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The Merchant of Venice has a contrasting structure with a number of juxtaposed and contrasting elements in it. Shakespeare leads us to see the duplicity and the dualistic viewpoint of human beings through the contrasting attitudes of a Jew and a Christian. One of the most distinguished contrasting things in the juxtaposed and contrasting elements of Venice and Belmont is the value of the visible things and the invisible things.

Venice could be considered a center of commercial trades, while Belmont as a center of romantic love. In Venice, poor Bassanio wants to go to Belmont to woo the rich heiress Portia and to do so he borrows money from his friend Antonio. Antonio doesn’t have cash to afford the needs of Bassanio so he borrows the money from the Jew, Shylock. Antonio shows extreme friendship by risking his own life, while the Jew Shylock wants to have his daughter, Jessica, back as dead with his lost bags of ducats and precious stones. In Venice, the value of visible things is focused on the job of usurer and a bond that Shylock maintains to the end against a Christian, Antonio. In Belmont, suitors come from all over the world to court Portia according to the will of her dead father. It states that who chooses the right casket can marry Portia. One of the suitors, Bassanio chooses the visibly most invaluable lead casket which holds the most valuable picture of Portia.

In Venice, Shylock is sentenced to lose all his possessions instead of succeeding in taking the vengeance he desires while in Belmont Bassanio succeeds in marrying Portia and receiving happy news of Antonio’s recovery of his wealth. In Venice the usurer Shylock could not keep his wealth or the daughter that he has tried hard to keep, while in Belmont Bassanio gets the fortune without effort or virtue. Portia is supposed to follow her father’s will but she lets Bassanio get a hint to choose the right casket by her own will. These contrasting elements deliver the message that life depends not only on one’s own will but also on Fortune.

The drama ends with the ado about rings that Bassanio and Gratiano gave to the disguised lawyer and the clerk, Portia and Nerrisa. Through this final scene we get the writer’s message that the law or the ring is the only sign of justice or love, not the substantial entity itself. Real value is invisible justice and love, not the mere sign of justice, the law and sign of love, the ring. As mentioned above, the theme ideas of The Merchant of Venice are revealed effectively through the juxtaposed and contrast elements of Venice and Belmont.

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권호기사 목록 테이블로 기사명, 저자명, 페이지, 원문, 기사목차 순으로 되어있습니다.
기사명 저자명 페이지 원문 목차
셰익스피어의 법률 희곡『베니스의 상인』과『자에는 자로』를 통한 셰익스피어의 법률관 연구 = (A)Study on Shakespeare's Legal Attitude by Analyzing The Merchant of Venice and Measure for Measure 권오숙 pp.405-430

감시와 처벌 = Surveillance and Punishment : the Aspect of Power in Measure for Measure : 『자에는 자로』에 나타난 권력의 속성 김종환 pp.431-451

『유머 벗기기』에 시도된 벤 존슨의 풍자극적 실험 = Ben Jonson's Experiment of Comical Satire in Every Man out of His Humour 도인환 pp.453-480

셰익스피어 시대의 엘리자베스 마드리갈 = (The)Elizabethan Madrigal in the Age of Shakespeare 변혜련 pp.481-502

송현옥의 <햄릿: 여자의 아들>에서 은유의 작동 = (The)Use of Metaphors in Songhyunok's Hamlet: Son of a Mother 이용은 pp.503-522

『베니스의 상인』의 병치와 대조의 구성을 통한 주제 = (The)Theme Ideas revealed through the juxtaposed and contrasting structure in The Merchant of Venice 이행수 pp.523-541

셰익스피어의『오셀로』에 내재된 극적장치 = (The)Dramatic Device in Shakespeare's Othello 임도현 pp.543-566

민족시인의 형성 = Becoming the National Poet : Shakespeare in Restoration and Eighteenth-Century England : 왕정복고기와 18세기 영국의 셰익스피어 황효식 pp.567-592

Portia's Dissimulations Unveiled in The Merchant of Venice Kyung Ju Lo pp.593-611

참고문헌 (16건) : 자료제공( 네이버학술정보 )

참고문헌 목록에 대한 테이블로 번호, 참고문헌, 국회도서관 소장유무로 구성되어 있습니다.
번호 참고문헌 국회도서관 소장유무
1 Belsey, Catherine, “Love in Venice” Shakespeare and Sexuality. Eds. Catherine M.S. Alexander and Stanley Wells. Cambridge: Cambridge UP, 2001.72-91. Print. 미소장
2 Bloom, Harold. William Shakespeare’s The Merchant of Venice. New York:Chelsea House Publishers, 1986. Print. 미소장
3 Shakespeare et la tragédie antique 네이버 미소장
4 Darcy, Robert F. “Freeing Daughters on Open Markets: The Incest Clause in The Merchant of Venice” Ed. David Bevington. Shakespeare. Oxford:Blackwell P, 2002. 189-200. Print. 미소장
5 Geary, Keith. “The Nature of Portia’s Victory: Turning to Men in The Merchant of Venice.” Shakespeare Survey 37 (1987): 55-68. 미소장
6 Mentz, Steven R. “The Fiend Gives Friendly Counsel: Launcelot Gobbo and Polyglot Economics in The Merchant of Venice”, Money and the Age of Shakespeare. Ed. Linda Woodledge. New York: Palgrave Macmillan, 2003. 177-187. Print. 미소장
7 Midgley, Graham. “The Merchant of Venice: A Reconsideration.” The Merchant of Venice: A Casebook. Ed. John Wilders. London: Macmillan, 1969. 188-203. Print. 미소장
8 Netzloff, Mark. “The Lead Casket: Capital, Mercantilism, and The Merchant of Venice Ed. Linda Woodbridge. Money and the Age of Shakespeare. New York: Palgrave Macmillan, 2003. Print. 미소장
9 Ornstein, Robert. Shakespeare’s Comedies. New York: U of Delaware P, 1986. 미소장
10 Rozmovits, Linda. Shakespeare & the Politics of Culture in Late Victorian England. Baltimore & London: The Johns Hopkins UP, 1998. 미소장
11 Sinfield, Alan. “How to read The Merchant of Venice without being heterosexist”Ed. Terence Hawkes. Alternative Shakespeares. London & New York, 1996. Print. 미소장
12 Scott, Michael. Shakespearean and the Modern Dramatist, London: Macmillan, 1989. Print. 미소장
13 Smith, Peter J. Social Shakespeare. London: Macmillan Press, 1995. Print. 미소장
14 Sokol, B. J. Shakespeare, Law,& Marriage. New York: Cambridge UP, 2003. Print. 미소장
15 Sousa, Geraldo U. Shakespeare’s Cross-Cultural Encounters. London: Macmillan 1999. Print. 미소장
16 Wells, Robin Headlam. Shakespeare’s Humanism. Cambridge: Cambridge UP, 2005. Print. 미소장

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