Describe me clearly the merchant of Venice act 2 scene 8 PLz describe everything small to small thing in the scene ?
Answers
Answered by
8
Summary: Act II, scene viii
Having witnessed Shylock’s rage upon learning of Jessica’s elopement, Solanio describes the scene to Salarino. Shylock, he reports, railed against the loss of his daughter and his ducats, and he shouted a loud, urgent appeal for justice and the law to prevail. Solanio hopes that Antonio is able to pay his debt, but Salarino reminds him of rumors that the long-awaited ships have capsized in the English Channel. The two men warmly remember Bassanio’s departure from Antonio, wherein the merchant insisted that his young friend not allow thoughts of debt or danger to interfere with his courtship of Portia.
Read a translation of Act II, scene viii →
Summary: Act II, scene ix
The prince of Arragon is in Belmont to try his luck at winning Portia’s hand in marriage. When brought to the caskets, he selects the silver one, confident that he “shall get as much as he deserves” (II.ix.35). Inside, he finds a portrait of a blinking idiot, and a poem that condemns him as a fool. Soon after he departs, a messenger arrives to tell Portia that a promising young Venetian, who seems like the perfect suitor, has come to Belmont to try his luck at the casket game. Hoping that it is Bassanio, Portia and Nerissa go out to greet the new suitor.
Read a translation of Act II, scene ix →
Analysis: Act II, scenes v–ix
In these scenes, Shylock is again portrayed as a penny-pinching, but not wicked, master. Indeed, he seems to think himself quite lenient, and when he calls Launcelot lazy, this jibe seems likely to be an accurate description of the buffoonish retainer. Shylock’s fear for his daughter and his distaste for the Venetian revelry paint him as a puritanical figure who respects order and the rule of law above all else, and who refuses to have “shallow fopp’ry” in his “sober house” (II.v.34–35). Shylock’s rhetoric is distinctive: he tends to repeat himself and avoids the digressions common to other characters. As more than one critic has pointed out, he is characterized by a one-track mind.
Happily, Jessica and Lorenzo’s romantic love triumphs, but a number of critics have pointed out the ambiguity in the scene of their elopement. The couple’s love for one another is not in doubt, but Jessica’s determination to bring a hefty store of treasure reminds us that she is still an alien, a Jew among gentiles, who may be insecure about her reception. Indeed, her shame at her boy’s costume may reflect a deeper concern for her place in her husband’s Christian society. Later, at Belmont, she will be all but ignored by everyone save Lorenzo, suggesting that despite her husband and her conversion, she remains a Jew in others’ eyes.
The prince of Morocco’s choice of the caskets is wrong, but his mistake is understandable, and we sympathize with him. There is something casually cruel about Portia’s unwillingness to spare even a moment’s pity for the Moor. Portia is a willful character—while her independence is often appealing, at other times she can seem terribly self-centered. She wants Bassanio as a husband and seems to have no regrets in seeing other suitors sentenced to a life of celibacy.
Salarino and Solanio are the least interesting characters in the play. They are indistinguishable from one another and serve primarily to fill us in on events that take place offstage—in this case, Shylock’s reaction to his daughter’s flight and the parting of Antonio and Bassanio. Shylock’s cries of “My daughter! O, my ducats! O, my daughter!” are meant to be comic—the moneylender is, after all, a comic villain (II.viii.15). He bemoans the loss of his money as much as his loss of Jessica, suggesting that greed is as important to him as familial love. However, we cannot be sure that Shylock really reacted in this way, since we hear the story secondhand. Salarino and Solanio are poking fun at the Jew, and their testimony must be balanced by the concern that Shylock expresses for his daughter in the earlier scenes.
Arragon, a Spanish prince, completes the parade of nationalities competing for Portia. He lacks the nobility of the prince of Morocco, and his arrogance almost makes us feel that he deserves his punishment. His quick dismissal from the scene clears the way for Bassanio.
Act III, scenes i–ii
Next
Take a Study Break

The 10 most important tips for writing the PERFECT common app essay

Great American novels ranked from "pretty great, actually" to "meh"

7 dirty jokes you didn't catch in Shakespeare's plays
AppsContactLegalFacebookTumblrTwitter
© 2017 SparkNotes LLC, All Rights Reserved
View Full Site
Having witnessed Shylock’s rage upon learning of Jessica’s elopement, Solanio describes the scene to Salarino. Shylock, he reports, railed against the loss of his daughter and his ducats, and he shouted a loud, urgent appeal for justice and the law to prevail. Solanio hopes that Antonio is able to pay his debt, but Salarino reminds him of rumors that the long-awaited ships have capsized in the English Channel. The two men warmly remember Bassanio’s departure from Antonio, wherein the merchant insisted that his young friend not allow thoughts of debt or danger to interfere with his courtship of Portia.
Read a translation of Act II, scene viii →
Summary: Act II, scene ix
The prince of Arragon is in Belmont to try his luck at winning Portia’s hand in marriage. When brought to the caskets, he selects the silver one, confident that he “shall get as much as he deserves” (II.ix.35). Inside, he finds a portrait of a blinking idiot, and a poem that condemns him as a fool. Soon after he departs, a messenger arrives to tell Portia that a promising young Venetian, who seems like the perfect suitor, has come to Belmont to try his luck at the casket game. Hoping that it is Bassanio, Portia and Nerissa go out to greet the new suitor.
Read a translation of Act II, scene ix →
Analysis: Act II, scenes v–ix
In these scenes, Shylock is again portrayed as a penny-pinching, but not wicked, master. Indeed, he seems to think himself quite lenient, and when he calls Launcelot lazy, this jibe seems likely to be an accurate description of the buffoonish retainer. Shylock’s fear for his daughter and his distaste for the Venetian revelry paint him as a puritanical figure who respects order and the rule of law above all else, and who refuses to have “shallow fopp’ry” in his “sober house” (II.v.34–35). Shylock’s rhetoric is distinctive: he tends to repeat himself and avoids the digressions common to other characters. As more than one critic has pointed out, he is characterized by a one-track mind.
Happily, Jessica and Lorenzo’s romantic love triumphs, but a number of critics have pointed out the ambiguity in the scene of their elopement. The couple’s love for one another is not in doubt, but Jessica’s determination to bring a hefty store of treasure reminds us that she is still an alien, a Jew among gentiles, who may be insecure about her reception. Indeed, her shame at her boy’s costume may reflect a deeper concern for her place in her husband’s Christian society. Later, at Belmont, she will be all but ignored by everyone save Lorenzo, suggesting that despite her husband and her conversion, she remains a Jew in others’ eyes.
The prince of Morocco’s choice of the caskets is wrong, but his mistake is understandable, and we sympathize with him. There is something casually cruel about Portia’s unwillingness to spare even a moment’s pity for the Moor. Portia is a willful character—while her independence is often appealing, at other times she can seem terribly self-centered. She wants Bassanio as a husband and seems to have no regrets in seeing other suitors sentenced to a life of celibacy.
Salarino and Solanio are the least interesting characters in the play. They are indistinguishable from one another and serve primarily to fill us in on events that take place offstage—in this case, Shylock’s reaction to his daughter’s flight and the parting of Antonio and Bassanio. Shylock’s cries of “My daughter! O, my ducats! O, my daughter!” are meant to be comic—the moneylender is, after all, a comic villain (II.viii.15). He bemoans the loss of his money as much as his loss of Jessica, suggesting that greed is as important to him as familial love. However, we cannot be sure that Shylock really reacted in this way, since we hear the story secondhand. Salarino and Solanio are poking fun at the Jew, and their testimony must be balanced by the concern that Shylock expresses for his daughter in the earlier scenes.
Arragon, a Spanish prince, completes the parade of nationalities competing for Portia. He lacks the nobility of the prince of Morocco, and his arrogance almost makes us feel that he deserves his punishment. His quick dismissal from the scene clears the way for Bassanio.
Act III, scenes i–ii
Next
Take a Study Break

The 10 most important tips for writing the PERFECT common app essay

Great American novels ranked from "pretty great, actually" to "meh"

7 dirty jokes you didn't catch in Shakespeare's plays
AppsContactLegalFacebookTumblrTwitter
© 2017 SparkNotes LLC, All Rights Reserved
View Full Site
Answered by
1
who is the person who is big with tear
Similar questions