Different Types of Love In Merchant Of Venice: Different Types of Love In Merchant of Venice
are the relationships between Portia and Nerissa and Portia and Bassanio? Their relationship is obviously founded on a deep trust and respect for each. Well, it seems like Graziano and Nerissa's hookup says a lot about Bassanio's relationship with Portia and the nature of love and marriage in. William_WaLLace on Gratiano and nerissa relationship I believe in honest relationships, based on trust and understanding. Pictures of.
The other couples in the story…
She asks Lorenzo to confirm his identity before lowering a casket of her father's Ducats. Lorenzo bids her descend, but Jessica demurs, ashamed of her disguise.
Lorenzo persuades her, and she goes inside to bring more of Shylock's Ducats.Merchant of Venice - Act 4 Scene 2 - Inquire the Jew's house out
Lorenzo praises her to his friends: Antonio then arrives to tell Gratiano that the winds are propitious for sailing and that Bassanio is leaving immediately for Belmont to woo Portia. Gratiano expresses his desire to leave the city immediately.
Jessica next appears at Belmont in Act 3, Scene 2, accompanying Lorenzo and Salerio, a messenger delivering a letter to Bassiano from Antonio.
The letter informs him that all Antonio's business ventures have failed, such that he has defaulted on the bond to Shylock, and that Shylock intends to collect on the "pound of flesh".
BBC Bitesize - KS3 English Literature - Themes - Revision 4
Then announces that she and Nerissa, her maid, will stay in a nearby convent while their husbands are away. In her absence she asks Lorenzo and Jessica to manage her estate. In Act 3, Scene 5, Jessica and Gobbo banter in the gardens of Belmont; Gobbo claiming that she is tainted by the sins of her father, and she can only hope that she was an illegitimate child and not actually related to Shylock.
Jessica protests that then she would be visited by the sins of her mother, and Gobbo concurs that she would be damned either way.
Jessica argues that she has been saved by her husband who has converted her to Christianity, to which Gobbo replies that Bassanio of contributing to the raised price of pork by the conversion of Jews who may not eat pork to Christians who do. Lorenzo joins them and Jessica recounts their conversation, leading to further banter between Lorenzo and Gobbo, until Gobbo leaves to prepare for dinner.
In response to questioning by Lorenzo, Jessica praises Portia as great and peerless. The moon shines bright Watercolor on paper by John Edmund Buckley. Act 5, Scene 1—the final scene of the play, and following on from the courtroom scene in Act 4—opens with Jessica and Lorenzo strolling in the gardens of Belmont.
They exchange romantic metaphors, invoking in turn characters from classical literature: No sooner has Stephano informed them that Portia and Nerissa will soon arrive than Gobbo comes with the same news for Bassanio and Gratiano. They decide to await the arrivals in the gardens, and ask Stephano to fetch his instrument and play for them. The man that hath no music in himself, Nor is not moved with concord of sweet sounds, Is fit for treasons, stratagems, and spoils; — Lorenzo, The Merchant of Venice  Portia and Nerissa enter, followed shortly by Bassanio, Antonio, and Gratiano.
After they are all reunited, Nerissa hands Lorenzo a deed of gift from Shylock, won in the trial, giving Jessica all of his wealth upon his death. Fled with a Christian! O, my Christian ducats!
FRIENDSHIP IN MERCHANT OF VENICE by Devashi Jain on Prezi
In this version it is Munday's Jessica analogue, Brisana, who pleads the case first in the courtroom scene, followed by Cornelia, the Portia analogue. The Christian in love with a Jewess appears frequently in exemplum from the 13th to the 15th century.
However, in this story the Christian lover flees alone with the treasure. His daughter, Floripas, proceeds to murder her governess for refusing to help feed the prisoners; bashes the jailer's head in with his keychain when he refuses to let her see the prisoners; manipulates her father into giving her responsibility for them; brings them to her tower, and treats them as royalty; does the same for the remaining ten of the Twelve Peers when they are captured too; helps the Peers murder Sir Lucafere, King of Baldas when he surprises them; urges the Peers to attack her father and his knights at supper to cover up the murder; when her father escapes and attacks the Peers in her tower, she assists in the defence; then she converts to Christianity and is betrothed to Guy of Burgundy; and finally, she and her brother, Fierabras decide that there is no point trying to convert their father to Christianity so he should be executed instead.
Bassanio and Gratiano leave for Venicewith money from Portia, to save Antonio's life by offering the money to Shylock. Unknown to Bassanio and Gratiano, Portia sent her servant, Balthazar, to seek the counsel of Portia's cousin, Bellario, a lawyer, at Padua. The climax of the play takes place in the court of the Duke of Venice. Shylock refuses Bassanio's offer of 6, ducats, twice the amount of the loan.
He demands his pound of flesh from Antonio. The Duke, wishing to save Antonio but unable to nullify a contract, refers the case to a visitor. He identifies himself as Balthazar, a young male "doctor of the law", bearing a letter of recommendation to the Duke from the learned lawyer Bellario. The doctor is Portia in disguise, and the law clerk who accompanies her is Nerissa, also disguised as a man.
As Balthazar, Portia repeatedly asks Shylock to show mercy in a famous speech, advising him that mercy "is twice blest: It blesseth him that gives and him that takes".
However, Shylock adamantly refuses any compensations and insists on the pound of flesh. As the court grants Shylock his bond and Antonio prepares for Shylock's knife, Portia deftly appropriates Shylock's argument for "specific performance". She says that the contract allows Shylock only to remove the flesh, not the "blood", of Antonio. Thus, if Shylock were to shed any drop of Antonio's blood, his "lands and goods" would be forfeited under Venetian laws.
She tells him that he must cut precisely one pound of flesh, no more, no less; she advises him that "if the scale do turn, But in the estimation of a hair, Thou diest and all thy goods are confiscate. She cites a law under which Shylock, as a Jew and therefore an "alien", having attempted to take the life of a citizen, has forfeited his property, half to the government and half to Antonio, leaving his life at the mercy of the Duke. The Duke pardons Shylock's life. Antonio asks for his share "in use" until Shylock's death, when the principal will be given to Lorenzo and Jessica.
At Antonio's request, the Duke grants remission of the state's half of forfeiture, but on the condition that Shylock convert to Christianity and bequeath his entire estate to Lorenzo and Jessica. The different types of love shown in the play is love in friendship, romantic love, love between father and child, and the love of possession of money.
Gratiano and nerissa relationship
The love between father and child is very weak in this play, and shows itself only once, at a poor condition. When Jessica runs away, Shylock barely emphasizes his sorrow of his loss of his daughter.
He mainly screams about the ducats that have been stolen from him by his own daughter. This is where the love of possession of money comes in. Money love is the most prominent with Shylock, as he always charges with interest, unlike Antonio.
The whole reason Bassanio even borrows the money is so that he can go to Belmont, and take his hand in marriage with Portia, a lady he loves. It is emotional when he chooses the right casket, as if it was destiny to.