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Antonio (The Merchant of Venice) - Wikipedia

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The Merchant of Venice, Antonio, borrowed money from Shylock, a Jewish In Act 4 Sc.1 Portia, now betrothed to Bassanio, has secretly . Relationship between fathers and daughters? . 'She accused me of rape and told me I was gay and sterile': an A former taxi driver who was illiterate until he was. William Shakespeare may have been gay, the artistic director the Mr Doran said the character of Antonio in The Merchant of Venice is “absolutely clearly in love with the young man Bassanio and sometimes that is kind of toned down”. which he writes of a triangular relationship with a man and a woman. In the last three decades research on the relationship between landscape and national .. Kent Cartwright focuses on Portia, ZKR RIIHUV ERXQW\ DQG a beautiful Venetian woman, live happily married in Venice for some time. 2 Jeremy Black, The Grand Tour in the Eighteenth Century (Stroud: Sutton, ), p.

Lorenzo cannot get in a word for the boisterous Gratiano who makes sport of Antonio's melancholy telling him that he is too serious and that he himself would rather go through life acting foolish.

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After Lorenzo and Gratiano leave Bassanio tries to put Antonio: Well, tell me now, what lady is the same To whom you swore a secret pilgrimage That you today promised to tell me of? He laments his ill fortune but cheers at the thought of solving his problems by marrying Portia, a woman who has come into a sizeable inheritance from her father and whom he thinks is predisposed to choose him.

He compares himself with Jason and his quest for the Golden Fleece. He beseeches Antonio to back this venture knowing he is not likely to be refused by his generous benefactor. Indeed, Antonio, despite the fact that his capital is already at risk elsewhere, gives him a letter of credit and wishes him well.

Line #24 Main/LoverAndBeloved - TV Tropes

Later Antonio enters the rialto to assure Shylock that he will be bound for the 3, ducats Bassanio wishes to borrow. Antonio has belittled and harassed Shylock in public, and he loathes him because when Christian friends of his owed money to the Jews he paid off the debts, thus depriving them of their interest.

Act 2 Antonio makes a brief appearance in this act in scene 6 when he runs into Gratiano and tells him he has twenty people out looking for him.

He goes on to say there will be no masque and that Bassanio is at that moment preparing to leave for Belmont to woo Portia. Act 3 We hear no more from Antonio until after Bassanio wins the hand of the wealthy Portia by correctly guessing which of three caskets holds her portrait. Gratiano proposes to Nerissa, Portia's maid in waiting and friend. In the midst of his merrymaking he receives a letter detailing Antonio's misfortune.

None of the ships have returned to port and as such he has no funds to pay the bond with. His flesh is forfeit to the Jew who is intent on having it. He insists he does not regret helping Bassanio and even does not wish him to feel guilty. He only asks him to come and attend his death so that he can see him one last time.

Bassanio, along with Gratiano, rushes off with three times the amount owed and his wife's blessing. The gentlemen leave in such a rush that they cannot consummate their marriages. The United States government attempted to ban the film, but Eleanor Roosevelt persuaded them not to.

An older and a younger boy have a homoerotic friendship, while the science teacher seems keen on patting the head and hands of the long-haired, 'sissy' younger boy.

Said young man has also had a relationship with a middle-aged bookshop owner, who is deeply in love with him and wants to give him a home and a job for life. In the book, the schoolboy lovers are fourteen and twelve; in the film, they are fifteen and thirteen.

Peyrefitte met his twelve-year-old beloved on the set. One of the three main characters has a relationship with a younger boy, of whom he's protective, but who seems to be a more mature person than his lover. Both partners are a bit [[GreenEyedMonster jealous]] over their younger lover. We also see another man in his 20s whom it's implied the doctor has had sex with before, perhaps [[TheOldestProfession paying him for it]].

Originally, the age difference wasn't intended to be so large: Schlesinger had wanted Alan Bates, then in his mid-thirties, for the part of the doctor, but Bates couldn't do it so Peter Finch, mid-fifties, played the role instead. Schlesinger got the idea for the film from a relationship he himself had had with a much younger man. They'd broken up but remained on amicable terms.

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Incidentally, Alan Bates also had relationships with younger men. Philippe is a fairly wealthy businessman who has no children and whose marriage has become a formality. He is in love with Paul and sexually attracted to him. He [[MealTicket pays for Paul to stay at a fancy resort and have riding lessons]], comforts him when he gets his heart broken by a girl, supports him in his ambition to be an actor, and despite his own private feelings of [[GreenEyedMonster jealousy]] and possessiveness, encourages Paul to go off with friends his own age, in the interests of Paul's development.

Paul, though basically heterosexual, is happy to sleep with Philippe and loves him back, "in a different way", according to Blain. Being fatherless, neglected by his family, and poor, he is grateful for all Philippe gives him.

A thirteen-year-old boy, also fatherless, poor and neglected by his family, is taken up by various men and also by one woman, who a friend of one of the men.

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They all have sex with him. Try miming this speech. See how much of its passion you can convey solely through facial, hand and body language.

Visions of Venice in Shakespeare | Marta Bocchi -

Apart from the Bible and Koran, why are these lines the most quoted about the meaning and practice of mercy? Does Portia move about when she delivers this speech? Does she stand close to or at a distance from Shylock? The suspense in The Court Scene reaches its climax when Portia pronounces that Shylock is entitled to his bond, "The law allows it and the court awards it.

Shylock arrogantly asks, "Is it so nominated in the bond? And this is precisely what Portia has been encouraging him to repeat over and over again to the court. Now the audience twigs to the snare that Portia [Balthazar] has set for Shylock.

He came to court demanding a literal legal interpretation of the bond. He even invokes heaven to justify his demand: No not for Venice". Portia will give him a literal interpretation of the bond, but not the one he expects. But first she must create a situation whereby he walks himself into a trap.

In her role of Doctor of Laws, Bellario's representative in the court, she must be seen to be fair and impartial to both sides in the case.

He spurned her offers of multiples of the sum owed and her poetic appeal to show mercy to Antonio. Shylock is vindictive, his desire for revenge is so emotional, that his normal cunning is clouded.

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He should have spotted that Portia had some motive for encouraging him to repeat his insistence on a literal interpretation of the bond. Portia also creates the illusion that she is on Shylock's side, and does this legally and logically. On stage Portia positions herself near Shylock, thus creating an impression that she is on his side.

Her verbal, body and facial language encourages Shylock to call her, "O noble judge! O excellent young man! Other than engaging in some passionate pleas, she does not appear to be doing much to thwart Shylock's demand. Just when he is about to cut Antonio's flesh, she ambushes him with her literal interpretation: A huge sigh of relief can be felt on the stage and among the audience.

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The crisis point has passed. Shylock realises instantly that he is beaten, as his only response is a weak question, "Is that the law? The law hath yet another hold on you. It is enacted in the laws of Venice, If it be proved against an alien That by direct or indirect attempts He seek the life of any citizen, The party 'gainst the which he doth contrive Shall seize one half his goods; the other half Comes to the privy coffer of the state; And the offender's life lies in the mercy Of the duke only The quality of mercy is not dropping "as the gentle rain from heaven" as Portia prosecutes him for plotting against the life of a Venetian citizen.

The gentle Antonio then unfairly demands that Shylock should immediately become a Christian. Not much justice here. Compare Portia's tone of voice in this speech with that of her 'Mercy' speech at the beginning of the scene. Draw up stage directions for this speech and enact them. The audience must be aware that Balthazar is Portia in disguise.