What does Shylock say how Antonio looks like?
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Answer:
Shylock says that Antonio looks like a fawning publican
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Shylock, a Jewish lender, agrees to lend Basanio 3,000 duchies for three months. Bassanio assures Shylock that Antonio will guarantee the loan, but Shylock is doubtful because Antonio's fortune is currently investing in commercial projects that may fail. However, Shylock ultimately decided that Antonio's guarantee of the loan would be sufficient, and he asked to speak to him. When Antonio arrives, Shylock confesses, aside, his hatred of the man. Shilok says that Christian Antonio is lending money without interest, which makes it more difficult to practice usury, as money is loaned at exorbitant interest rates. Shylock is also angry at Antonio's frequent public condemnation of Shylock. Antonio makes it clear to Shylock that he's not used to borrowing or lending money, but he decides to exempt on behalf of his friend Basanio. Their conversation leads Antonio to discipline the usury business, which Shylock advocates as a way to prosper.
While calculating interest on a Bassanyo loan, Shylock remembers the many times that Antonio cursed, describing him as "the infidel, throat, dog / spitting on [the Jewish Jabiruddin]" (I.ii.107-108). Antonio answers that he's likely to do it again, and insists Shylock lends him money as an enemy. Such an arrangement, as Antonio claims, would make it easier for Shylock to impose a severe penalty if the loan was not repaid. Antonio reassured that he intended to be friends, Shylock offered the interest-free loan. Instead, he seems to suggest, humorfully, that Antonio loses a pound of his flesh if the loan is not paid in time. Bassanio Antonio warns against entering into such an agreement, but Antonio assures him that he will have no difficulty in paying off debts, because his ships will soon bring him wealth that far exceeds the value of the loan. Shylock tries to ignore Bassanio's doubts, and asks for the profit he will make by buying a pound of Antonio meat. As Shylock heads to the notary's office to sign the bonds, Antonio points to the newly discovered Shylock vineyard: "The Hebrew will turn into a Christian; grow kind" (I.ii.174). Basanio remains skeptical of the arrangement, but Antonio reminds him that his ships will arrive within the next two months.
Shylock is a suspended presence on the stage, and although Antonio may have been the character for whom the play was named, it was Shylock who dominated the imagination of critics and the audience alike. Shylock's physical presence in the play is actually not that great, as he speaks less lines than other characters and doesn't even appear in the last chapter of the play. However, in many ways, the play belongs to Shylock. The use of the Jew as the central villain was not known to Renaissance comedy, as evidenced by the Jew of Malta, a highly popular play by contemporary Christopher Marlow of Shakespeare, which revolves around a malevolent, bloodthirsty Jewish character called Barabbas. However, Shylock disagrees that his hatred appears to stem, at least in part, from the cruelty of his fellow Christians. Exactly how to read Shylock was a matter of some controversy, and even the most convincing scholars would face intense pressure to call him an attractive image of a Jew. One can definitely argue, however, that Shylock receives a much smaller image out of stock than was common in Shakespeare's time, and that, given his constant deterioration, we can even feel something resembling empathy for him.
At the heart of whatever sympathy we might feel with Shylock lies the fact that bonhomie and the good nature that characterizes Antonio's appearance with Bassanio disappear, and his treatment of Shylock is unexpectedly brutal and brutal. Although Bassanio and Antonio need service from Shylock, Antonio still has an urgent driving tone, and his past, present, and future attitude toward Shylock is an exceptional contempt. Shylock clearly explains the depth of this disdain, and wonders out loud why Antonio should lend money when Antonio empties his "tune", or spits on a shylock beard, kicking Shylock as a stray dog does (I.iii.113-114). The frequent repetition of the spit here greatly distinguishes Venice from Antonio, where shipwrecks appear to be dreams full of spices, from Shylock's, where the city is the place of strikes, kicks, and bodily functions. Without these details, Antonio's reckless attitude toward Shylock can easily be forgiven, but the very deep details of spitting and kicks show a violent and less romantic aspect of Antonio, and we can only sympathize with him.
Shylock differs markedly from other great Shakespeare villains, such as Richard III or Iago, in many ways. In the first place, these miscreants see themselves as evil, and while they may try to justify their naughtiness, they also enjoy it, make a side of the audience and consciously compare themselves to you.