大牛哥 -
u3000u3000Analysis of Major Characters
u3000u3000Shylock
u3000u3000Although critics tend to agree that Shylock is The Merchant of Veniceu2019s most noteworthy figure, no consensus has been reached on whether to read him as a bloodthirsty bogeyman, a clownish Jewish stereotype, or a tragic figure whose sense of decency has been fractured by the persecution he endures. Certainly, Shylock is the playu2019s antagonist, and he is menacing enough to seriously imperil the -happiness of Veniceu2019s businessmen and young lovers alike. Shylock is also, however, a creation of circumstance; even in his single-minded pursuit of a pound of flesh, his frequent mentions of the cruelty he has endured at Christian hands make it hard for us to label him a natural born monster. In one of Shakespeareu2019s most famous monologues, for example, Shylock argues that Jews are humans and calls his quest for vengeance the product of lessons taught to him by the cruelty of Venetian citizens. On the other hand, Shylocku2019s coldly calculated attempt to revenge the wrongs done to him by murdering his persecutor, Antonio, prevents us from viewing him in a primarily positive light. Shakespeare gives us unmistakably human moments, but he often steers us against Shylock as well, painting him as a miserly, cruel, and prosaic figure.
u3000u3000Portia
u3000u3000Quick-witted, wealthy, and beautiful, Portia embodies the virtues that are typical of Shakespeareu2019s heroines—it is no surprise that she emerges as the antidote to Shylocku2019s malice. At the beginning of the play, however, we do not see Portiau2019s potential for initiative and resourcefulness, as she is a near prisoner, feeling herself absolutely bound to follow her fatheru2019s dying wishes. This opening appearance, however, proves to be a revealing introduction to Portia, who emerges as that rarest of combinations—a free spirit who abides rigidly by rules. Rather than ignoring the stipulations of her fatheru2019s will, she watches a stream of suitors pass her by, happy to see these particular suitors go, but sad that she has no choice in the matter. When Bassanio arrives, however, Portia proves herself to be highly resourceful, begging the man she loves to stay a while before picking a chest, and finding loopholes in the willu2019s provision that we never thought possible. Also, in her defeat of Shylock Portia prevails by applying a more rigid standard than Shylock himself, agreeing that his contract very much entitles him to his pound of flesh, but adding that it does not allow for any loss of blood. Anybody can break the rules, but Portiau2019s effectiveness comes from her ability to make the law work for her.
u3000u3000Portia rejects the stuffiness that rigid adherence to the law might otherwise suggest. In her courtroom appearance, she vigorously applies the law, but still flouts convention by appearing disguised as a man. After depriving Bassanio of his ring, she stops the prank before it goes to far, but still takes it far enough to berate Bassanio and Graziano for their callousness, and she even insinuates that she has been unfaithful.
u3000u3000Antonio
u3000u3000Although the playu2019s title refers to him, Antonio is a rather lackluster character. He emerges in Act I, scene i as a hopeless depressive, someone who cannot name the source of his melancholy and who, throughout the course of the play, devolves into a self-pitying lump, unable to muster the energy required to defend himself against execution. Antonio never names the cause of his melancholy, but the evidence seems to point to his being in love, despite his denial of this idea in Act I, scene i. The most likely object of his affection is Bassanio, who takes full advantage of the merchantu2019s boundless feelings for him. Antonio has risked the entirety of his fortune on overseas trading ventures, yet he agrees to guarantee the potentially lethal loan Bassanio secures from Shylock. In the context of his unrequited and presumably unconsummated relationship with Bassanio, Antoniou2019s willingness to offer up a pound of his own flesh seems particularly important, signifying a union that grotesquely alludes to the rites of marriage, where two partners become “one flesh.”
u3000u3000Further evidence of the nature of Antoniou2019s feelings for Bassanio appears later in the play, when Antoniou2019s proclamations resonate with the hyperbole and self-satisfaction of a doomed loveru2019s declaration: “Pray God Bassanio come / To see me pay his debt, and then I care not” (III.iii.35u201336). Antonio ends the play as happily as he can, restored to wealth even if not delivered into love. Without a mate, he is indeed the “tainted wether”—or castrated ram—of the flock, and he will likely return to his favorite pastime of moping about the streets of Venice (IV.i.113). After all, he has effectively disabled himself from pursuing his other hobby—abusing Shylock—by insisting that the Jew convert to Christianity. Although a sixteenth-century audience might have seen this demand as merciful, as Shylock is saving himself from eternal damnation by converting, we are less likely to be convinced. Not only does Antoniou2019s reputation as an anti-Semite precede him, but the only instance in the play when he breaks out of his doldrums is his “storm” against Shylock (I.iii.132). In this context, Antonio proves that the dominant threads of his character are melancholy and cruelty.
u3000u3000Bassanio
u3000u3000A gentleman of Venice, and a kinsman and dear friend to Antonio. Bassaniou2019s love for the wealthy Portia leads him to borrow money from Shylock with Antonio as his guarantor. An ineffectual businessman, Bassanio proves himself a worthy suitor, correctly identifying the casket that contains Portiau2019s portrait.
u3000u3000Graziano
u3000u3000A friend of Bassaniou2019s who accompanies him to Belmont. A coarse and garrulous young man, Graziano is Shylocku2019s most vocal and insulting critic during the trial. While Bassanio courts Portia, Graziano falls in love with and eventually weds Portiau2019s lady-in-waiting, Nerissa.
u3000u3000Jessica
u3000u3000Although she is Shylocku2019s daughter, Jessica hates life in her fatheru2019s house, and elopes with the young Christian gentleman, Lorenzo. The fate of her soul is often in doubt: the playu2019s characters wonder if her marriage can overcome the fact that she was born a Jew, and we wonder if her sale of a ring given to her father by her mother is excessively callous.
u3000u3000Lorenzo
u3000u3000A friend of Bassanio and Antonio, Lorenzo is in love with Shylocku2019s daughter, Jessica. He schemes to help Jessica escape from her fatheru2019s house, and he eventually elopes with her to Belmont.
u3000u3000Nerissa - Portiau2019s lady-in-waiting and confidante. She marries Graziano and escorts Portia on Portiau2019s trip to Venice by disguising herself as her law clerk.
u3000u3000Lancelot Gobbo
u3000u3000Bassaniou2019s servant. A comical, clownish figure who is especially adept at making puns, Lancelot leaves Shylocku2019s service in order to work for Bassanio.
u3000u3000The prince of Morocco
u3000u3000A Moorish prince who seeks Portiau2019s hand in marriage. The prince of Morocco asks Portia to ignore his dark countenance and seeks to win her by picking one of the three caskets. Certain that the caskets reflect Portiau2019s beauty and stature, the prince of Morocco picks the gold chest, which proves to be incorrect.
u3000u3000The prince of Aragon
u3000u3000An arrogant Spanish nobleman who also attempts to win Portiau2019s hand by picking a casket. Like the prince of Morocco, however, the prince of Aragon chooses unwisely. He picks the silver casket, which gives him a message calling him an idiot instead of Portiau2019s hand.
u3000u3000Salerio
u3000u3000A Venetian gentleman, and friend to Antonio, Bassanio, and Lorenzo. Salerio escorts the newlyweds Jessica and Lorenzo to Belmont, and returns with Bassanio and Graziano for Antoniou2019s trial. He is often almost indistinguishable from his companion Solanio.
u3000u3000Solanio - A Venetian gentleman, and frequent counterpart to Salerio.
u3000u3000The duke of Venice
u3000u3000The ruler of Venice, who presides over Antoniou2019s trial. Although a powerful man, the dukeu2019s state is built on respect for the law, and he is unable to help Antonio.
u3000u3000Old Gobbo
u3000u3000Lancelotu2019s father, also a servant in Venice.
u3000u3000Tubal - A Jew in Venice, and one of Shylocku2019s friends.
u3000u3000Doctor Bellario - A wealthy Paduan lawyer and Portiau2019s cousin. Doctor Bellario never appears in the play, but he gives Portiau2019s servant the letters of introduction needed for her to make her appearance in court.
u3000u3000Balthasar
u3000u3000Portiau2019s servant, whom she dispatches to get the appropriate materials from Doctor Bellario.
猫帽 -
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陶小凡 -
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