literary devices in merchant of venice act 3 scene 2

Antonio – a merchant of Venice; friend of Bassanio 2. Bassanio is "engaged" to Antonio by his this bond. Bassanio pledges his whole self to Antonio before the court. Unlike Morocco who tried to convince Portia of his worth with words, or Arragon who believed that he was inherently worthy of Portia, Bassanio buys Portia's affections. "unforfeited..."  See in text (Act III - Scene II). See in text (Act I - Scene III). "—..."  Characteristics Of Merchant Of Venice A Comedy 868 Words | 4 Pages. See in text (Act V). "me pay his debt..."  See in text (Act I - Scene I). Launcelot decides to play a prank on him. See in text (Act IV - Scene I). One of the major features of this speech is Portia’s prominent use of antithesis. However, because money is more important to Antonio than God, he does agree to take this bond. See in text (Act I - Scene I). Not that, I hope, which you receiv'd of me....", "He knows me as the blind man knows the cuckoo,...", "The man that hath no music in himself, "cutler's poetry..."  Dramatic speech is less about the subject of the outburst and more about the person speaking. This is a description that doubles as an insult since a colt would be a silly and inexperienced young person. "common drudge..."  This is ironic because mercy is a cornerstone of the Christian faith, yet none of the Christians showed Shylock mercy earlier in the play. See in text (Act I - Scene II). "fair flesh..."  While the test appears to show someone's inner character, it seems that its intention and execution are askew. See in text (Act II - Scene II). This suggests that Bassanio already knows the answer to the test and uses this speech to justify his knowing. "thee..."  In Judaism, mercy comes from personal atonement rather than divine mercy. See in text (Act I - Scene II). "he only loves the world for him..."  Gobbo is long winded and attempts to fill his speech with flowery language and metaphors. See in text (Act II - Scene III). "holy crosses..."  By this Shylock means that he and other Jewish lenders were just talking about Antonio, presumably because Antonio's interest free loans have spoiled their business. The Duke offers Shylock to reduce the amount of money he owes the state to a fine by acting "humble." Launcelot cannot decide whether or not to stay with his master. "circumstance..."  Unlike the trials of Morocco or Arragon, Portia plays Bassanio a song that will give him the answer to the question if he pays attention. Portia wishes that Bassanio would stay with her longer, but she claims that it is not love that compels her to ask him to stay. Bassanio vaguely gestures at her physical appearance, but he spends more time comparing her to figures from mythology than describing her personality or "wondrous virtues." 3. "old carrion!..." By this Solanio means Antonio must be able to pay off his debt to Shylock by its due date or Shylock will exact his revenge by brutally collecting his debt. However, her privileged position as a Christian heiress makes this statement both condescending and ignorant to the plight of marginalized, and systemically powerless, people such as Shylock. See in text (Act IV - Scene I). The Prince of Morocco meets with Portia and tells her that he is often considered very handsome on account of his black skin. Here, the song focuses on the internal nature of love, suggesting that other suitors failed because they interpreted the test in a shallow way. Since national identification was extremely important during Shakespeare's time, these descriptions would have been extremely funny to Shakespeare's audience. Notice that both Gobbo and Launcelot do not give each other room to speak. Here, Lorenzo claims that there is something inherently wrong with people who do not like music. Because Jessica has just said that she does not like music, this criticism seems to be directed at her. See in text (Act II - Scene VIII). This is a form of humiliation meant to put Shylock back in his place. Portia transforms her love and her wealth into a symbol, this ring. See in text (Act III - Scene I). Notice how the concept of "mercy" has changed here. By this Gratiano means that had he been in charge, Shylock would have faced a jury of twelve men and been sentenced to hang. In this way, Portia mocks the suitors for not only their bad choices but their decision to pursue her in the first place. This picks up the themes present in Portia's storyline in a comedic and low space: like Launcelot, Portia is subject to her father's intervention in her affairs. See in text (Act V). See in text (Act II - Scene II). Read every line of Shakespeare’s original text alongside a modern English translation. "his eye being big with tears..."  what should I gain..."  See in text (Act II - Scene IV). Solanio wishes that he had the appropriate language to talk about Antonio's good character. 3) POETRY and IMAGERY - A translation of Portia’s “Quality of Mercy” speech and an explanation of some of the … "called..."  This is another way in which Shakespeare uses the description of the suitors to make fun of France and Scotland, two of England's political rivals. Belmont. We now meet Portia, who turns out to be more than a spoiled little rich girl. She asks him to “tarry,” to “pause a day or two,” to “forbear awhile”; anything, she tells him, to keep him from possibly choosing the wrong casket. If Antonio positions himself as a martyr who will save Bassanio and the law and order of Venice, then Shylock implicitly becomes the devil who seeks to destroy. See in text (Act IV - Scene I). "confirm'd, sign'd,..."  "alien..."  See in text (Act III - Scene II). This close reading assessment features 12 text-dependent, high-order questions to promote improved reading comprehension and analysis of Shakespeare’s The Merchant of Venice (Act 2, Scene 2). What is interesting about this test, is that Morocco did not choose this casket because of it's appearance as the scroll suggests, but because of what was written on the casket; he reasoned through his decision. Launcelot mistakes the phrase "the devil incarnate," literally the devil embodied in the flesh, for "the devil incarnation," which at this time referred to the birth of Jesus. Portia states that it will be accomplished when they dress as men. Their inability to see past the shallow interpretation of this interaction demonstrates that they don't know what they are seeing, and thus provide an interpretation of events that the audience should not readily accept. " Publication date: to. See in text (Act I - Scene I). Portia gives Antonio a ring to give to Bassanio. See in text (Act IV - Scene I). Notice how religion and imagery of money are mixed within this scene. This suggests that Bassanio doesn't really know anything about Portia and is mostly interested in her wealth. See in text (Act V). As a man hated for his religion and denied all other avenues of work, he cannot survive in Venice without his money and his trade. Notice that Shylock uses animal imagery within this scene to explain his reasoning. File type. While Shakespeare's audience might have found this scene funny, we can also read Launcelot as a despicable character for his lack of honor. Notice that Lorenzo's love for Jessica is introduced with a description of her skin. ...", "The quality of mercy is not strain'd, She uses Shylock as an example to all other 'aliens' that try to use Venetian laws for their own benefit. Privacy | Terms of Service, Endpaper from Journeys Through Bookland, Charles Sylvester, 1922, "refuse to perform your father's will...", "do a great right, do a little wrong;...", "The throned monarch better than his crown; Is fit for treasons,..."  This suggests that the Christians have learned nothing and that the antisemitic hierarchy persists in Venice. Bassanio – an Italian lord; suitor to Portia 3. salerio, solanio, ... plot – the series of events in a literary work 11. sub-plot – a secondary story line in a literary work ... Act 1, scene 3 9. provided that your fortune..."  Notice that Shakespeare tells the audience about the test Portia's father created using Nerissa's lines. See in text (Act III - Scene II). See in text (Act III - Scene II). They are deceptive and lower than animals as animals are even moved by "sweet sounds." While an unsympathetic audience may hear Shylock's words as a reflection of an obsession with money, Shylock highlights the lack of mercy within this sentence. This undermines his characterization of Shylock as a "devil" and lends sympathy to the persecuted Jewish characters. " See in text (Act III - Scene II). They are in Venice to save Antonio. Act 1. Year Published: 1597 Language: English Country of Origin: England Source: Shakespeare, W. (1597).The Merchant of Venice.New York: Sully and Kleinteich. 2) VERSE - Student handouts on iambic pentameter to support part of the workshop. Become a Reader Member to unlock in-line analysis of character development, literary devices, themes, and more! And bid him keep it better than the other...."  Scene 2. This line directly contradicts the vision of Shylock as a money hoarder; it also makes Jessica an unsympathetic character as she clearly does not care about the importance of the ring, "instruction..."  Portia essentially states that power comes from mercy rather than privilege. This worry foreshadows the end of the play and offers a reason for Shylock's behavior later in the play. The Merchant of Venice- Act III, Scene II By: Leila, Chantelle, Abbey, and Arisha Discussion Questions 1. "incarnation..."  See in text (Act III - Scene II). Shakespeare's writing style set up a lot of drama for the reader. Bassanio asks for special treatment that will allow his friend out of the constraints of the law. Act 2: Scene 4 “And never dare Misfortune cross her foot,” ALLUSION Misfortune is capitalized because it is an allusion to mythology. This exchange is a parody of grief. "But more..."  Discussion use for the classroom. least themselves..."  Here, Launcelot performs a parody of a psychomachia, a conflict of the soul generally shown by a devil and an angel sitting on opposite shoulders and fighting it out for the subject's soul. "I look like ..."  Even though Portia was in disguise in Venice, the immediate recognition that occurs in this scene problematizes Bassanio's easy acceptance of Portia's disguise. "inscroll'd..."  This double meaning hints at Launcelot's only solution to Jessica's "damnation": if she is not actually Shylock's daughter but an illegitimate bastard. He justifies his bond in saying that a pound of man's flesh has no monetary value and that he will not profit from it. Notice that unlike Portia's caskets, from which suitors must choose lead instead of gold or silver, Jessica chooses a casket full of gold and silver to throw to Lorenzo. See in text (Act I - Scene III). This is a rather blatant confession of romantic love for Bassanio. "Earth-treading stars that make dark heaven light" ***This is an oxymoron because it is saying that the "earth treading stars" bring light to the dark heavens. An answer key is provided. Shylock uses these examples of arbitrary hatred - such as that towards pigs, cats, and bagpipes - as reasoning for hating Antonio. See in text (Act II - Scene II). See in text (Act II - Scene VIII). Belmont. The Merchant of Venice ... KS4 | Plays. See in text (Act V). In this way, Shakespeare reminds the audience of Portia's problem and returns to the main action of the play. Act III, Scene Three. His final compliment, that she has "proved herself true," is contradicted by the very action of running away with him: she has proved herself untrue to Shylock. Notice that Shylock makes the exact opposite claim to Launcelot's complaint. (2) Portia and Nerissa lack manly qualities. "The man that hath no music in himself, Notice that while Shylock uses animal comparisons to explain his rage, Gratiano metaphorically fuses Shylock with an animal in order to dehumanize him. See in text (Act V). How begot, how nourishèd? "treason there is mingled..."  On Yom Kuppur, one fasts, prays, and undertakes apology and restitution for their sins in order to seek atonement, rather than forgiveness, from God. Converted in this context touches on two of the play's main themes by connoting both a monetary conversion and a religious conversion. Language of marriage and love and choice ; she imagines his failure a! Summary of part X ( Section5 ) in William Shakespeare the dead line answers eNotes.com will help you any... Are given a number of quotations and opinions on the hip.... '' See text... State to a Christian context in which characters rapidly exchange dialogue to build and! 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