It has often been said that one can measure the quality of a dramatic piece by the feedback it evokes; the more the reactions and opinions diverge the better the play. This definitely holds true for The Merchant of Venice. Hardly any other dramatic piece has experienced so many diverse receptions during four hundred years after its publication, as the following comments of two different authors show:
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. (Graham Midgely, qtd. in Holderness: 23)
No other Shakespearean comedy before All’s Well That Ends Well (1602) and Measure for Measure (1604), perhaps no other Shakespearean comedy at all, has excited comparable controversy. (Walter Cohen: 47)
Although the original title of the play, The Most Excellent Historie of the Merchant of Venice (first print 1600), suggested it to be a history play, it had been labelled a comedy until the 18th century due to its happy ending and still today the drama can be found in several reference works under the entry of ‘comedy’. In the 19th century then it was re-interpreted as tragedy, whereas a parallel tradition put the main stress on the fairy tale elements in the piece. The perception of the play in the second half of the 20th century led, for obvious reasons from World War II, to the classification as ‘problem play’ (Schülting: 135).
This paper shall try to solve the problem of assigning TMoV to a specific dramatic category by firstly giving an insight as to what criteria constitute different genres. In a second part, the plot structure will be analysed in order to illustrate that TMoV can indeed be seen as a mixture of different genres, but also to show the weaknesses of some arguments that are provided with the intention of forcing TMoV into certain schemes. The aim of a third section is to investigate the position of the Jew and Shylock, because he seems to be the key character in the reading of TMoV, as the multitude of interpretations of his role in the play demonstrate.
Table of contents
1. Introduction
2. Defining the Genre
2.1. History play
2.2. Tragedy
2.3. Comedy
2.4. Tragicomedy
3. Plot Structure: Comedy or Tragedy?
3.1. Venice
3.1.1. The flesh bond plot
3.1.2. Jessica, Lorenzo and Launcelot Gobbo
3.2. Belmont
3.2.1. The courtship plot
3.2.1.1. The three caskets
4. Shylock: a Changing Character
5. Conclusion
Objectives and Core Themes
This paper examines the generic classification of Shakespeare’s The Merchant of Venice, aiming to resolve the ongoing debate regarding whether it should be categorized as a comedy, tragedy, or tragicomedy by analyzing its plot structure and character roles.
- Analysis of dramatic genre definitions and criteria.
- Evaluation of the play’s structural dichotomy between Venice and Belmont.
- Investigation of the "flesh bond" and "courtship" plot lines.
- Study of Shylock as a pivotal character in shaping the play's reception.
- Reassessment of the play's intended meaning for Elizabethan audiences versus modern perceptions.
Excerpt from the Book
3.1. Venice
The first scene of the play is place in Venice, with Antonio complaining about an inexplicable sadness bothering him. It has been argued, that this sadness with unknown source foreshadows the unfortunate events to come, which might be a little exaggerated, because Antonio stays “unhappy” until the end of the play. What is more probable is, that Antonio is a rather melancholic character according to the theory of the four bodily fluids (black bile). This, however, admittedly enhance the dark undertone in the play. Venice is depicted as a centre of flourishing trade and finance; Antonio is a wealthy merchant, and in the first scene we encounter him discussing with his friends Salanio and Salerio about the instabilities of Antonio’s profession.
Summary of Chapters
1. Introduction: Presents the academic controversy surrounding the play's genre and defines the research aim to investigate its classification and the character of Shylock.
2. Defining the Genre: Explores the historical and theoretical criteria for history plays, tragedies, comedies, and tragicomedies to establish a foundation for analysis.
3. Plot Structure: Comedy or Tragedy?: Compares the contrasting settings of Venice and Belmont, analyzing how their respective plot lines interact and contribute to the play's hybrid nature.
4. Shylock: a Changing Character: Examines the anti-Semitic context and historical perception of Shylock, noting his evolution from a comical villain to a complex tragic figure.
5. Conclusion: Argues that the play should be understood within the context of its own time as a comedy, dismissing modern attempts to force it into narrow genre labels.
Keywords
The Merchant of Venice, Shakespeare, Genre, Comedy, Tragedy, Tragicomedy, Plot Structure, Shylock, Venice, Belmont, Casket Plot, Usury, Elizabethan Drama, Cultural Interpretation, Literary Criticism
Frequently Asked Questions
What is the primary focus of this research paper?
The paper primarily explores the dramatic classification of The Merchant of Venice and addresses why the play has been subject to such diverse interpretations throughout history.
What are the central thematic fields discussed?
The work focuses on genre theory, the structural division between the settings of Venice and Belmont, and the character development of Shylock in relation to anti-Semitism.
What is the primary research question?
The main goal is to determine if The Merchant of Venice can be strictly assigned to a specific genre, such as comedy or tragedy, or if it functions as a mixture of these categories.
Which scientific methods are employed?
The paper utilizes literary analysis of the play's structure, compares it with classical comedy conventions, and incorporates historical context and contemporary academic criticism.
What topics are covered in the main section?
The main section investigates the definition of genres, analyzes the specific plot structures (flesh bond vs. courtship), and explores the evolution of Shylock's character.
Which keywords characterize this paper?
Key terms include genre, Shakespeare, comedy, tragedy, Shylock, plot structure, Venice, Belmont, and literary criticism.
How does the author view the "three caskets" motif?
The author considers the three caskets motif as a device that allows the play to resolve the courtship plot with an innocent and honorable bond, fitting the requirements of a Classical comedy.
Why does the author argue against labeling the play a "tragicomedy"?
The author suggests that such a definition is an "unjust compromise," maintaining that the play was originally written as a comedy and should be primarily interpreted through the standards of its Elizabethan origins.
- Arbeit zitieren
- Nadine Scherny (Autor:in), 2005, Shakespeare's "The Merchant of Venice" - a tragic comedy?, München, GRIN Verlag, https://www.grin.com/document/41977
