In William Shakespeare’s Merchant of Venice‚ gender roles are explored‚ culminating in two distinct scenes of cross-dressing. The men of Elizabethan society enjoy a prominent status based solely on gender‚ to which women are clearly outsiders. This is particularly evident in Jessica’s newfound freedom when dressed as a pageboy in Act 2 and Portia’s and Nerissa’s immediate elevation in social standing when they take on male personas in Act 4. Through these two instances of cross-dressing‚ Shakespeare
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It is evident that both Portia and Pat are represented similarly. However‚ as a result of the differing genres‚ they have different fates allocated to them due to genre conventions. In comedy‚ Portia’s intelligence‚ wit‚ beauty and manipulation work out in her favour because of
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in order to convey his message; how is the patriarchal attitude explored through the women in the text; and many more. Using The Merchant of Venice as an example‚ this essay will attempt to explore Shakespeare’s representations of the characters of Portia‚ Nerissa and Jessica. It will seek to examine their role in the text‚ as well as explore representations of gender and cross-dressing. It is important for the audience to remember that at this time a female monarch was in power. It was therefore
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the Merchant.... Characters * Antonio – a merchant of Venice * Bassanio – Antonio’s friend; suitor to Portia * Gratiano‚ Solanio‚ Salarino‚ Salerio – friends of Antonio and Bassanio * Lorenzo – friend of Antonio and Bassanio‚ in love with Jessica * Portia – a rich heiress * Nerissa – Portia’s waiting maid- in love with Gratiano * Balthazar – Portia’s servant‚ who Portia later disguises herself as * Stephano – Nerissa’s disguise as Balthazar’s law clerk. * Shylock – a rich Jew
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"The Merchant of Venice" is a play that relies on soliloquies to advance the plot‚ create mood and atmosphere‚ and to develop character among all the actors. I am here to prove how this happens in two different soliloquies and show you why Shakespeare put them into the play. My first soliloquy is from Lancelot Gobbo and it is taken from Act 2 Scene 2.I know that Lancelot is a secondary character‚ but this speech is really important in the outcome of this scene. He is talking about if he
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Fabian Mora Ms. Welch English Honors 1 March 20 2012 The Merchant of Venice Act III‚ i 1.) Salerio and Solanio are designed to reflect Venetian society at large because they show what is happening to inform the audience. They are also very nosey and hate Jews like the entire Venetians do. 2.) It is such a crisis for Shylock that his daughter converted and married a Christian because when Jessica left she stole a lot of his precious jewels and money. Tubal claims that she is spending
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Wheadon 1 English 3205 Dr. Lois Sherlow Matthew Wheadon Oct. 23‚ 2012 Justice and Mercy in The Merchant of Venice In the court room scene of The Merchant of Venice‚ justice is handed back and forth between the Christians and Shylock‚ unlike mercy. Shylock is unable to feel any remorse for Antonio and the Christians because of the hate he has for them. Stubbornness and hatred can cause misfortune; the morally superior have a right to justice. As the trial scene begins‚ the Duke speaks
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is the administration of law. Justice may not necessary include mercy. Mercy is natural. Portia says that the "quality of mercy is not strained"‚ it is not a forced effort but something that one already possesses. Mercy cannot be forced by anyone; it is something that one must come up within himself. Like how "gentle rain" cannot be created artificially‚ it is sincere. Mercy also benefits the merciful. Portia says that "earth power doth then show likest God’s when mercy seasons justice"‚ implying
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Morocco initially sets the stage the suitors of Portia that follow. Regardless of how Prince Morocco is only depicted in The Merchant of Venice in two scenes‚ his egotistical actions due to his selfishness‚ his conflict with his newly found fate‚ and his inferred entanglement between self interest and love are uncovered. Prince Morocco is initially introduced as one who is seeking Portia’s hand in marriage. The Prince of Morocco asks Portia to ignore his dark complexion and attempts to
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contradictions are highlighted - although his motives for murdering Caesar are ‘masculinized’‚ his doubts and fears are `feminized ’. Julius Caesar and Calphurnia Julius Caesar ’s interaction with Calphurnia follows Brutus ’ scene of interaction with Portia. Again‚ a wife ’s role is as one concerned about the safety of her husband‚ as Calphurnia exclaims‚ ’You shall not stir out of your house today. ’ Calphurnia ’s belief in her dreams about Caesar ’s death portrays women as being superstitious‚ and
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