How is The Merchant of Venice like a soap opera Essay Example

circulating that he has been seen in the streets mourning the loss of his daughter and his beloved ducats, even calling for justice. However, it should be noted that the loss of his monetary possessions cannot compare to losing his only child. Additionally, Bassanio expresses interest in Portia by describing her as a "lady richly left," revealing his primary motivation for pursuing her. Despite the potential consequences for Antonio, Bassanio is willing to take a risk for a chance at marrying this woman who boasts money and looks as her main attractions.

Although Portia recognizes this fact, she still considers him attractive and suitable, and honestly agrees to the deal. Interestingly, Bassanio believes that love between him and Portia cannot exist without money. Bassanio exemplifies a gambler who is always willing to risk everything, even if he has already lost everything. As he puts it, "In my schooldays, when I had lost one shaft, I shot his fellow in the selfsame flight, The selfsame way, with more advised watch, To find the other forth; and by adventuring both, I oft found both."

Antonio takes pride in managing his finances and believes that he can sleep well despite the risks involved in his investments as they are diversified. However, this belief is proven unsound. There is a perception among Christians that they are superior to Jews because Jews prioritize money over everything else. Christians have strong relationships with each other but do not believe the same for Jews. However, even Bassanio shows an obsession with money and uses Antonio to obtain it whenever he needs it.

Just like in The Merchant of Venice, where Antonio's troubles started

when he borrowed money from Shylock for Bassanio, money is also a major concern for many soap opera characters. Some even go as far as having their entire storylines revolving around the acquisition or lack of it. It's common to see characters discussing how little money they have or finding ways to earn more, with financial problems often leading to dramatic incidents.

The dynamic between Bassanio and Antonio can be likened to a soap opera relationship, as Bassanio declares his love for Antonio and it is their bond that ignites the plot of the play. It appears as though Antonio has feelings for Bassanio that are not reciprocated.

The reason for Antonio's melancholy in Act 1 might be due to his willingness to offer up a pound of his own flesh. This willingness alludes to the idea of unity in marriage, where two partners become "one flesh." Despite Bassanio's spendthrift tendencies and previous unpaid debts, Antonio is still willing to help him. On the other hand, Shylock's daughter Jessica is in love with Lorenzo, a Christian. Her willingness to run away with him shows her strong affection for him, even though it risks her father's anger. This kind of action is common in soap operas.

Although there are barriers like those faced by Katy and Martin in Coronation street, many couples remain deeply in love. Jessica and Lorenzo are an example of such a couple, determined to be together in spite of their different religions. Despite her love for Lorenzo, Jessica still feels guilty for going against her father's wishes. This is evident in her reaction to the music in the final act, which reveals her anguish for

betraying her father. Shylock has a strict rule against music in his house, so when Jessica hears sweet music in Belmont at the end of the play she cannot find happiness. Her words are "I am never merry when I hear sweet music."

In this statement, it is implied that the music has prompted the speaker to contemplate her actions and thoughts towards her father, while also touching upon the themes of love, friendship, and marriage in Shakespeare's play. Shakespeare views marriage as a fundamental virtue, and often concludes his comedies with multiple marriages to signify resolution to the characters' problems. Marriage also symbolizes understanding and overcoming adversity, and those who remain unmarried are often isolated, like Antonio and Shylock in this play. For Bassanio, marriage will relieve his debt; for Portia, it will release her from her father's will; and for Jessica, it will enable her to escape her father.

Soap operas frequently feature weddings, utilizing them in a similar manner as those depicted in The Merchant of Venice. Likewise, both the play and soap operas address the themes of race and religion. The character Shylock, due to his Jewish faith, is reviled and represents everything the audience should avoid becoming, despite his character being portrayed as money-focused and lacking any love in his life. This bitterness is a result of the ill-treatment he has received from Christian characters in the play.

In the beginning of the play, Shylock expresses his hatred for Antonio because of his Christian faith. This reveals his animosity towards Christians, portraying him as a bitter and malicious character. Nevertheless, in one of Shakespeare's most renowned monologues, Shylock asserts, "As a Jew,

don't I have eyes? Don't I have hands, organs, dimensions, senses, emotions, passions, and do not I eat the same food..."

Shylock eloquently reminds the Venetians that people of all cultures are human, capable of bleeding, laughing, and dying if poisoned. He also questions whether wrongs against him will be revenged. Despite being unable to take his pound of flesh from Antonio, Shylock's life is spared by the Duke as an act of "Christian mercy". However, he is forced to allow his daughter to marry a Christian, convert to Christianity against his wishes, and lose half of his wealth.

The character of Shylock in The Merchant of Venice is similar to those found in soap operas, as both will go to extreme lengths to achieve their objectives - even if it means resorting to murder.

Unlike typical soap villains, Shylock showcases a more humane side, allowing readers to empathize and comprehend the factors that fuel his actions. Conventional soap villains tend to lack depth, leaving their motives unexplained. In contrast, the rationale behind Shylock's behavior is clarified. The character's mistreatment by Christians has led him to seek revenge. As he explains to Antonio: "You that did void your rheum upon my beard, and foot me as you spur a stranger cur over your threshold."

Although many individuals facing similar circumstances may have similar feelings, they may not resort to seeking revenge in the same manner. Antonio cannot be portrayed as the protagonist of this play, as his actions provoke many of Shylock's behaviors. Although he is not specifically shown as being harsh towards Shylock, Shylock references it when he states, "You call me misbeliever, cut-throat dog, and spit

upon my Jewish gaberdine." Nevertheless, Portia emerges as the heroine of this story.

Portia embodies the opposite traits of Shylock - youth, beauty, intelligence, and popularity. As a formidable female character, she secures Antonio's victory in court. Responding to Shylock's question about mercy, her extensive answer commences with "The quality of mercy is not strained" and establishes the significance of compassion. According to Portia, humans must exhibit mercy towards others because of the mercy shown to them by God.

The attribute of Mercy, known to be greater than power, majesty or law, originates from God. Portia's comprehension of mercy is based on the understanding of Old and New Testaments by Christians during Shakespeare's time. According to St. Paul in the New Testament, the Old Testament depicts a rigid adherence to rules and the infliction of severe punishments for straying. In contrast, the New Testament emphasizes adherence to the spirit of the law over its literal interpretation, portraying a God who forgives rather than punishes and offers salvation to followers who themselves forgive others. In popular television dramas, there are often strong female characters characterized by their resolve and determination.

Shakespeare explores the feminist theme through Portia, who can be viewed as a basis for other female characters. Although capable, she must dress as a boy in court to be taken seriously. Portrayed as an adept and virtuous heroine, Portia also exhibits negative traits, such as impoliteness towards her suitors when discussing them with her waiting woman, Nerissa.

Despite being courteous and gracious towards them in person, the protagonist lists all the things she dislikes about her suitors and can't identify anything she likes about them. She includes the prince

of Morocco, one of her suitors, in this general disapproval, even though she compliments him to his face, saying "Yourself (renowned prince) then stood as fair as any comer I have look'd on yet for my affection." She tells her friend Nerissa that she would prefer to marry a death's head with a bone in its mouth than either of her suitors, saying "God defend me from these two." The play's focus on laws and rules, including those of Venice as well as those established by contracts and wills, is significant. This tendency to criticize men to friends is common in soap operas.

Although laws and rules can sometimes be used for cruel intentions, they also have the potential to create positive outcomes under the right circumstances. Initially, Portia's virtual confinement through the casket game appears questionable, but her comparison of the game to a lottery system proves accurate. Ultimately, it effectively deters a group of suitors and only the most compatible man wins Portia's hand. The casket game becomes a superior judge of character than any individual person could be. Similarly, the law in Venice produces a similar effect.

Before Portia's arrival, Shylock was known as the city's strictest follower of the law. It seemed as though Antonio's life would end due to the city's adherence to contracts. However, Portia arrived and demonstrated the most judicious manipulation of the law, resulting in the happiest outcome for an Elizabethan audience. Antonio was saved, and Shylock was forced to abandon his religion. This trial was a close call, revealing the terrifying possibility of misusing the law. Without proper guidance, the law can lead to dreadful outcomes. In

soap operas, storylines often revolve around characters being on the wrong or right side of the law. Scriptwriters commonly use miscarriages of justice as story building blocks, such as when the wrong person is sent to prison.

Just like in soap operas, The Merchant of Venice also presents characters who don't take filial piety seriously, showing a lack of respect towards their parents. For instance, Lancelot welcomes his blind and long-lost father by giving him confusing directions and telling him that he's dead. He says, "The young gentleman according to fates and destinies, and such odd sayings, the sisters three, and such branches of learning, is indeed deceased, or as you would say in plain terms, gone to heaven." While this moment of rudeness might be necessary for the comedy of the play, it lays the groundwork for Jessica's deeper hostility toward her father. Jessica doesn't seem to have any specific grievances when she expresses her desire to leave Shylock's house. In fact, in the one scene where she appears with Shylock, he dotes on her in a caring way that could be interpreted as affectionate.

The way she acted after leaving Shylock is suspect. She swaps her dead mother's ring, which was given to her father, for a monkey that she had spotted. Shylock commented on the situation by saying, "I received it from Leah when I was a bachelor: I wouldn't have traded it for a wilderness of monkeys." This frivolous act, where an heirloom is exchanged for a trivial item, creates a melancholic image of how The Merchant of Venice's children value their parents. It also places the reader briefly on Shylock's side.

The

theme of parental respect is portrayed differently among the characters in the play, with Portia being the only one who still honors her parents' wishes by obediently following her father's will. Additionally, death is a common theme between soap operas and The Merchant of Venice, as Antonio faces constant danger throughout the play. Despite knowing the risks involved in agreeing to the bond with Shylock, he remains confident that he will not lose his life.

Despite being offered to have the three thousand ducats paid back to him multiple times, Shylock is determined to have Antonio dead and won't settle for anything besides his pound of flesh. As a result, when Antonio's ships are lost, he confronts death closely and becomes resigned to his fate. The tension is palpable as the reader fears for Antonio's life and he asks his friends not to plead for his life.

Shylock chooses to release Antonio and receive his payment after Portia warns him that if he sheds any Christian blood while cutting the pound of flesh, his lands and goods will be confiscated by the state of Venice. The play and soap operas share the theme of death and their content is not considered suitable for children and teenagers. Eastenders often receives criticism for its portrayal of violence, sex, and adult themes, as it is aired before the 9pm watershed.

Despite being criticized for its anti-Semitic themes, The Merchant of Venice remains a widely popular play. Actor Laurence Olivier may have described it as "horrid" and "cruel," but he also recognized its enduring appeal. The play reflects the anti-Semitic beliefs prevalent during the Elizabethan era when many people believed that Jews

were responsible for killing Christ and colluding with the devil to undermine Christianity.

This religiously-driven hatred led some Christians to believe that if a Jew converted to Christianity, they would be forgiven by the merciful Christian God of love. This idea was shared by those who felt that converting Jews aided in bringing about God's Kingdom. Despite this problematic context, The Merchant of Venice has not received as much criticism as other works.

All of these factors contributed to a prevalent feeling of anti-semitism at the time, leading audiences to take pleasure in the downfall of a Jewish character. Soaps are designed to reflect society during their airing, providing valuable societal insight and information. Much like a soap, the play's structure features a main plot revolving around Shylock's pursuit for revenge against the Christians by taking Antonio's life, as well as a subplot detailing Bassanio's quest to win Portia. Such a setup reflects the construction of an episode of a soap.

Although The Merchant of Venice often incorporates the main issue of the week as its main plot, smaller subplots are usually added to increase tension. While some may compare it to modern soap operas, I personally believe it cannot be considered the first soap opera due to its superior writing quality compared to many soaps. Unlike some two-dimensional characters often seen in soaps, the characters in The Merchant of Venice are well-written and multi-dimensional. Shylock, for example, is not the stereotypical evil character.

At first, he may seem uncomplicated, but upon closer inspection, his actions are driven by a clear motivation. While playing Shylock on stage, Laurence Olivier observed that the character has been portrayed with varying levels

of emotional sentimentality throughout his career. Some actors aim to extract an intensely noble feeling from the trial scene, but in Olivier's honest opinion, this may be too difficult to achieve. He cannot imagine Shylock as being an incredibly good person; rather, he is simply superior to any of the Christians in the play who are genuinely abhorrent and merciless monsters solely focused on acquiring money. When Shylock ultimately exits defeated for the final time, they should feel thoroughly ashamed of themselves.

The speaker describes Shylock as an elderly and respected Jewish man who is acutely aware of the harsh prejudice against his community in Venice. However, it is only when his daughter is taken from him and wedded to a Christian that his anger ignites. This occurrence is considered incredibly disastrous within traditional Jewish families. The speaker maintains that this anti-Jewish sentiment has existed since the beginnings of Christianity and will continue into the future.

Rather than being perceived as a soap opera, The Merchant of Venice can be viewed as a legal drama that explores how individuals can manipulate the legal system for personal gain. Although Shakespeare himself displays some empathy toward Shylock, this play reflects the anti-Semitic attitudes prevalent during Elizabethan England.