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
Objectives and Key Themes
This term paper aims to classify the literary genre of Shakespeare's The Merchant of Venice, determining whether it is a comedy, tragedy, or problem play. The paper analyzes the play's comic and tragic elements, focusing on the contrasting plots set in Venice and Belmont. It also examines the complex character of Shylock, exploring his portrayal as either a comedic villain or a victim of anti-Semitism.
- Genre Classification of The Merchant of Venice
- Analysis of Comic and Tragic Elements
- Examination of the Flesh-bond and Courtship Plots
- Exploration of Shylock's Character and Portrayal
- The Evolution of Interpretations of The Merchant of Venice across time.
Chapter Summaries
1. Introduction: This introductory chapter establishes the central question of the paper: What genre does Shakespeare's The Merchant of Venice belong to? It highlights the ongoing debate surrounding the play's classification as comedy, tragedy, or problem play, citing various critical opinions and historical interpretations. The chapter establishes the context for the paper by noting the play's diverse receptions since its publication and emphasizes the difficulty in definitively categorizing the play within a single genre.
2. Defining the genre: This chapter delves into the criteria for defining comedy, tragedy, and problem plays. It traces the historical evolution of the play's genre classification, noting its initial categorization as a comedy, its later interpretations as a tragedy, and its eventual classification as a problem play. The chapter examines different critical perspectives and explores how evolving societal norms and historical contexts have shaped the interpretation of the play's genre.
3. Comic and tragic aspects in The Merchant of Venice: This chapter analyzes the play's comic and tragic aspects, contrasting the plots set in Venice and Belmont. The Venice plot, centered around the "flesh-bond," is explored as a source of tragic conflict, highlighting the potential for Shylock's suffering and the darker implications of the legal system. The Belmont plot, which involves the romantic pursuits of Portia and Bassanio, offers a contrasting depiction of comedy and romance. The chapter shows that the play skillfully blends both elements, making a definitive genre classification difficult.
Keywords
Shakespeare, The Merchant of Venice, comedy, tragedy, problem play, genre classification, Shylock, anti-Semitism, comic villain, victim, flesh-bond plot, courtship plot, Venice, Belmont, Elizabethan era, literary criticism.
Frequently Asked Questions: A Comprehensive Language Preview of *The Merchant of Venice*
What is this document?
This document provides a comprehensive language preview of an academic paper analyzing Shakespeare's *The Merchant of Venice*. It includes the table of contents, objectives and key themes, chapter summaries, and keywords. The preview is intended for academic use, supporting the analysis of themes in a structured and professional manner.
What are the main objectives of the paper?
The paper aims to classify the literary genre of Shakespeare's *The Merchant of Venice*, analyzing whether it's a comedy, tragedy, or problem play. It examines the play's comic and tragic elements, focusing on the contrasting plots in Venice and Belmont. Crucially, it explores the complex character of Shylock, considering his portrayal as either a comedic villain or a victim of anti-Semitism. Finally, it considers the evolution of interpretations of the play over time.
What are the key themes explored in the paper?
Key themes include genre classification of *The Merchant of Venice*, analysis of comic and tragic elements, examination of the flesh-bond and courtship plots, exploration of Shylock's character and portrayal, and the evolution of interpretations of the play across time.
How is the play's genre classified?
The paper investigates the ongoing debate surrounding the genre of *The Merchant of Venice*, considering its classification as a comedy, tragedy, or problem play. It explores the criteria for each genre and examines how historical context and evolving societal norms have shaped interpretations.
What is the significance of the contrasting plots in Venice and Belmont?
The paper contrasts the "flesh-bond" plot in Venice (centered around Shylock and the trial) which presents tragic conflict, with the romantic courtship plot in Belmont, highlighting the interplay of comedy and tragedy within the play. This contrast makes a definitive genre classification challenging.
How is Shylock portrayed in the paper?
The paper delves into the complex portrayal of Shylock, analyzing arguments for viewing him as either a comedic villain or a victim of anti-Semitism. It examines his portrayal within the context of the play and explores various critical perspectives on his character.
What are the chapter summaries?
The preview provides summaries for each chapter: Chapter 1 introduces the central question of the play's genre; Chapter 2 defines comedy, tragedy, and problem plays; Chapter 3 analyzes the comic and tragic aspects, contrasting the Venice and Belmont plots; and further chapters likely delve deeper into these themes (details not fully provided in the preview).
What are the keywords associated with this paper?
Keywords include Shakespeare, *The Merchant of Venice*, comedy, tragedy, problem play, genre classification, Shylock, anti-Semitism, comic villain, victim, flesh-bond plot, courtship plot, Venice, Belmont, Elizabethan era, and literary criticism.
What is the intended audience for this document?
This document is intended for academic use, supporting the analysis of themes in a structured and professional manner. It serves as a preview to a more extensive academic paper.
- 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
