Shylock, the Devil and the Meaning of Deception in The Merchant of Venice

2018 ◽  
Vol 51 (2) ◽  
pp. 44-51
Author(s):  
Jonathan Elukin
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
Merchant Of Venice ◽  
Religious Identities ◽  
Men And Women ◽  
The Merchant Of Venice ◽  
The World ◽  
The Devil ◽  
Fallen World

Abstract The article explores Shakespeare’s secularized retelling of the Christian theological narrative of deceiving the Devil, with Antonio playing the role of Christ and Shylock as the Devil. The article argues that recasting the contest between Christ and the Devil in the world of Venice sets the stage for Shakespeare’s larger exploration of the pervasive nature of deceit in human affairs. Although it seems that Shakespeare’s characters are resigned to live in a fallen world where truth is obscured, Portia’s invocation of mercy may be Shakespeare’s attempt to offer some hope of an earthly salvation. The article argues that this portrait of a world filled with deception resonated with Shakespeare’s audience. Men and women in early modern England lived in a world where they often had to hide their religious identities and loyalties. This interpretation challenges more recent attempts to see the play as primarily concerned with race and tolerance.

Shylock, the Devil and the Meaning of Deception in The Merchant of Venice

2018 ◽  
Vol 51 (2) ◽  
pp. 44-51
Author(s):  
Jonathan Elukin
Keyword(s):  
Early Modern ◽  
Early Modern England ◽  
Merchant Of Venice ◽  
Religious Identities ◽  
Men And Women ◽  
The Merchant Of Venice ◽  
The World ◽  
The Devil ◽  
Fallen World

The article explores Shakespeare’s secularized retelling of the Christian theological narrative of deceiving the Devil, with Antonio playing the role of Christ and Shylock as the Devil. The article argues that recasting the contest between Christ and the Devil in the world of Venice sets the stage for Shakespeare’s larger exploration of the pervasive nature of deceit in human affairs. Although it seems that Shakespeare’s characters are resigned to live in a fallen world where truth is obscured, Portia’s invocation of mercy may be Shakespeare’s attempt to offer some hope of an earthly salvation. The article argues that this portrait of a world filled with deception resonated with Shakespeare’s audience. Men and women in early modern England lived in a world where they often had to hide their religious identities and loyalties. This interpretation challenges more recent attempts to see the play as primarily concerned with race and tolerance.

Intertheatricality and Propaganda

2017 ◽  
Author(s):  
Laurence Publicover
Keyword(s):  
Early Modern ◽  
Real World ◽  
The Political ◽  
Merchant Of Venice ◽  
The Merchant Of Venice ◽  
Political Background ◽  
Controversial Nature

This chapter analyses the ways in which the collaborative drama The Travels of the Three English Brothers defends the Sherley brothers’ real-world political endeavours across Europe and Persia through its intertheatrical negotiations. Explaining the political background of those endeavours and their controversial nature, it illustrates how the playwrights liken the Sherleys to the heroes of dramas that had been popular on the early modern stage over the preceding twenty years, in particular Tamburlaine and The Merchant of Venice. It also examines the significance of Francis Beaumont’s specific parody, in The Knight of the Burning Pestle, of an episode in Travels in which the Persian Sophy acts as godfather to the child of Robert Sherley. The chapter concludes with a discussion of the role of playing companies in shaping dramatic output.

Conclusion and Epilogue

2020 ◽  
Author(s):  
Ulrike Strasser
Keyword(s):  
Early Modern ◽  
Identity Formation ◽  
First Century ◽  
Modern World ◽  
Women's Agency ◽  
Men And Women ◽  
The World ◽  
Twenty First Century ◽  
A Site

The conclusion summarizes the main findings of this book’s exploration of the transgenerational and transregional Jesuit chain of influence in the early modern world. It stresses the simultaneously mimetic and individualistic manifestations of missionary masculinity and the role of media in reproducing it. While Jesuit masculinity left traces on societies around the world, the men and women whom the missionaries believed to have converted in turn also reformed European Catholicism. An epilogue takes the story to today’s US-controlled Guam where Chamorro Catholicism provides a site for anti-imperial critique and identity-formation, reflecting a process that began with the events narrated in this book. Notably, twenty-first-century Chamorro death customs still show vestiges of early modern matrilineal traditions and indigenous women’s agency.

scholarly journals Arboreal Tradition and Subversion: An Ecocritical Reading of Shakespeare’s Portrayal of Trees, Woods and Forests

2020 ◽  
Vol 21 (36) ◽  
pp. 85-97
Author(s):  
Andoni Cossio ◽  
Martin Simonson
Keyword(s):  
Close Reading ◽  
Merchant Of Venice ◽  
Richard Ii ◽  
Individual Tree ◽  
Midsummer Night's Dream ◽  
The Merchant Of Venice ◽  
The Tempest ◽  
The World ◽  
Individual Trees

This paper analyses from an ecocritical standpoint the role of trees, woods and forests and their symbolism in William Shakespeare’s Hamlet, Macbeth, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Richard II and The Tempest. The analysis begins with an outline of the representation of trees on stage to continue with a ‘close reading’ of the mentioned plays, clearly distinguishing individual trees from woods and forests. Individual types of trees may represent death, sadness, sorcery and premonitions, or serve as meeting places, while forests and woods are frequently portrayed as settings which create an atmosphere of confusion, false appearances, danger and magic. This reflects a long-standing historical connection between trees and forests and the supernatural in literature and culture. However, while individual trees largely reflect traditional symbology, conventional interpretations are often subverted in Shakespeare’s treatment of forests and woods. From all this we may infer that Shakespeare was not only familiar with the traditions associated to individual tree species and forests in general, but also that he made conscious and active use of these in order to enhance the meaning of an action, reinforce character traits, further the plot and create a specific atmosphere. More subtly, the collective arboreal environments can also be interpreted as spaces in which superstitions and older societal models are questioned in favour of a more rational and reasonable understanding of the world.

Introduction

2018 ◽  
Author(s):  
Anna-Maria Hartmann
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Literary History ◽  
First Generation ◽  
Early Modern England ◽  
Related Material ◽  
Wide Range ◽  
The World ◽  
Early English

Mythographies were books that collected, explained, and interpreted myth-related material. Extremely popular during the Renaissance, these works appealed to a wide range of readers. While the European mythographies of the sixteenth century have been utilized by scholars, the short, early English mythographies, written from 1577 to 1647, have puzzled critics. The first generation of English mythographers did not, as has been suggested, try to compete with their Italian predecessors. Instead, they made mythographies into rhetorical instruments designed to intervene in topical debates outside the world of classical learning. Because English mythographers brought mythology to bear on a variety of contemporary issues, they unfold a lively and historically well-defined picture of the roles myth was made to play in early modern England. Exploring these mythographies can contribute to previous insights into myth in the Renaissance offered by studies of iconography, literary history, allegory, and myth theory.

The Merchant of Venice’s Missing Masque

2019 ◽  
pp. 152-172
Author(s):  
Lizzie Leopold
Keyword(s):  
Early Modern ◽  
Extensive Literature ◽  
Merchant Of Venice ◽  
Trade Winds ◽  
The Merchant Of Venice

In Act II, Scene V, of Shakespeare’s The Merchant of Venice, Bassanio, a Venetian lord, prepares to host a masque, but the trade winds change unexpectedly and Bassanio’s ship sets sail that very evening, cancelling the masked ball. Although this masqued scene is never realized, written, or staged, its mention is enough reason to interrogate its possibility. Through a Derridean decentering of presence, bringing together the extensive literature on Elizabethan masques, early modern understandings of touch and dance, and a deep interrogation of religious tensions, as played out throughout The Merchant of Venice, the masque’s textual absence is at once made an important, albeit impossible, presence. These intersecting texts create a web of social ideologies that describe the early modern moment from which this play emerges. What is unwritten proves powerfully choreographic, the absence itself working to organize bodies in space, separated by religious and gendered difference.

scholarly journals EMPAT SRIKANDI KULINER BALI: PERAN PEREMPUAN DALAM PEMBANGUNAN PARIWISATA BERKELANJUTAN1

2014 ◽  
Author(s):  
I Nyoman Darma Putra
Keyword(s):  
Sustainable Development ◽  
Sustainable Tourism ◽  
Tourism Development ◽  
Tourism Industry ◽  
Men And Women ◽  
The Sustainable Development ◽  
Sustainable Tourism Development ◽  
Job Opportunities ◽  
The World

This article discusses the role of women in supporting sustainable tourism development in Bali by promoting Balinese cuisine to the tourism world. To date, studies on the role of Balinese women in the tourism industry have looked mainly at women as ordinary workers or professionals. In fact, Balinese women operate as culinary entrepreneurs who have not only been successful in introducing Balinese cuisine to the world of tourism but have opened up job opportunities for men and women alike. The data presented in this article was collected through observation of four leading Balinese women who run successful local culinary outlets or restaurants offering local dishes, and is complemented by interviews and other published sources relating to their business activities. The four pioneering women surveyed are Men Tempeh of Gilimanuk (West Bali) serving chicken betutu, the suckling pig restaurant manager Ibu Oka in Ubud, the owner of Made’s Warung Ni Made Masih, and the catering company owner Ibu Warti Buleleng, based in Denpasar. This article concludes that these four Balinese culinary heroines or srikandi have successfully managed to preserve and promote Balinese dishes to the world of tourism while contributing to the sustainable development of Balinese tourism by providing opportunities for tourists to experience local cuisine.

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