Must See

Sassy Gay Friend saves Ophelia.

One of the Prince of Morocco's good assistants.

MoV: 3.3-5

Looking at 3.3, where can a person draw the line between the expression of commercial interests and the expression of Christian values?

Is Venice a state that assumes a universal common humanity or does it make such universalism conditional on being "in Christ"? In other words, is it conditional on being a citizen rather than a stranger?

Belmont vs Venice: How has Shakespeare set up these two worlds in contrast to each other? What does each world represent and why?

I know, I've got lots to ask. That's only because there's lots going on before we head off for break.

MoV: 3.1-2

3.1
Shylock's speech at the bottom of p. 42: How does Shylock deny is own humanity? What are we to make of his speech? How is it delivered?

3.2
Portia and Bassanio at last! Discuss the homework questions. Excellent responses, especially to question #2. How is Shylock's character developed in Scene 2? Why does Bassanio use such fancy rhetoric for such a simple bargain (marriage with Portia). In what ways does Shakespeare contrast Shylock and Jessica? Are we to side with one more than the other? Understand the struggles they both face?

Let's visit the films again.

MoV Act 3, Sc 1-2

1. Is Bassanio the type of man Portia’s father would have chosen?
2. Some critics say in order for Bassanio to join the heterosexual community of the play, he must first get rid of Antonio. What do you think? Keep in mind time period and contemporary cultural norms.

MoV Act 2, Sc 6-9

What causes Shylock’s rage at the end of Act 2: Antonio as a competitor or the loss of Jessica?

MoV Act 2, Sc 1-5

1. What’s the effect of structurally contrasting the scenes with Shylock against the scenes with Portia? Do you like it?

Monday's class!

Folks

We'll be meeting in the BBLC Lecture Hall to watch some film and talk about Act 1. Please meet there and please be on time.

And, there's no homework. So no memorizing or posting or anything. I know this will be difficult to handle. Sorry.

mc

MoV: Act 1, Sc 2-3

To recap some questions from the prior class:

1. How do Salarino and Salanio react to Antonio?
2. What kind of character is Antonio?
3. Is Antonio worried he'll lose his friendship with Bassanio? Are there homosexual overtones in Antonio's talk of love? Does Antonio brighten in Bassanio's presence? (be sure to look at language)
4. Notice Bassanio's innate and unconscious elegance of speech.

Now, from last night's reading:

Scene 2
1. Patriarchal Society and filial piety (duty from son or daughter) meant more to Elizabethan society than to ours. Always keep that in mind.
2. Does Portia have control of her situation or is she helpless?

Scene 3
3. In Scene 2, the stereotypes are mentioned but then disregarded. In Scene 3, the stereotype of the Jew is brought to fruition. hhhmmmm.
4. Is the offer of flesh in jest or serious? Is offer of friendship serious?
5. Whenever we start to sympathize with Shylock, his greed and hatred are emphasized.
6. How is Antonio becoming a Christ figure?
7. How is Shylock is own worst enemy?

End of Act 1 & beyond ...
Notice how Shakespeare has set absolute polarities: Christian/Jew, Venice/Belmont, male/female. Shakespeare takes advantage of these apparent differences in order to put in question the whole issue of difference. How are others, and otherness, related to oneself? To the notion that one has a self?

Merchant of Venice, Act 1, Sc 2-3

1. What’s Portia doing in her first scene? She can’t be just standing there.
2. Does Shylock’s language show us what it’s like to be an outcast?

Share, discuss, be amazing!

Equivocation

Here's a review of the play we'll be seeing in April: Equivocation! OK, we won't be seeing this in New York City, but I'm sure Mill Valley is just as exciting. Will surely be fun fun fun.

Thanks to Kyle for the review.