Shakespeare uses similar comic elements to effect
similar outcomes in his works. Many of his plays
utilize trickery and entomb to accomplish similar
endings.
Trickery plays a major role in The merchandiser of
Venice and drives most of the action, while mistaken
identity, specifically Portias disguise as the
learned attorneys representative, plays a major
role in the resolution of the play. The first
instance of trickery in the play is Bassanios syllabus to
present himself as a financially sound suer, when in
truth, he is not.
Bassanio believes that he would stand a very good
chance of being the successful suitor if he had the
proper money backing him. Bassanio then goes to his
friend Antonio to try to situate a loan to provide for
his wooing.
O my Antonio, had I but the elbow room/To hold a rival
place with one of them [other suitors]/I have a
mind presages me such(prenominal) thrift/That I should
questionless be fortunate! (Shakespeare,
merchant 1.1 173-176)
However, Antonio has, neither the money, nor
commodity/to raise a present sum but urges Bassanio
to go through Venice to try to pay off a loan using
Antonios bond as credit (Shakespeare, Merchant 1.1
178-179).
One of the resident money-lenders of Venice is an
individual called loan shark, a person of Jewish descent.
The practice of vigorish was traditionally banned by the
Christian church. This allowed many Jews, because
their whimsy formation contained no objection to
profitable money-lending, to become the de facto loan
officers. Bassanio approaches Shylock to ask for a
loan, and Shylock seems as if he is going to agree,
however, he first asks to direct with Antonio. It is
revealed in an aside that Shylock harbors a secret
hatred of Antonio because of his religion and
Shylocks belief that Antonios practices drive down
the interest rates that...
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