1. Sexism in ‘The Merchant of Venice’.

William Shakespeare wrote The Merchant of Venice between 1596-1598. It is usually

classified as a romantic comedy though its dramatic scenes are hugely popular and some
speeches amongst characters like Shylock and Portia have incited much study and debate.

Throughout the Merchant of Venice, we witness a number of female characters. Starting with
Portia, the main love interest of the story. Nerissa is Portia’s confidante and maid in waiting.
Jessica is the daughter of Shylock. She falls in love with Lorenzo and elopes with him. This
is a sub plot designed to increase the tension in the trial scene. Shylock is angry at Antonio’s
kind for stealing his daughter. The women in the play show various qualities. Portia shows
that her being a woman in a man’s world will not stop her from doing the right thing. Nerissa
shows great patience and loyalty towards Portia. Jessica is a free spirit, and represents fun in
the play. The merchant of Venice is a comedy. Though there are some comic elements such
as Launcelot Gobbo, the term comedy here means that everything ends well for the
protagonist.

Cross-dressing – A way of showing gender disparity

In the Merchant of Venice, we see gender dominance in many scenes. The men in this era are
very powerful and hold a high status. The women are not allowed that much power or
freedom. This can be seen when Jessica dresses up as a pageboy. She finds new freedom
during this change in appearance. Portia and Nerissa also display this trait. They are very
confident in their abilities once they dress up as men. They talk about making their voices
deeper and taking larger strides, both symbols of power. Shakespeare thus highlights the
rewards of being men in a patriarchal society. The three women use cross-dressing to do
things they could not have as women. Being officers of the court or doctors of law were
reserved for men and the masque was also conducted by men.
Each woman cross-dresses for different reasons. Jessica did so to join the Masque as a page
boy and escape her father. When she is in her disguise, she expresses the shame she feels.
The guilt shows a strong gender disparity. She shows the audience that she is unable to
escape her womanhood. Restrictions on women disallowing them to move alone forced her
into such a predicament. Jessica’s case of cross-dressing shows us that she has more power as
a male torch-bearer than a rich daughter of Shylock. The fact that she is a torch-bearer to
Lorenzo foreshadows her future, where she will be somewhat of a servant to Lorenzo.

By far, the most important cross-dressing is done by Portia. She adorns the robes of a doctor
of law and takes on Shylock, to save Antonio’s life. She protects her identity because her
actions would not be acceptable in the conservative society of that era. She speaks about
decrees and the law. This clearly shows the readers that women are as capable as men and
have not been given the opportunity to showcase their talents. Her talent has been curbed and
kept in check only because of her gender. She has very little power in the world. This is
shown by the fact that her dead father has more power than her, a living person.

In the trial scene, she displays extremely high knowledge of the law. She seems to know the
law better than the Duke himself. As the saying goes, “50% of Law is common sense.” Portia
relied mainly on the facts of the case and her judgement to advocate fiercely. When Shylock
said that there is no power in the tongue of man to make me change my mind, little did he
know that his downfall would be caused by a woman. While Jessica is a woman who is
timid, Shakespeare has shown Portia as bold and self-sufficient. She not only changes herself
but also changes society. She asks Nerissa to accompany her on her journey to Venice, thus
making an impact on someone else’s life. Shakespeare has tried to display gender disparity
throughout the play. The world sees Portia as a rich, beautiful heiress while Shakespeare saw
beyond that veil to expose a brilliant lawyer. Her gender should not be a means of stopping
her from showcasing her talents.

Role of Women in Venetian Society

In 16th century Venice, women were often seen as housewives and caretakers. Their identity
was often attached to their husband and children. A woman in Venice was rarely identified as
an entity on her own, but was rather portrayed as a dependent person as someone's mother,
wife, sister or daughter. A very important aspect of women was their chastity in terms of
modesty and lady-like behavior. Beauty was a by-product of chastity. During this time,
women couldn’t vote, get educated or work as lawyers. The merchant of Venice makes the
readers understand that women are more than beauty; they are as capable as men at several
tasks.
2. Discuss the theme of anti-Semitism as reflected in the play.

William Shakespeare wrote The Merchant of Venice between 1596-1598. It is usually classified
as a romantic comedy though its dramatic scenes are hugely popular and some speeches amongst
characters like Shylock and Portia have incited much study and debate.

Actors depicted Shylock as a monster or an evil clown in early performances of The Merchant of
Venice, reinforcing the concept that he is the play's villain. In many respects, he appears to be the
story's antagonist: one of his principal tasks is to stand in the way of Portia and Bassanio's
happily ever after. Other characters characterize him as a money-obsessed man and a terrible
father to his daughter, Jessica. Antonio and the other Christians of Venice regularly spit on
Shylock and refer to him as a "cutthroat dog." "I hate him for he is a Christian/... If I can catch
him once upon the hip/ I will feed fat the ancient grudge I bear him," Shylock says about
Antonio. When Antonio fails to repay the debt, Shylock becomes enraged, stating that he wants
Antonio's flesh for no other purpose than revenge: "if it will feed nothing else/it will feed my
revenge." It's tough to sympathize with Shylock when his aspirations endanger Portia and
Bassanio since the play identifies the audience and readers with them.

When we consider the events that occurred prior to the play, as well as what occurs within the
storyline, Shylock begins to appear as a victim as well as a villain, and his destiny becomes
overly cruel. Shylock lost his loving wife, Leah, in addition to the torture he receives from
Antonio and other Christians. Jessica, his daughter, flees the house with money and jewellery
that she has taken from him, including a ring that Leah gave him before she died. Although
Solanio claims that Shylock was as heartbroken as his daughter at the loss of his money ("My
daughter! O my ducats! O my daughter!"), we must keep in mind that we are seeing things
through the perspective of an anti-Semitic character who compares Shylock to the devil. The
Christians of Venice, as we learn from Shylock, are pleased to lend him money but refuse to
accept him as a member of society because they associate his faith with Satan. Because he is not
a Christian, Shylock has been considered as a second-class citizen his whole life. When he tries
to collect on a debt, however, the other characters suggest that he behave Christian and forgive
the debt.
The history of the performance may be followed for evolving perspectives regarding whether or
not Shylock is sympathetic. While early portrayals of the role concentrated on his fixation with
money, nineteenth and twentieth century performances depicted him as a victim of his
circumstances and times. A 1943 Nazi-sponsored production of the play, which accentuated
Shylock's villainy to promote anti-Semitism, was a notable exception. However, in most post-
Holocaust productions of the play, Shylock is shown as a human, though not fully sympathetic,
character. Shylock, according to reviewer Ben Brantley, "is neither the victim nor the villain of
this piece; he is instead the very soul of the money-drunk society he serves and despises" in a
2010 production of the play featuring Al Pacino as Shylock. This interpretation suggests the play
can be read neither as an indictment of Judaism or anti-Semitism, but rather an exploration of the
corrupting effects of money on all the characters, Jewish and Christian alike.

3. Discuss Portia’s role as a lawyer and the strategies she uses in the
trail scene of the play.

Portia is a formidable figure. Portia argued Antonio's case in front of the court. She was adamant
that Antonio be saved at all costs. She was a brilliant woman. The Duke presided over the trial as
the judge. Portia had everything she needed. First and foremost, she did all she could to persuade
Shylock to pardon Antonio. She pleaded with God to have mercy on him. She explained the
characteristics of compassion and demonstrated that kindness is a Divine trait, and that a man
who exhibits mercy is remembered and revered as if he were God. Shylock, on the other hand,
did not budge an inch and was steadfast in his demand for a pound of flesh in accordance with
the bond. Portia then permitted him to create the flesh with dexterity and confidence, and
requested Antonio to be ready. When Shylock attempted to pierce Antonio's chest with the knife,
she told him, "According to Bond, you have full right to take the flesh but without shedding even
a single drop of blood, otherwise all your wealth will be confiscated by the state." Shylock was
now helpless. He recoils and begs for forgiveness. The Duke grants him a conditional pardon. As
a result, I can claim that it was Portia's competence, virtue, and knowledge that saved Antonio's
life and taught Shylock a lesson.
The scene where Portia enters while dressed as a man and pretending to be a lawyer is meant to
portray a number of different things:

First, there is the comedy of no one recognizing her, just because she’s in male clothes. Also, no
one even knows this punk lawyer who just shows up in front of a Prince’s court saying “Hi, I’m
Jim Lawyer son, and I’m this guy’s attorney, even though neither he nor anyone else has ever
heard of me. Can I just try this case before I disappear forever, with no questions asked? Cool”.

Second, there is the gender politics of it. As a woman, for the purposes of the play, Portia was
considered only marriage bait. This was to the extent that she was not even able to pick her
husband and had to rely on the world’s worst shell game. She would certainly never have been
allowed to be a lawyer. Yet, in drag, she cracks a case.

Third, there is the element of nemesis. Shylock was using the letter of the agreement to persecute
someone. Yet, Portia is able to use the letter of agreement to completely screw Shylock over. He
wanted to hurt someone with lawyering, and he only hurt himself.

Fourth, there is the element of trickery. For audience members unaware of the play, the contract
that demanded a pound of flesh seems like a solid case. Yet Portia uses a little word play to break
it. Of course, modern audiences are more susceptible to this element. If someone told us that in
Elizabethan times a creditor could cut out your pancreas for defaulting on a loan, we would
believe it without question.

Fifth, there is an undeniable element of injustice to the court scene. Yes, Portia is seen as heroic
and Shylock is supposed to be villainous. However, the play establishes that Shylock has been
sorely wronged and wants payback for being spat upon. And when he can finally, legally get
revenge, someone breaks the law (a woman practicing law under false pretenses), to then screw
him over. So not only does he not get revenge but he gets no money, and then he is forced by the
court to convert to Christianity. Shylock loses everything because Portia breaks the law. Also
Shylock’s daughter marries a friend of that same bigot, after having robbed Shylock, but that’s
already been done. The audience is shown that laws aren’t as important as saving racists and
screwing over a non-Christian.
4. How trial scene in ‘Merchant of Venice’ reveals conflict between
justice and mercy? Is the conflict resolved? If so, how?

Shakespeare’s courtroom scene dramatizes a conflict between justice and mercy—the competing
claims of an angry Shylock and a desperate Bassanio. This argument mirrors several smaller
disputes and personal crises throughout ‘The Merchant of Venice’. Shakespeare’s characters
must frequently weigh their sense of grievance against their sense of generosity. By placing the
conflict at the center of his play, Shakespeare suggests that the pains of sacrifice are inescapable.
It is human to resent, and it is human to forgive. The courtroom scene enacts a crisis all humans
must someday face: whether to pardon an enemy or insist on revenge. Portia speaks on behalf of
mercy, arguing that we must always forgive one another because we are constantly hoping for
our own share of forgiveness from an all-knowing God. Likewise, the Duke demonstrates the
virtues of mercy when he ignores the letter of the law and waves away his right to take Shylock’s
life. On the other hand, Shylock represents the all-too-human desire for justice. He has evidence
of Antonio’s oath and simply wants to carry out the terms of the agreement. Portia frightens him
when she begins to argue in Shylock’s own terms. Invoking the supremacy of justice, she says he
may have a pound of flesh but not a drop of blood, with the threatened penalty of death if he
does not follow her terms exactly. Mercy and justice—forgiveness and vengeance—spar
relentlessly in this climactic scene.

Shakespeare has laid the thematic groundwork for his climax by repeatedly noting the virtues of
a merciful way of life. Antonio takes on heroic stature when he forgives Bassanio’s countless
debts and encourages him to find love. Portia tempers Nerissa’s severity when she says we must
be merciful unto others as well as unto ourselves. Portia forgives Bassanio for leaving Belmont
on the night of their engagement, putting aside her own wishes and encouraging him to help his
friend. Jessica and Lorenzo repeatedly note the necessity of good humor; it is in the nature of
lovers to stray and to make false promises, so we must try to laugh and see what is best in one
another. Each of these characters acts as an occasional spokesperson for the mild-mannered,
magnanimous approach to life.
On the other hand, several of Shakespeare’s characters crave justice in moments of weakness.
Despite his constant sacrifices, Antonio becomes irritating when he seems to brood on his sense
of perpetual martyrdom, and Gratiano urges him to abandon his silent grievances and enjoy his
life. Long before the courtroom scene, Shylock embodies the human desire for revenge, asking
why he should cooperate with Antonio when Antonio has ignored him and called him a cur. The
Prince of Arragon seems absurd when he claims Portia on the grounds that he deserves her, and
the message in the silver casket rebukes him for thinking that we are ever naturally entitled to
happiness. In our discomfort and self-absorption, we make the error of Shakespeare’s characters
and insist on justice in a patently unjust world.

By pitting mercy against justice in his climactic scene, Shakespeare suggests that everyone
struggles with competing urges to complain and forgive. Shylock demands the flesh the law has
promised him, and Portia argues that the world is too complex to be governed by rigid laws.
Portia, Antonio, and Lorenzo all occasionally look past their own problems and behave
generously, whereas other characters cannot overcome a gnawing sense of grievance and
injustice. In five tolerant, effortless acts, Shakespeare shows us that we are destined to have these
arguments—with others and with ourselves—every day of our lives.

5. Theme of self-interest versus love with reference to the play.

Shakespeare examines the ideas of love and self-interest in The Merchant of Venice; the
characters' own self-interests appear to triumph over any sentiments of care for other characters
through money, revenge, and hate. The play follows Antonio, a Christian trader who borrows
money from Shylock, a Jewish money lender; so that his buddy Bassanio might pursue the ladies
he claims to love in the imaginary town of Belmont.

Shylock, on the other hand, makes a connection with Antonio, stating that if he does not repay
the money entrusted to him, Shylock would obtain a pound of Antonio's flesh. It's crucial to
grasp the meanings of love and self-interest in order to comprehend the characters' contradictory
feelings and motivations.
For the time being, I'll define love as an altruistic affection for someone that can lead to self-
sacrifice. In terms of self-interest, I believe it may be characterized as an egocentric
concentration on one's own wants and desires, regardless of the needs and desires of others. Acts
of devotion are used to exhibit love in the play.

Portia disguises herself as a man and a lawyer to save Antonio from a horrific end. This is an act
of dedication to Bassanio since she is attempting to aid a man she has never met in order to
please him. She says “I have within my mind a thousand raw trick of these bragging jacks, which
I will practice”. This demonstrates her love for Bassanio since she quickly adopts a skewed
judgment of the guys who endanger Antonio's – Bassanio's best friends – safety. Shakespeare
employs the term "raw," which means "rude," to convey Portia's desire to be cruel to the men
who are torturing Antonio. The fact that she is so vehemently opposed to these individuals leads
us to conclude that Portia is concerned for Antonio's well-being. Portia's obvious concern for
Antonio reflects her feelings for Bassanio, who sees Antonio as a "close friend."

Portia sacrifices her own time, safety, and comfort by going a long distance and illegally
impersonating a lawyer, and this attachment grows to the point where it may be considered love.
However, it is questionable if Portia's character assists Antonio in condemning Shylock because
he is a Jew.

The essential subject of self-interest is highlighted by anti-Semitism and the conflict between
Jews and Christians. For example, one would wonder if Lorenzo marries Jessica just to insult her
father's beliefs. "Here lives my father Jew," he says.

The term dwell is frequently connected with cave-dwelling creatures, implying that Lorenzo
despises Shylock and considers him uncivilized. He also uses the term "father," which implies
that Lorenzo is Shylock's son, which is not the case. This sentence is frequently depicted
cynically in drama, giving the term "father" a new meaning.

This sarcasm shows that Lorenzo finds it amusing because Shylock is or will be his father-in-law
since he despises him. This goes against popular belief about the strength of father-son
connections.
It also suggests that Lorenzo would inherit or get a dowry from Shylock as a son, foreshadowing
the future when Jessica takes Shylock's riches and jewellery for Lorenzo when she flees with
him. Next, the term 'Jew' is used without a definite or indefinite article preceding it, referring to
Shylock's faith, Judaism. This might be seen as an insult to Shylock since, by omitting the
article, Lorenzo has made the word bitter, as if he is struggling to pronounce it. This accentuates
Lorenzo's distaste for Shylock and transforms his sentiments into hatred.

It is questionable if Lorenzo and Jessica's connection is genuine or merely a fiction intended to

spite Shylock by comprehending the impact of all these linguistic choices. The fact that Jessica
gives Lorenzo Shylock's money highlights how money is frequently connected with self-interest,
and we may contrast the force of greed with that of love. 'O, my ducats!' Shylock exclaims. 'Oh,
my daughter,' I said. This suggests that he prioritizes his money over his daughter, meaning that
his greed surpasses his affection. When we encounter Shylock later, he appears to be more upset
by the fact that his daughter sold a ring that was given to him by his late wife than by the
jewelry's loss of value.

'I would not have given it for a wilderness of monkeys,' he says. The fact that a "wilderness of
monkeys" would be huge and precious reveals a gentler side of Shylock with which we may
sympathize, and demonstrates that love and the signs of that affection are often more important
to him than his covetous egotism. In conclusion, I believe that the love shown in Shakespeare's
play "Romeo and Juliet," in which the "star-crossed lovers" —Romeo and Juliet – regard each
other's lives beyond their own in extreme self-sacrifice, does not exist in the Merchant of Venice.

However, if we define love as a sense of affection for another person, we can easily understand
this, albeit it is not without flaws. For example, despite the fact that Portia and Bassanio claim to
love each other, Bassanio approaches Portia in the first place because he is deeply in debt and
requires her financial assistance. Shylock also claims that Jews, like Christians, are human
beings. "Do we not bleed if you prick us?" he asks.

Christians like Lorenzo, on the other hand, despise Jews just because they are Jews. As a result,
while Christians appear to speak more about mercy and love, they do not consistently
demonstrate these virtues, raising the question of whether love in this drama is really a front for
self-interest and hate.
6. Comment on any three themes that the trial scene in ‘Merchant
of Venice’ revolves around.

William Shakespeare (1564-1616) was an English playwright. One of his numerous "comedies"
is The Merchant of Venice. Themes are the fundamental and often universal ideas explored in a
literary work.
The three themes that the trial scene in the play ‘Merchant of Venice’ revolves around are:
1. The Divine Quality of Mercy

The conflict between Shylock and the Christian characters comes to a head over the issue of
mercy. The other characters acknowledge that the law is on Shylock’s side, but they all
expect him to show mercy, which he refuses to do. When, during the trial, Shylock asks
Portia what could possibly compel him to be merciful, Portia’s long reply, beginning with the
words, “The quality of mercy is not strained,” clarifies what is at stake in the argument
(IV.i.179). Human beings should be merciful because God is merciful: mercy is an attribute
of God himself and therefore greater than power, majesty, or law. Portia’s understanding of
mercy is based on the way Christians in Shakespeare’s time understood the difference
between the Old and New Testaments. According to the writings of St. Paul in the New
Testament, the Old Testament depicts God as requiring strict adherence to rules and exacting
harsh punishments for those who stray. The New Testament, in contrast, emphasizes
adherence to the spirit rather than the letter of the law, portraying a God who forgives rather
than punishes and offers salvation to those followers who forgive others. Thus, when Portia
warns Shylock against pursuing the law without regard for mercy, she is promoting what
Elizabethan Christians would have seen as a pro-Christian, anti-Jewish agenda.

The strictures of Renaissance drama demanded that Shylock be a villain, and, as such,
patently unable to show even a drop of compassion for his enemy. A sixteenth-century
audience would not expect Shylock to exercise mercy—therefore, it is up to the Christians to
do so. Once she has turned Shylock’s greatest weapon—the law—against him, Portia has the
opportunity to give freely of the mercy for which she so beautifully advocates. Instead, she
backs Shylock into a corner, where she strips him of his bond, his estate, and his dignity,
forcing him to kneel and beg for mercy. Given that Antonio decides not to seize Shylock’s
 goods as punishment for conspiring against him, we might consider Antonio to be merciful.
But we may also question whether it is merciful to return to Shylock half of his goods, only
to take away his religion and his profession. By forcing Shylock to convert, Antonio disables
him from practicing usury, which, according to Shylock’s reports, was Antonio’s primary
reason for berating and spitting on him in public. Antonio’s compassion, then, seems to stem
as much from self-interest as from concern for his fellow man. Mercy, as delivered in The
Merchant of Venice, never manages to be as sweet, selfless, or full of grace as Portia presents
it.

2. Hatred as a Cyclical Phenomenon

Throughout the play, Shylock claims that he is simply applying the lessons taught to him by
his Christian neighbors; this claim becomes an integral part of both his character and his
argument in court. In Shylock’s very first appearance, as he conspires to harm Antonio, his
entire plan seems to be born of the insults and injuries Antonio has inflicted upon him in the
past. As the play continues, and Shylock unveils more of his reasoning, the same idea rears
its head over and over—he is simply applying what years of abuse have taught him.
Responding to Salarino’s query of what good the pound of flesh will do him, Shylock
responds, “The villainy you teach me I will execute, and it shall go hard but I will better the
instruction” (III.i.60–61). Not all of Shylock’s actions can be blamed on poor teachings, and
one could argue that Antonio understands his own culpability in his near execution. With the
trial’s conclusion, Antonio demands that Shylock convert to Christianity, but inflicts no other
punishment, despite the threats of fellow Christians like Gratiano. Antonio does not, as he
has in the past, kick or spit on Shylock. Antonio, as well as the duke, effectively ends the
conflict by starving it of the injustices it needs to continue.

3. Friendship
The theme of friendship drives most of the action in The Merchant of Venice. Bassanio needs
money and turns to Antonio, who has already offered him substantial financial support in the
past. Antonio immediately and unquestioningly agrees to do whatever he can to help his
friend, including offering a pound of his own flesh to Shylock if he defaults on the loan.
Antonio never rebukes Bassanio for leading him into the situation that later threatens his life.
Instead, Antonio repeatedly says that he is happy to die for the sake of his friend. In return,
 Bassanio tells him that “life itself, my wife and all the world / Are not with me esteemed
above thy life” (IV.i.275-276). Thus, the play depicts friendship as one of the most intense
and important emotional bonds humans can experience and suggests that the bond of
friendship between Antonio and Bassanio may even run deeper than romantic love. The
importance of friendship is also displayed between Bassanio and Gratiano and between
Portia and Nerissa. Gratiano and Nerissa show great loyalty to and trust in their friends, and
they even fall in love with each other after being brought together by their friends. The final
double marriage means that the four friends will never have to be separated from one
another, which further supports the importance placed on friendship.

7. Role of Shylock with reference to ‘Merchant of Venice’. Does he

fulfill or exceed his role in the play?

Despite the fact that centuries have gone since Shakespeare's "The Merchant of Venice,"
reviewers' interest with Shylock has not waned. To them, he is more important than any of the
other characters in the play. There's a reason why reviewers believe he's outgrowing the drama
and its other characters. His persona is extremely engaging, and his scenes and discussions are
equally entertaining and hilarious. Despite being the antagonist, he is able to elicit pity from the
viewers. His character frequently outgrows the storyline. Because of Shylock, there is a great
deal of sadness in The Merchant of Venice. His brilliant phrases and funny yet penetrating
remarks bring spice to the drama. He is more interested in retribution and a pound of flesh from
Antonio's heart than in money. It is difficult for him to be anything other, and his attitude stems
from the Venetians' treatment of the Jews. When he sees the Jewish community being treated as
second-class citizens to the Christians, he can't help but feel hurt. You won't discover a natural
backstabber in him like Iago.

He believes he is fighting a just battle. Shylock's attitude toward Antonio would have been
different if Antonio had not been so disrespectful to him in the past. It's only natural for someone
who has suffered so much at the hands of Christians to seek vengeance. He claims that Jews are
human beings who need to be treated with compassion and care. This is enough to make the
audience feel sorry for you. By his reasoning and funny attitude, he amuses and intrigues us, and
sometimes even makes us forget about his villainy. He is the most active character on stage,
more active than any of the others, including the protagonist. He is a complicated character, and
his justification for being so stems from his experiences of marginalization, oppression, and
exclusion. As a result, he has the right to demand equal treatment for Jews and a pound of flesh
from Antonio's heart. Shakespeare has clearly depicted his villainy, avarice, and selfishness.

His character is greater than the rest, and he is the core pillar that supports the plot's weight.
Another reason he looks to the critics as having outperformed his part is that even Antonio and
Bassanio's friendship and Portia and Bassanio's love are unable to overshadow his character and
its significance. Despite the fact that he is the villain, he is at the heart of much of the action in
the play, and he occasionally even dominates the moments in which he is not there. No other
character in the drama is able to diminish his significance. Furthermore, his demeanor is
sometimes so entertaining and humorous that it makes him memorable. The finest thing
Shakespeare has done with his character is to employ him in tragedies as well as comedies. He
also has certain villainous characteristics, such as profound hate and avarice. He's a tough, well-
rounded character who isn't willing to lose or give up until the very end. All of these traits have
made him a critic's favourite. He's intriguing and engaging for a variety of other reasons as well.
He refuses to be labelled as a villain in any way. He is concerned about the plight of Jews in
Venice. Furthermore, he is the way he is because he has been compelled to be such. His
demeanor may be perplexing at times, and his persona is notable for the unpredictability linked
with it. He asserts that taking interest on his loans is not immoral with the utmost innocence. He
expresses his strong aversion to Christians with similar candor. When it comes to religion, he
boasts about how great his is, as well as how better his business practices are.

“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). He does not veil his emotions
like Iago but instead says things smack in the face. It is why he sometimes appears too honest to
be a villain.  He can be equally comical while also being sarcastic. When Bassanio and Antonio
approach him for money, he sarcastically reminds Antonio of his previous treatment of the poor
Jew. It appears he takes him to be too childish and simple to be a trader.  He makes him feel like
a kid who does not have a business man’s wisdom.  His style and oratory all make the other
characters appear dwarfed before him.
“Fair sir, you spet on me on Wednesday last;
You spurned me such a day; another time
You called me ’dog’—and for these courtesies
I’ll lend you thus much money?” (Act 1, Scene 3)
For him interest is profit and Antonio is devoid of business acumen. Thus, there are so many
facets of Shylock’s character that some are not even fully understandable. It is why he is just as
puzzling as he is stimulating. It is also why Shylock appears too grand to fit in a single drama.
He is more like an entire drama in himself rather than just a character. However, another thing
about the Jew is that Shakespeare has created him in a way that he still remains a villain in the
eyes of the audience and gets only his fair share of love and sympathy. Shylock has
his weaknesses too. Had not the Jew been as passionate about his revenge he would not have lost
all that he did at the end. As a villain, he gets to have his fair share of wins until Portia has
cleverly used his wit against him.  He remains bent on having a pound of flesh until he is warned
that a single ounce of blood he sheds will be unjustified and will be used against him in the court
of law.  Even when surrounded by Christians on all sides, he is unwilling to let his one chance of
revenge go. Throughout the drama, his character is full of depth and intensity. He does not
disappoint as a villain at any point. His wit and rhetoric are exceptional which have made him
the critics’ favorite. He makes a lasting impression with his artistic language and flawless
arguments. None can help feeling impressed by the way he teases the minds of the other
characters in the drama. The way he handles them with patience and wit shows he is someone
who exercises control through his wit and craft. Even if Antonio and team have won against him
at the end, it has not been an easy win for them. It is also the power of his exceptional rhetoric
that the critics have found him so engaging. 
8. Relationship between Antonio and Bassanio. What does their
relationship reveal about their characters?
That Antonio and Bassanio are very good friends, becomes clear right from the initial scenes.
Whatever slight doubt is there gets cleared by the end. Throughout the drama, the two friends are
dearer than life to each other. Their love and trust for each other are evident at every stage of the
drama. Each one of the two is ready to go to any extent to serve and help the other. It is visible
that Bassanio is less a friend and more a brother to Antonio.

Antonio lets Bassanio use his money like it’s his own.  He does not differentiate between himself
and his friend. Bassanio has no money and he has been living in debt which he plans to repay.
He also feels embarrassed over the large sums he has been borrowing from Antonio. However,
Antonio’s money is tied in the cargo which is still at sea. So, he asks him to borrow from
anyone in Venice in his name and go and see Portia. Bassanio has to do little to persuade his
friend for money. Antonio is already more than willing to lend him. This proves Antonio’s
selflessness and that he considers Bassanio a brother.

Another proof of Antonio and Bassanio’s deep friendship comes in scene 3 of Act 1 when the
two are before Shylock to ask him for a loan. Shylock is surprised at his luck that how destiny
has brought two of his worst enemies in Venice to his doors seeking help.  The crazy Jewish
moneylender reminds them of how bad Antonio has been to him in the past. Hw would call
Shylock’s business practices unfair, spit on him, and kick him. He is still willing to lend them the
three thousand ducats. Shylock does not want to let this opportunity of exacting revenge from
Antonio go. However, he is ready to lend them money only on the condition that given Antonio
fails to repay; he would lose a pound of flesh from his body as Shylock wills. Antonio knows
that his friend needs the money and tells the Jew that had the situation been different, he would
have treated him just as he always does. It shows his stubbornness and proves that inside his
heart, Antonio is innocent and a little childish. Had it not been so, he would have been able to
avoid the trap Shylock had set. For his friend’s sake, he is willing to accept the Jew’s offer and
also ready to change his attitude towards Jews in the future.
 Antonio is doing it all for his friend since he would not like to see Bassanio disappointed.
Bassanio suspects that the villain is up to something very cunning and tries to stop Antonio from
accepting the Jew’s offer. He would instead go without the money than let his friend put his life
at stake. However, Antonio convinces him that as soon as his ships arrive from the sea, he will
return the Jew his money. All of this shows that the two friends love and trust each other deeply,
and they will make any sacrifice for one another. It also shows that Antonio is quite emotional
about his friend and can grow blinded by his love for him.

Bassanio receives Antonio’s letter while he is with Portia and grows anxious that he has lost his
ships at sea and failed to repay the loan. Antonio loves Bassanio from the bosom of his heart and
wishes to see him before the cunning Jew has taken his life away. His letter also contains a
friendly rebuke for Bassanio, who seems to have forgotten his friend in Portia’s company.
Bassanio has found his love, whereas fate has been cruel to Antonio, who has lost all his
wealth, but Bassanio’s love and respect for his dearest pal have not reduced. Their friendship is
not for money, but they are intensely loyal to each other. His friend’s letter appears like
Antonio’s dead body to Bassanio. Every word in Antonio’s letter is calling him a liar
and disloyal. After all, it is for him and his love that Antonio had borrowed from the Jew.
He feels guilty that he has betrayed his friend, and he would never be able to pardon himself if
Antonio dies.

Upon being asked by Portia that who Antonio is, Bassanio replies that he is not just his best
friend and the kindest man but also the most honorable person in all Italy. Antonio is a friend
who is ready to sacrifice anything for him. Portia at once understands that Antonio is a noble
person who has suffered for Bassanio. She promises to provide Bassanio with as much wealth
that he can repay twenty times the debt. The debt of the friend is massive, and Bassanio
postpones his marriage. He rushes immediately to repay cruel Shylock and argues with him
to accept a sum multiple times his loan and settle the contract. His requests are futile, and the
Jew would disagree. However, things take a different turn when Portia intervenes.

It gets clear that both friends are fiercely loyal to each other. At first glance, it may look like
Antonio is making all the sacrifices, and Bassanio is using him to find his love. Had it been so,
Bassanio would not have postponed his marriage to return and see Antonio. Bassanio’s
helplessness near the end proves that he loves his friend dearly and cannot let him die at
Shylock’s hands. Antonio is an honest young gentleman who believes in fair business and is
equally kind-hearted. Bassanio is also a loyal friend whose conscience is being weighed down
with guilt. He remains honest in his friendship with Antonio and stands by his side till the end
when things take a comic turn, and the friends win the case against Shylock. Their trust in each
other reveals that both are honest and honorable characters, true to their word. The bond between
the two is unbreakable, and even when Antonio has no money, his worth for his friend has not
been reduced. It signifies several things, including the credibility of the two characters, their
selflessness, and their devotion to each other. Shakespeare has provided one of the best examples
of friendship and loyalty through Antonio and Bassanio in his Merchant of Venice.

9. Discuss the theme of anti- Semitism as reflected in the play.

When Shylock speaks of his "ancient grudge" with Antonio, he is referring to not just their
personal hostility, but also the lengthy history of anti-Semitic myths and attitudes that created the
play's setting. Shylock's demand for "a pound of flesh" may seem terrible to a modern audience,
but stories of frenzied Jews mutilating Christian bodies were widespread in mediaeval and
Renaissance Europe. Little Saint Hugh of Lincoln, a child whose death was mistakenly attributed
to a Jewish community as "ritual murder" in the thirteenth century, and similar traditions of
Jewish sacrifices of Christian infants would have been familiar to Shakespeare and his
Elizabethan audiences. Similarly, Shylock's treatment as a result of his occupation is consistent
with long-held European views about Jewish moneylenders. Money lending was one of the few
occupations open to Jews in mediaeval and Renaissance Europe, as they were excluded from
many other businesses. However, Christians who felt usury, or money lending with interest, was
wicked vilified them even more since they charged interest on their loans.
Most members of Shakespeare's audience would have never encountered a Jew in real life, in
addition to believing unflattering misconceptions about the Jewish religion. King Edward I had
exiled all Jews from England or forced them to convert in 1290, making Elizabethan England a
homogeneous civilization. In addition, in the late sixteenth century, the trial and execution of
Roderigo Lopez, Queen Elizabeth I's royal physician, sparked a wave of anti-Semitism in
England. Lopez, a Jewish convert to the Church of England, was accused of plotting to poison
the queen, was found guilty of high treason, and hanged, drawn, and quartered. Scholars estimate
that Shakespeare wrote The Merchant of Venice between 1596 and 1599, so we can assume that
this event would still have been a part of the collective social consciousness when Shakespeare
wrote the play. 
In the centuries since Shakespeare wrote The Merchant of Venice, the way different productions
have handled the text’s problematic attitude toward Jewish people tells the story of their own
society’s grappling with anti-Semitism. Today, the play’s controversial history stands as part of
its value; like all good literature, it serves as lens through which we can understand our past and
a mirror in which we can examine our own, imperfect present.