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The Merchant of Venice (Give the paper clear, effective title)

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The Merchant of Venice (Give the paper clear, effective title)

Category: Definition Essay

Subcategory: Leadership

Level: High School

Pages: 4

Words: 1100

Analysis of the Merchant of Venice
Student’s Name
Institutional Affiliation
Analysis of the Merchant of Venice
The playwright of the book, William Shakespeare, made a woman character who has a massive impact on the composition. This is contrary to most of his writings where women have little or no authority and are portrayed as not being very clever. The play incorporates a number of female characters. Portia, for instance, is a female that saves the life of a man using her brains. Beatrice is another character, and she is like Portia in almost all aspects and attributes. These two characters contribute to the central focus of the play because of their IQs and smart comments as well as being considerate.
Portia stands out as one of Shakespeare’s greatest characters. This is mainly favored by her great looks, intelligence, and ethical significance, which performs a significant role in her personality. Portia is described as a woman of amazing qualities, and this made her famous throughout the world. Her wits offer her the capacity to handle any difficult or demanding situation. As it has already been mentioned, Shakespeare’s plays portray women as being less than their men counterparts are. This theme of gender inequality is mainly seen where Portia says, ‘I see sir, you are generous in opportunities. You trained me first to plead…’
Portia is treated as an angel who has no blemishes and seen in the play when Bassanio designates her to Antonio saying, ‘In Belmont is a woman opulently left, and she is unbiased and fairer that word, of astounding qualities. Neither is the broad world unaware of this woman value, for the four breezes blow in from each shore, prominent suitors, and her sunny hair hang on her chest like a golden swindle which makes her chair of ‘Belmont Colchis’ strong and numerous Jasons come in pursuit of her.’
Portia is portrayed as the perfectly learned woman who is not determined but restrictive. She is extremely accommodating and does not see herself as being better than other people. Her liberality makes her need to have a ton of riches with the goal that she can assist the individuals she cares for. Apart from her action of sparing the life of Antonio, she is used to reveal the theme of misleading appearances. All through the performance, the author utilizes his characters to demonstrate to the reader or the addressees that a personality cannot be adjudicated by how they seem to the eye because the individual can be something very dissimilar from the inside. Therefore, what we see using our eyes can be deceiving since the eye cannot reveal the real character of a person, in other words, eyes cannot see the inner soul of an individual.
Further analysis of the book portrayed Portia as a brilliant woman, especially where she dressed up as a male and looked for a method to help Antonio escape from his link with Shylock. Even though Portia is a female, she still can use her arguments in various circumstances. She also uses her attractiveness to get attention from males.
Portia uses several techniques to attain power in the play. One of these ways is by means of her disguise as the medic of law. The character’s use of male impersonation is usually the emphasis of serious discussion with regard to problems of sex identity and gender-related tasks and relationships in the piece of work. Several authors have noted that the ring plot stresses the skirmish amid male companionship and matrimony.
There is a distinction between Portia’s impersonation and that of other Shakespeare’s female protagonists. Portia’s conversion to a man is complete and free of inspections of the mental significances of acting as a man. Her personality turns out to be completely diverse and entirely manly, which is further accentuated by the way that in an Elizabethan creation a man would be depicting Balthazar. Also, Portia utilizes the impersonation to highlight the battle between hetero affection and gay person adoration found inside of the affection triangle comprising of Antonio, Portia, and Bassanio. The clash between hetero and gay person affection is an adjustment of Shakespeare’s ‘sentimental love versus male friendship’ theme.
There is also a cross-gender disguise whereby in distinction to the author’s other masked female protagonists, Portia decides to adopt a male concealment herself. She is not forced to do so by her conditions. Also, by embracing the role of Balthazar, Portia positions herself in a position of control over men and that this supremacy is emphasized by the less predominant responsibilities tackled by both Nerissa and Jessica.
A final way to deal with the issue of sex roles and personality involves the exploration of the distinctions in the midst of Antonio’s temperateness all through the book and Portia’s self-declaration and her approval of sexuality. The women and the Jews could both be argued as being symbols of ‘absolute otherness.’ These two groups of people were connected with motivations related with the flesh instead of the soul including acquisitiveness, animosity, and sexuality. The play exhibits the isolated state of mind of Elizabethans toward such qualities and toward ladies. Portia stands for the positive elements of such characteristics. This is evident from the fact that Portia utilizes her forcefulness to cement her association with Bassanio. Shylock, on the other hand, is illustrative of the negative side of the characteristics in that his aspiration is self-coordinated.
The Merchant of Venice is normally recognized by contemporary faultfinders as one of Shakespeare’s ‘issue plays.’ This is due to the fact that it advances ethical quandaries it does not unravel. The chief problematic sections that are commonly the center of serious debate incorporate the inconsistency between the qualities recognized by Christians and their own particular clearly self-opposing activities. Other areas include the skirmish between male friendship and matrimony and the concern of the author’s debatable anti-Semitic depiction of Shylock. Apart from these uncertain issues, there is likewise much criticisms that spotlights on different elements of the play, for instance, the dialect’s issue of financial aspects and trade and gender identity that pervades the play.
Before the script’s end, the Jewish cash-lender Shylock has been stripped of his belongings and the liberty to exercise his religious conviction. On the other hand, the Christian characters including Portia, Bassanio, and Antonio did not lose anything but instead gained love and money. Regardless of this positive aftermath for the Christians, they are habitually blamed for their inability to practice Christian compassion, among other acknowledged principles. Several detractors have proposed that the activities of the Christians from how they talk about and to Shylock to how they treat him, speak self-condemningly for them.
Other faultfinders have contended that Christian qualities are accentuated in the performance. For instance, contrasting the behaviors of Portia and Bassanio on behalf of one another and Antonio with the activities of Jessica and Lorenzo clearly indicate that the Christian ideals of reliance and belief are emphasized in the piece. All these faults represent a weakness in the author’s work but this the play remains of very significance in the society.

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