,i,137-8). Shakespeare’s usage of tricolon and the repetition of the possessive pronoun stresses Antonio’s willingness to do anything that he can for his friend. However, Bassanio seems to neglect Antonio’s love as Bassanio is in love with Portia, a lady in Belmont who is “fair and—fairer than that word— / Of wondrous virtues” (I, i, 164-165). Through Shakespeare’s portrayal of Antonio’s unfortunate one-sided love, the audience is able to feel the pain of Antonio as he realizes that the person he loves is in love with someone else. The sympathy the audience feels towards Antonio amplifies in Act 4, as he awaits his punishment for not paying back his loan on time: getting his flesh carved up by Shylock. As Antonio and Bassanio share a moment before Antonio receives his punishment, Antonio comforts Bassanio, “Grieve not that I am fall'n to this for you” and even assuring his beloved friend that Antonio “repents not that he pays [Bassanio’s] debt” (IV, i, 257; 270). Antonio’s love and selflessness for Bassanio is depicted from the way Antonio cares about his friend more than himself even in his last moments before death, eliciting a sense of pity for Antonio from the audience.

While Shakespeare emphasizes certain aspects of Shylock and Antonio in order to position the audience to sympathize with them, the playwright also elicits feelings opposite of sympathy from the audience through his portrayal of the characters’ problematic traits. Contrasting to the loving side of Antonio, his encounter with Shylock in scene 2 conveys the character as a hateful Christian who despises Jews, especially money lenders. As Shylock reminds Antonio of his discriminatory remarks towards Shylock, Antonio tells the Jew that Antonio is “as like to call thee so again, / to spit on thee again, to spurn thee too” (I, ii, 123,4) as if he is proud to have been discriminating towards Shylock. The repetition of “to… thee” that occurs three times emphasizes Antonio’s hatred towards Shylock and the lack of remorse he has for his prejudicial actions against Shylock. Moreover, knowing the negative connotation of Shakespeare’s usage of the pronoun “thee”, the audience can infer Antonio’s lack of respect towards Shylock. By suggesting another side of Antonio, Shakespeare is able to shift the audience’s perspective of this character from a loving friend to an anti-semitic Christian. Moving on, Shylock’s reaction to his daughter’s news portrays Shylock as a greedy money lender who prioritizes money over anything—even his own child. In Act 3, after Shylock learns that Jessica, his daughter, has run away with a Christian, he is infuriated by the amount of fortune he lost because of her. Out of fury, he cries, “A diamond gone cost me two thousand ducats in Frankfurt!” (III, i, 66-67). He is enraged to the point where he wishes his daughter was “dead at [his] foot and the jewels in her ear” (III, i, 69,70). While a normal father would be more concerned with his child’s safety, Shylock is more worried about the jewels he lost. His obsession with money gives the audience a contrasting side of Shylock—one that is more fitting of his title as an antagonist—making the audience have ambivalent feelings towards Shylock.

Despite a number of troublesome characteristics of Shylock and Antonio, Shakespeare is able to arouse sympathy towards the two characters from the audience by illustrating Shylock and Antonio as a sufferer of prejudice and a caring friend, respectively. Shakespeare’s incredible ability to manipulate how one feels about the antagonist and the protagonist diminishes the distinction of good and bad between the protagonist and the antagonist, which contrasts the explicit difference in good and bad in many other plays and stories. Ultimately, Shakespeare’s The Merchant of Venice evokes different emotions towards the characters based on different perspectives, making the play more enticing to the audience.

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