PDF William Shakespeare ☆ The Merchant of Venice PDF í The Merchant MOBI ☆

Sources and Contexts largely focuses on the character of Shylock and the issue of anti Semitism in the play Materials included are diverse and at times contradictory allowing readers to draw their own conclusions Examples include seventeenth century anti Semitic literature an essay from the same period defending Jews and arguing for their repatriation in England an examination of the Christian theology of the play and readings of The Merchant of Venice as exclusionary for Jews women and people of colorCriticism collects twenty one diverse interpretations In addition to Shylock and the question of anti Semitism these essays address The Merchant of Venice in the context of postcolonial feminist and queer theory and explore relevant issues of economic status and organizationRewritings and Appropriations includes excerpts from dramatic musical and other literary adaptations of The Merchant of Venice as well as a selection of poems most of them from the twentieth century on the character of ShylockA Selected Bibliography is also included


10 thoughts on “The Merchant of Venice

  1. Aw*2*$y2#N***)|yvP1p3|-߸43VC( dxC 7$s):"ڞW\yȄG,K_#b=Ix.^(XM;']CWW9o;0dD EAC|,^|@ Ph   }pO8  1 !AQ"a02RqB#3@Pr@@O`N:,=WӡMRhSPYK"JΉهEGQ1kw6rz/E赻qn+{*Fo&*0jNit(#6tQk;=ԝSя2k`Zu )}!Q'.٩T)X洟{+̌ 4[3hO"NKY8;2:N# 'Ft~*šRV`\z R,11!az*73X{{wK(.TsB(AR%J%Oo'9999BW+0 BNA`@.8."`@  ` 0 h M"t| YP4advM."bk@ C000bdV[8 T2* a+%Un ׺Y\qr12ao0#HjܞHl^V`X}W>=9o6|Ôe 3څwb>3\O֣3vXVL6w)^E(9-oz֛M-ٚ-c*X }( ++[LwlÞ0-ZjyF"|O b_9>'2fc]QE_~'+ @oT֭U̲gzx49-`΀;L>;Aoh+e||N|'?3/Xpw݊鈅Ѷc5I>9]>:Wx_ǽm||hלvKvo.6C;b474`N{{E?Ҹ0p5|DR)]K'‡-ncU2^<SX,وeYN_ZˋWoK6Fj¼׷xaQUPגX>1N|߶tYRDS1 C'`OTl_i5TlL%F%>/a p]ޟD:Fv j^R̎ɯ8{m粍o2+Om>Rw ucf2ΪvBR3,Ļ# 7^r{%`>w^+LO+7fz W}O,xVЛѲS;X/63NaQSjf( nx&E ÎK6ڧL0uD:e)1r#,򒂐:GSD8 ꇱGqq}67[}QuA63T0RH+t!/+|'GZG+Z ;:Wֽb3 C#4ݛLpT{ nz*VqQ."a黳};^+;6g^?%<˻͐Y/:u@{P5]hgX9 z'`p*r! AY#TieGɝ:ǠX)9Q6 js|[V/R@aNbө< BG63;3m_燉W[cZ찀0g]j^#QG=AJ+߀<7ʕ(O"WDw4 ,r`7.S3$MBT䪙n5+.VKLJ&!1AQaq @@O,"`ֲǡ`ĩe/І$h ISTK{&.KDUA>A hDlTG}M'lQd{[ ܢ%. *+$:an A kpOi!Q5vy<>KmPS/@Aj F `SL4@jl`ʢKԩc1gnaj@@4q5-G_ֱ/zzV\`nZeWцRJ`DAx00Yja;L(v}T&w +/^-K0 9@IpU,V /p`Wu1HC93P  hڥ~]s.KAdTmjкPɑ^ډeo6˒ pJ,<Q@H3-,bS ,0Ξ? ELtfo~> ?If94[> 40u|WM0E۲6cp% Nob-] Hy?I/NȄcZKlsh \XXk=b k%*D_W;G x@Boz^)*{yYmΔBSZVjeH&' 5q(+vW13t =h0z)hn)^ay P ҊwT=`gg"尻!nFK3 j v,G é5`|@PahVFQ5%`AW2A%"vJVPi,-\,WNʲTZXZ vT5 3HࣂTݎe%*7VJ-1znKeaIb`,LR<ĉIKV&L@ #/ (;,af. ބ "\%AfFE|%pYT It̵ 4NмdǬ*Qe[L cx0.,k)cƈLLjǕ| EeM 3l R t+ ȥޱͥ\;mF\% Z3)xYD<"M"L;X{Sx̛bA\&򱼫7;$ dS{T."_&)TT%.ML$rY .eb]@xׄ2l&

    #MU#yi8m*Tx~/^1T^u‚-",v(^aMᕙl83%%O^qt/^74q)@;TP![4_1e5E8`@BO@Ah  $" srcset=">d`l$$( ( ,,$,(,,,8@0(,4L\T@PAw*2*$y2#N***)|yvP1p3|-߸43VC( dxC 7$s):"ڞW\yȄG,K_#b=Ix.^(XM;']CWW9o;0dD EAC|,^|@ Ph   }pO8  1 !AQ"a02RqB#3@Pr@@O`N:,=WӡMRhSPYK"JΉهEGQ1kw6rz/E赻qn+{*Fo&*0jNit(#6tQk;=ԝSя2k`Zu )}!Q'.٩T)X洟{+̌ 4[3hO"NKY8;2:N# 'Ft~*šRV`\z R,11!az*73X{{wK(.TsB(AR%J%Oo'9999BW+0 BNA`@.8."`@  ` 0 h M"t| YP4advM."bk@ C000bdV[8 T2* a+%Un ׺Y\qr12ao0#HjܞHl^V`X}W>=9o6|Ôe 3څwb>3\O֣3vXVL6w)^E(9-oz֛M-ٚ-c*X }( ++[LwlÞ0-ZjyF"|O b_9>'2fc]QE_~'+ @oT֭U̲gzx49-`΀;L>;Aoh+e||N|'?3/Xpw݊鈅Ѷc5I>9]>:Wx_ǽm||hלvKvo.6C;b474`N{{E?Ҹ0p5|DR)]K'‡-ncU2^<SX,وeYN_ZˋWoK6Fj¼׷xaQUPגX>1N|߶tYRDS1 C'`OTl_i5TlL%F%>/a p]ޟD:Fv j^R̎ɯ8{m粍o2+Om>Rw ucf2ΪvBR3,Ļ# 7^r{%`>w^+LO+7fz W}O,xVЛѲS;X/63NaQSjf( nx&E ÎK6ڧL0uD:e)1r#,򒂐:GSD8 ꇱGqq}67[}QuA63T0RH+t!/+|'GZG+Z ;:Wֽb3 C#4ݛLpT{ nz*VqQ."a黳};^+;6g^?%<˻͐Y/:u@{P5]hgX9 z'`p*r! AY#TieGɝ:ǠX)9Q6 js|[V/R@aNbө< BG63;3m_燉W[cZ찀0g]j^#QG=AJ+߀<7ʕ(O"WDw4 ,r`7.S3$MBT䪙n5+.VKLJ&!1AQaq @@O,"`ֲǡ`ĩe/І$h ISTK{&.KDUA>A hDlTG}M'lQd{[ ܢ%. *+$:an A kpOi!Q5vy<>KmPS/@Aj F `SL4@jl`ʢKԩc1gnaj@@4q5-G_ֱ/zzV\`nZeWцRJ`DAx00Yja;L(v}T&w +/^-K0 9@IpU,V /p`Wu1HC93P  hڥ~]s.KAdTmjкPɑ^ډeo6˒ pJ,<Q@H3-,bS ,0Ξ? ELtfo~> ?If94[> 40u|WM0E۲6cp% Nob-] Hy?I/NȄcZKlsh \XXk=b k%*D_W;G x@Boz^)*{yYmΔBSZVjeH&' 5q(+vW13t =h0z)hn)^ay P ҊwT=`gg"尻!nFK3 j v,G é5`|@PahVFQ5%`AW2A%"vJVPi,-\,WNʲTZXZ vT5 3HࣂTݎe%*7VJ-1znKeaIb`,LR<ĉIKV&L@ #/ (;,af. ބ "\%AfFE|%pYT It̵ 4NмdǬ*Qe[L cx0.,k)cƈLLjǕ| EeM 3l R t+ ȥޱͥ\;mF\% Z3)xYD<"M"L;X{Sx̛bA\&򱼫7;$ dS{T."_&)TT%.ML$rY .eb]@xׄ2l&

    #MU#yi8m*Tx~/^1T^u‚-",v(^aMᕙl83%%O^qt/^74q)@;TP![4_1e5E8`@BO@Ah  $" class="avatar avatar-100 photo amp-wp-enforced-sizes" height="100" width="100" layout="intrinsic">

    #MU#yi8m*Tx~/^1T^u‚-",v(^aMᕙl83%%O^qt/^74q)@;TP![4_1e5E8`@BO@Ah  $" srcset=">d`l$$( ( ,,$,(,,,8@0(,4L\T@PAw*2*$y2#N***)|yvP1p3|-߸43VC( dxC 7$s):"ڞW\yȄG,K_#b=Ix.^(XM;']CWW9o;0dD EAC|,^|@ Ph   }pO8  1 !AQ"a02RqB#3@Pr@@O`N:,=WӡMRhSPYK"JΉهEGQ1kw6rz/E赻qn+{*Fo&*0jNit(#6tQk;=ԝSя2k`Zu )}!Q'.٩T)X洟{+̌ 4[3hO"NKY8;2:N# 'Ft~*šRV`\z R,11!az*73X{{wK(.TsB(AR%J%Oo'9999BW+0 BNA`@.8."`@  ` 0 h M"t| YP4advM."bk@ C000bdV[8 T2* a+%Un ׺Y\qr12ao0#HjܞHl^V`X}W>=9o6|Ôe 3څwb>3\O֣3vXVL6w)^E(9-oz֛M-ٚ-c*X }( ++[LwlÞ0-ZjyF"|O b_9>'2fc]QE_~'+ @oT֭U̲gzx49-`΀;L>;Aoh+e||N|'?3/Xpw݊鈅Ѷc5I>9]>:Wx_ǽm||hלvKvo.6C;b474`N{{E?Ҹ0p5|DR)]K'‡-ncU2^<SX,وeYN_ZˋWoK6Fj¼׷xaQUPגX>1N|߶tYRDS1 C'`OTl_i5TlL%F%>/a p]ޟD:Fv j^R̎ɯ8{m粍o2+Om>Rw ucf2ΪvBR3,Ļ# 7^r{%`>w^+LO+7fz W}O,xVЛѲS;X/63NaQSjf( nx&E ÎK6ڧL0uD:e)1r#,򒂐:GSD8 ꇱGqq}67[}QuA63T0RH+t!/+|'GZG+Z ;:Wֽb3 C#4ݛLpT{ nz*VqQ."a黳};^+;6g^?%<˻͐Y/:u@{P5]hgX9 z'`p*r! AY#TieGɝ:ǠX)9Q6 js|[V/R@aNbө< BG63;3m_燉W[cZ찀0g]j^#QG=AJ+߀<7ʕ(O"WDw4 ,r`7.S3$MBT䪙n5+.VKLJ&!1AQaq @@O,"`ֲǡ`ĩe/І$h ISTK{&.KDUA>A hDlTG}M'lQd{[ ܢ%. *+$:an A kpOi!Q5vy<>KmPS/@Aj F `SL4@jl`ʢKԩc1gnaj@@4q5-G_ֱ/zzV\`nZeWцRJ`DAx00Yja;L(v}T&w +/^-K0 9@IpU,V /p`Wu1HC93P  hڥ~]s.KAdTmjкPɑ^ډeo6˒ pJ,<Q@H3-,bS ,0Ξ? ELtfo~> ?If94[> 40u|WM0E۲6cp% Nob-] Hy?I/NȄcZKlsh \XXk=b k%*D_W;G x@Boz^)*{yYmΔBSZVjeH&' 5q(+vW13t =h0z)hn)^ay P ҊwT=`gg"尻!nFK3 j v,G é5`|@PahVFQ5%`AW2A%"vJVPi,-\,WNʲTZXZ vT5 3HࣂTݎe%*7VJ-1znKeaIb`,LR<ĉIKV&L@ #/ (;,af. ބ "\%AfFE|%pYT It̵ 4NмdǬ*Qe[L cx0.,k)cƈLLjǕ| EeM 3l R t+ ȥޱͥ\;mF\% Z3)xYD<"M"L;X{Sx̛bA\&򱼫7;$ dS{T."_&)TT%.ML$rY .eb]@xׄ2l&

    #MU#yi8m*Tx~/^1T^u‚-",v(^aMᕙl83%%O^qt/^74q)@;TP![4_1e5E8`@BO@Ah  $" class="avatar avatar-100 photo" height="100" width="100"> says:

    Many years ago I believed this play to be an early experiment in tragi comedy featuring Shylock a nemesis of almost tragic proportions who both because of the sympathies he evokes and the evil determination he represents unbalances the play making the last act in Belmont seem like a hollow exercise in formal completeness More recently I believed that Shylock was essentially a comic villain one dark splash on a predominately sunny canvas that embodies f0r us the fallen world of Venice transformed by the magic of Portia's Belmont I also believe our knowledge of the Holocaust makes it impossible to appreciate the play fully in this way Now after my recent re reading I'm no longer sure what to think For one thing taking the title seriously this time I feel that Antonio the merchant both in his unexplained sadness his love whether erotic or paternal or both for Bassanio and his unredeemed solitariness is extremely important to the meaning of the play I think that Antonio and Shylock in their preoccupations and loneliness are similar but that Antonio unlike Shylock is able to look beneath the surface of things to peer beneath our muddy vesture of decay and hear the music of the spheres as it echoes in the human heart Thus Antonio becomes capable of love and mercy through choice in much the same way that Bassanio chooses the right caskets and Portia chooses the mature way to respond to Bassanio's giving away of her ring Shylock however by willingly suppressing his compassion for another and insisting strictly on justice puts himself beyond mercy and beyond love