the merchant of venice 评论
作者&投稿：睢堂 （若有异议请与网页底部的电邮联系）
阿尔·帕西诺扮演的犹太老头夏洛克太悲剧了，几段控诉令人动容，在那个挤兑犹太人，上流社会抱团欺负人的社会里想要尊严及公平谈何容易，女儿偷了他钱贴男人，债没要回，被法官摆了一道，次奥下场忒惨了。巴萨尼奥这角色实在讨厌，不学无术奢侈浪费借钱装逼，安东尼奥是拿生命去爱你啊，你好意思去追你家女神吗？对得起安东尼奥那无怨无悔的深情吗！！！！！！！(安东尼奥这角色虽然伪善，可杰瑞米叔太帅了，打KISS什么的基情四射.........)
他是安东尼奥的朋友，他爱上富家女鲍西亚，但是没钱求婚，朋友安东尼奥为了他向犹太人高利贷者夏洛克借了三千金币，并为此引发了一系列争端。最后是他的妻子鲍西亚假扮成律师完美的解决了这件事。
他的品质就表现在对爱情真谛的追求
在“三匣选偶”的小插曲中，他既没有像摩洛哥亲王那样选择外表华丽的金匣子，也没有像阿拉贡亲王那样选择彰显尊容的银匣子，而是选择了貌不惊人的铅匣子。“外观往往和事物的本身完全不符，世人却容易为表面的装饰所欺骗。……可是你，寒伧的铅，你的形状只能使人退走，一点没有吸引人的力量，然而你的质朴却比巧妙的言辞更能打动我的心，我就选择你吧，但愿结果美满！”这一段热血沸腾的言语表明了巴萨尼奥对鲍西娅的感情是真纯无比的，可以透过铅匣表面的寒伧看到内在的真正价值，而这一点不仅仅是鲍西娅所爱的，也是每一个青年应该追求的爱情真谛，应摆正的“恋爱观”——揭开虚伪的面纱，让爱情真实地、毫无保留地自然流淌，让真爱围绕在我们身边，涤荡那些被金钱和欲望所牢牢把持着的腐朽、机械的魂灵，让一切的一切向着真、善、美的方向发展。在本剧中，巴萨尼奥与鲍西娅之间的真心相爱和犹太人夏洛克宁愿失去女儿，也不愿放下珠宝的选择形成了强烈的对比，在中世纪直到今天人们的价值观上显示出了深刻的意义——爱情本身就是一种“财富”。
Character Profiles
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Duke of Venice: This character has a minor role in the play, he oversees the trial at the end of the play and presents Shylock with the terms of his release. His character is an example of the “Christian mercy” that Christians preached at the time.
The Prince of Morocco and the Prince of Arragon: These minor characters are suitors to Portia and end up losing in her father’s lottery. These characters are meant to show the value of the lottery because their reasoning for choosing the wrong boxes reveal the bad qualities for a husband to have. They stand in contrast to Bassanio’s correct choice—he is the ideal husband.
Antonio: A Venice merchant who is best friends with Bassanio and often supports him with loans. He is wealthy, but at the start of the play, all of his money is tied up with his five ships which are at sea. He takes a loan from Shylock, a Jewish money lender who he has mistreated in the past. The forfeiture of the bond is a pound of his flesh. Antonio is an example of what is considered a “good Christian” in the play—he is generous and by their standard, “merciful.”
Bassanio: He is best friends with Antonio and often depends on him for money. He owes several debts to Antonio, but requires another loan in order to go to Belmont and attempt to win Portia. He wins her by making the wise decision in the lottery her father has set up and becomes her husband. He shows himself to be a loyal friend to Antonio when he returns to help him escape the forfeiture of the loan from Shylock. His character is an ambiguous figure in the play because he shows himself to be loyal to Antonio, but his giving up of the ring Portia gave him is an act of disloyalty.
Lorenzo: Lorenzo is a rather passive character in the play. He is presumably in love with Jessica, but shows as much interest in her father’s wealth, which he inadvertently obtains through Shylock’s downfall. He steals Jessica from her father’s house and takes her away to marry her.
Shylock:Shylock’s character is a difficult one to discuss because the play can be interpreted in different ways based upon his character’s significance. He is a Jewish money lender in Venice and he is often persecuted by the Christians, most notably Antonio. He loans Antonio three thousand ducats on the promise that if it is not repaid, the forfeiture shall be a pound of Antonio’s flesh. This plot to kill Antonio is unethical, but he cites valid reasons for his hatred. If Shylock is viewed only as a cruel villain, then the play is one of the virtues of “Christian mercy.” However, if his downfall and loss of daughter, religion and wealth at the conclusion are seen as the tragic end of a man who was abused by the other characters in the play, then the “Christian mercy” must be seen as cruelty in disguise.
Launcelot: Launcelot is the “clown” in this play and he offers comic relief in several scenes. His role is non-critical to the plot, he quits his service of Shylock and becomes Bassanio’s servant and acts as a messenger between the Christians.
Portia: Portia is the heiress to her father’s wealth and many suitors are seeking her hand in marriage. However, to become her husband the suitor must make the right choice between three caskets (gold, silver, and lead) which each bear an inscription. Bassanio seeks and wins her hand in marriage. Her character seems upstanding and honorable, but she uses a disguise to trick her husband into breaking his promise to her to keep the ring she gave him. She also saves Antonio from the hands of Shylock and so is key in the “happy” ending.
Nerissa: Nerissa is Portia’s waiting woman who marries Gratiano at the same time Portia is married to Gratiano. Her role is minor, she uses the same act of trickery to prove her husband unloyal to her in keeping his promise.
Jessica: This is Shylock’s daughter who shows shame for her father’s actions in the play. She steals from her father and disobeys him in marrying the Christian Lorenzo. She does show some remorse for her own actions and is often portrayed as mourning the loss of her father at the end of the play. Her character is an example of the virtues of Christianity as she converts to the religion to avoid damnation for her father’s “evil” Jewish ways
http://www.novelguide.com/merchantofvenice/characterprofiles.html
2.Analysis of Major Characters
Shylock
Although critics tend to agree that Shylock is The Merchant of Venice’s most noteworthy figure, no consensus has been reached on whether to read him as a bloodthirsty bogeyman, a clownish Jewish stereotype, or a tragic figure whose sense of decency has been fractured by the persecution he endures. Certainly, Shylock is the play’s antagonist, and he is menacing enough to seriously imperil the -happiness of Venice’s businessmen and young lovers alike. Shylock is also, however, a creation of circumstance; even in his single-minded pursuit of a pound of flesh, his frequent mentions of the cruelty he has endured at Christian hands make it hard for us to label him a natural born monster. In one of Shakespeare’s most famous monologues, for example, Shylock argues that Jews are humans and calls his quest for vengeance the product of lessons taught to him by the cruelty of Venetian citizens. On the other hand, Shylock’s coldly calculated attempt to revenge the wrongs done to him by murdering his persecutor, Antonio, prevents us from viewing him in a primarily positive light. Shakespeare gives us unmistakably human moments, but he often steers us against Shylock as well, painting him as a miserly, cruel, and prosaic figure.
Portia
Quick-witted, wealthy, and beautiful, Portia embodies the virtues that are typical of Shakespeare’s heroines—it is no surprise that she emerges as the antidote to Shylock’s malice. At the beginning of the play, however, we do not see Portia’s potential for initiative and resourcefulness, as she is a near prisoner, feeling herself absolutely bound to follow her father’s dying wishes. This opening appearance, however, proves to be a revealing introduction to Portia, who emerges as that rarest of combinations—a free spirit who abides rigidly by rules. Rather than ignoring the stipulations of her father’s will, she watches a stream of suitors pass her by, happy to see these particular suitors go, but sad that she has no choice in the matter. When Bassanio arrives, however, Portia proves herself to be highly resourceful, begging the man she loves to stay a while before picking a chest, and finding loopholes in the will’s provision that we never thought possible. Also, in her defeat of Shylock Portia prevails by applying a more rigid standard than Shylock himself, agreeing that his contract very much entitles him to his pound of flesh, but adding that it does not allow for any loss of blood. Anybody can break the rules, but Portia’s effectiveness comes from her ability to make the law work for her.
Portia rejects the stuffiness that rigid adherence to the law might otherwise suggest. In her courtroom appearance, she vigorously applies the law, but still flouts convention by appearing disguised as a man. After depriving Bassanio of his ring, she stops the prank before it goes to far, but still takes it far enough to berate Bassanio and Graziano for their callousness, and she even insinuates that she has been unfaithful.
Antonio
Although the play’s title refers to him, Antonio is a rather lackluster character. He emerges in Act I, scene i as a hopeless depressive, someone who cannot name the source of his melancholy and who, throughout the course of the play, devolves into a self-pitying lump, unable to muster the energy required to defend himself against execution. Antonio never names the cause of his melancholy, but the evidence seems to point to his being in love, despite his denial of this idea in Act I, scene i. The most likely object of his affection is Bassanio, who takes full advantage of the merchant’s boundless feelings for him. Antonio has risked the entirety of his fortune on overseas trading ventures, yet he agrees to guarantee the potentially lethal loan Bassanio secures from Shylock. In the context of his unrequited and presumably unconsummated relationship with Bassanio, Antonio’s willingness to offer up a pound of his own flesh seems particularly important, signifying a union that grotesquely alludes to the rites of marriage, where two partners become “one flesh.”
Further evidence of the nature of Antonio’s feelings for Bassanio appears later in the play, when Antonio’s proclamations resonate with the hyperbole and self-satisfaction of a doomed lover’s declaration: “Pray God Bassanio come / To see me pay his debt, and then I care not” (III.iii.35–36). Antonio ends the play as happily as he can, restored to wealth even if not delivered into love. Without a mate, he is indeed the “tainted wether”—or castrated ram—of the flock, and he will likely return to his favorite pastime of moping about the streets of Venice (IV.i.113). After all, he has effectively disabled himself from pursuing his other hobby—abusing Shylock—by insisting that the Jew convert to Christianity. Although a sixteenth-century audience might have seen this demand as merciful, as Shylock is saving himself from eternal damnation by converting, we are less likely to be convinced. Not only does Antonio’s reputation as an anti-Semite precede him, but the only instance in the play when he breaks out of his doldrums is his “storm” against Shylock (I.iii.132). In this context, Antonio proves that the dominant threads of his character are melancholy and cruelty.
http://www.sparknotes.com/shakespeare/merchant/canalysis.html
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