The first question that Shakespeare’s play The Merchant of Venice raises is “What kind of play is this? Is it a comedy, a tragedy or a problem play?” The Merchant of Venice is believed to be written between 1596 and 1598. Already from the very beginning, hardly any other play has experienced so many diverse receptions after its publication. In his essay on The Merchant of Venice, Walter Cohen comments that “no other Shakespeare comedy before All’s Well That Ends Well (1602) and Measure for Measure (1604), perhaps no other Shakespeare comedy at all, has excited comparable controversy.”
Although the title page of the first edition of the play “The Most Excellent Historie of the Merchant of Venice” (first print in 1600) suggested it to be a history play, it had initially been classified as a comedy. In 1623, Heminges and Condell placed The Merchant of Venice among the comedies in the First Folio of Shakespeare’s works.
However, many readers, actors, directors and playgoers still argue about the genre of the play. They have difficulties in defining The Merchant of Venice as a comedy as the following quotation shows: “Indeed, seen from any angle, The Merchant of Venice is not a very funny play, and we might gain a lot if, for the moment, we ceased to be bullied by its inclusion in the comedies.” Today, The Merchant of Venice is often read and played more like a problem play or even a tragedy.
The following term paper deals with the classification of the literary genre of The Merchant of Venice. Does the play belong to the category of comedies or shall it rather be identified as a tragedy or problem play? To assign the play to a specific category, it is necessary to shortly present the criteria of the genres comedy, tragedy and problem play. In chapter 3, the play will be analysed in terms of comic and tragic aspects. The focus is put on the flesh-bond and the courtship plot, the first having its setting in Venice, the second in Belmont. The aim of this chapter is to illustrate that The Merchant of Venice contains both comic and tragic elements. Chapter 4 deals with the complex character Shylock whose perception has changed through the centuries. Is he still the comic villain of the Elizabethan time or can he rather be seen as a victim of extreme anti-Semitism?
By giving an insight into comic and tragic aspects in Shakespeare’s The Merchant of Venice, this term paper shall try to solve the problem of assigning the play to a specific literary genre.
Table of Contents
1. Introduction
2. Defining the genre
2.1 Comedy
2.2 Tragedy
2.3 Problem play
3. Comic and tragic aspects in The Merchant of Venice
3.1 Venice: The flesh-bond plot
3.2 Belmont: The courtship plot
4. Shylock: comic villain or anti-Semitic victim?
4.1 The comic portrayal of Shylock
4.2 The mistreatment of Shylock in the trial scene
5. Conclusion
6. Bibliography
Objectives and Topics
This term paper examines the generic classification of William Shakespeare's "The Merchant of Venice," analyzing whether it should be categorized as a comedy, a tragedy, or a problem play based on its structural elements and historical reception.
- Analysis of the criteria for comedy, tragedy, and the problem play genre.
- Examination of the interplay between the Venetian "flesh-bond" plot and the Belmont "courtship" plot.
- Evaluation of Shylock’s characterization as either a comic villain or a victim of anti-Semitism.
- Investigation into how historical and cultural contexts have shifted the perception of the play over time.
Excerpt from the Book
3.1 Venice: The flesh-bond plot
The play opens in Venice, where the merchant Antonio complains about an inexplicable sadness bothering him: “In sooth, I know not why I am so sad: \ It wearies me; you say it wearies you;” (I. I. 1-2). It had been argued, that Antonio’s sadness foreshadows his fate at the end of the play, but this assumption seems to be a little exaggerated, since the merchant rests “unhappy” till the end of the play. It would therefore be more adequate to characterize Antonio as a melancholic person according to the four humours (black bile). In Shakespeare’s time melancholy was traditionally regarded as a symptom of lovesickness. So, one may conclude that Antonio is hopelessly in love with Bassanio, since there is no female lover for Antonio alluded in the play. In general, Antonio’s melancholy gives the whole play a dark undertone. (cf. SparkNotes Editors, 2003).
Antonio’s friends, Salanio and Salarino try to cheer him up, but with no success. Their conversation seems to be like a “small talk” which has the comic function of a question and answer play. Even their farewell contains comic elements, when Solerio says for example: “Here comes Bassanio, your most noble kinsman, \ Gratiano and Lorenzo. Fare ye well: \ We leave you now with better company” (I. I. 57-59) as well as Salerio’s comment: “I would have stayed till I hade made you merry, \ If worthier friends hat not prevented me.” (I. I. 60-61). When Gratiano enters, he acts like a clown and talks nonsense: “Let me play the fool, \ With mirth and laughter let old wrinkles come,” (I. I. 79-80) and […] “Why should a man whose blood is warm within, \ Sit like his grandsire, cut in alabaster?” (I. I. 83-84).
Summary of Chapters
1. Introduction: The chapter introduces the central research question regarding the genre of "The Merchant of Venice" and outlines the methodology for the subsequent analysis of comic and tragic elements.
2. Defining the genre: This section defines the theoretical criteria for comedies, tragedies, and problem plays, providing the framework for categorizing Shakespeare’s work.
3. Comic and tragic aspects in The Merchant of Venice: The chapter analyzes the play’s two main settings, Venice and Belmont, to demonstrate how their distinct plot structures reflect both comic and tragic themes.
4. Shylock: comic villain or anti-Semitic victim?: This chapter investigates the evolution of the character Shylock, exploring how his portrayal has transitioned from a comic villain in Elizabethan times to a victim of anti-Semitism in modern interpretations.
5. Conclusion: The conclusion synthesizes the arguments, noting that the genre of the play is not fixed but depends on the historical and individual perspectives of the audience.
6. Bibliography: A comprehensive list of primary and secondary sources used in the paper.
Keywords
William Shakespeare, The Merchant of Venice, Comedy, Tragedy, Problem play, Shylock, Venice, Belmont, Flesh-bond plot, Courtship plot, Anti-Semitism, Genre classification, Literary criticism, Elizabethan theatre, Character analysis
Frequently Asked Questions
What is the core subject of this paper?
The paper explores the literary genre of William Shakespeare's "The Merchant of Venice," analyzing whether it functions as a comedy, a tragedy, or a problem play.
What are the central themes discussed in the work?
Key themes include the contrast between justice and mercy, the role of money and commerce, the complexity of Shylock’s character, and the influence of love and marriage.
What is the primary goal of this research?
The aim is to solve the problem of assigning the play to a specific literary category by examining its comic and tragic elements and how they are perceived in different eras.
Which scientific methods are applied?
The work employs a literary analysis approach, drawing upon historical context, genre theory (Aristotle, Boas), and critical evaluations by various Shakespearean scholars.
What does the main body of the paper cover?
It provides a detailed analysis of the structural plots—the "flesh-bond" in Venice and the "courtship" in Belmont—and a character study of Shylock.
Which terms characterize the study?
Significant keywords include Shakespearean comedy, tragic hero, anti-Semitism, fairy-tale elements, and the evolving reception of Shylock.
How is the "flesh-bond" plot in Venice described?
It is analyzed as a setting characterized by trade, finance, and anxiety, providing a tragic counterpoint to the romantic atmosphere of Belmont.
How has the perception of Shylock changed over the centuries?
Originally seen as a "comic villain" in Elizabethan times, post-Holocaust audiences increasingly view him as a victim of extreme anti-Semitism and unfair discrimination.
Why is the play also classified as a "problem play"?
It is labeled a problem play because it raises significant moral questions and social dilemmas that remain ambiguous and lack a clear, satisfactory resolution for the audience.
- Quote paper
- Anni St. (Author), 2010, William Shakespeare's 'The Merchant of Venice' - Comedy, tragedy or problem play?, Munich, GRIN Verlag, https://www.grin.com/document/189478
