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
- 3.2.1. The courtship plot
- 3.1. Venice
- 4. Shylock: a Changing Character
- 5. Conclusion
- 6. References
Objectives and Key Themes
This paper aims to analyze Shakespeare's *The Merchant of Venice* and determine its appropriate genre classification within the context of dramatic forms. It will examine the play's plot structure, exploring arguments for and against categorizing it as a comedy, tragedy, or other genre. The paper will also investigate the character of Shylock and his significance in shaping various interpretations of the play.
- Genre Classification of *The Merchant of Venice*
- Analysis of Plot Structure and its implications for genre
- The Role and Significance of Shylock
- Contrasting Interpretations of the Play over Time
- Evolution of Dramatic Genre Definitions
Chapter Summaries
1. Introduction: This introductory chapter establishes the central question of the paper: how to classify *The Merchant of Venice* generically. It highlights the play's controversial reception throughout history, citing differing opinions on whether it is a comedy or tragedy. The chapter sets the stage for a deeper exploration of genre definitions and a close analysis of the play's plot and characters to address this enduring debate. The wide range of interpretations presented underscores the complexity and richness of the text.
2. Defining the genre: This chapter explores the definitions of various dramatic genres – history play, tragedy, and comedy – to create a framework for analyzing *The Merchant of Venice*. It traces the evolution of these genre classifications, highlighting differences in their historical interpretations and modern understandings. The chapter particularly emphasizes the criteria used to classify plays, drawing distinctions based on historical context, plot structures, and character types. This lays the groundwork for a nuanced examination of how *The Merchant of Venice* fits within (or perhaps defies) these established categories.
3. Plot Structure: Comedy or Tragedy?: This chapter delves into the plot structure of *The Merchant of Venice*, analyzing its comedic and tragic elements to assess its potential genre classification. It divides the analysis into the Venice and Belmont plots, examining subplots and their interconnection to demonstrate the intertwined comedic and tragic elements of the play. The analysis weighs the significance of each plot line in the overall scheme of the play, determining how its dual narrative contributes to the persistent ambiguity around the work's genre.
4. Shylock: a Changing Character: This chapter focuses on the character of Shylock, recognizing him as a key figure whose interpretation significantly impacts the overall reading of the play. It analyzes Shylock's role and significance in shaping the diverse interpretations of *The Merchant of Venice* throughout history. This section likely delves into the complexities of Shylock's portrayal, exploring the interplay of his villainous actions with the potentially sympathetic aspects of his character and the historical context influencing his presentation.
Keywords
Shakespeare, *The Merchant of Venice*, genre classification, comedy, tragedy, tragicomedy, plot structure, Shylock, character analysis, dramatic form, historical context, literary interpretation.
Shakespeare's *The Merchant of Venice*: A Genre Analysis - FAQ
What is the main focus of this academic paper?
This paper analyzes Shakespeare's *The Merchant of Venice*, aiming to determine its appropriate genre classification (comedy, tragedy, or other). It examines the play's plot structure, character development (particularly Shylock), and explores contrasting interpretations throughout history.
What aspects of *The Merchant of Venice* does the paper examine?
The paper delves into the play's plot structure, separating it into the Venice and Belmont plots and analyzing their subplots. It also conducts a detailed character analysis of Shylock, exploring his role and significance in shaping interpretations of the play. Furthermore, it examines the evolution of dramatic genre definitions and how these definitions affect the understanding of *The Merchant of Venice*.
What are the key themes explored in the paper?
Key themes include genre classification of *The Merchant of Venice*, analysis of plot structure and its implications for genre, the role and significance of Shylock, contrasting interpretations of the play over time, and the evolution of dramatic genre definitions.
How is the plot structure of *The Merchant of Venice* analyzed?
The plot is analyzed by dividing it into two main settings: Venice and Belmont. Each setting's subplots are examined, and their interconnections are explored to determine how the comedic and tragic elements intertwine and contribute to the ambiguity surrounding the play's genre.
What is the significance of Shylock in the paper's analysis?
Shylock's character is central to the analysis. The paper explores how different interpretations of Shylock influence the overall understanding and genre classification of the play. It likely analyzes the complexities of his portrayal, considering both his villainous actions and any potentially sympathetic aspects.
What genres are considered in classifying *The Merchant of Venice*?
The paper considers several dramatic genres, including history play, tragedy, comedy, and tragicomedy, to determine the most appropriate classification for *The Merchant of Venice*. The definitions of these genres are explored and compared to the play's characteristics.
What is the structure of the paper?
The paper is structured with an introduction, chapters defining genre, analyzing plot structure, focusing on Shylock's character, and concluding with a summary and references.
What are the keywords associated with this paper?
Keywords include Shakespeare, *The Merchant of Venice*, genre classification, comedy, tragedy, tragicomedy, plot structure, Shylock, character analysis, dramatic form, historical context, and literary interpretation.
Where can I find the full text of this academic paper?
This FAQ provides a summary. The full text of the academic paper is not included here. Further information on obtaining the full text would need to be provided by the publishing company.
- Quote paper
- Nadine Scherny (Author), 2005, Shakespeare's "The Merchant of Venice" - a tragic comedy?, Munich, GRIN Verlag, https://www.grin.com/document/41977
