English Paper 3

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Course content:
English Literature up to 1660
Text: The Merchant of Venice - William Shakespeare (Play)
New Delhi: Macmillan Publishers India Private Limited. 2017
Detailed syllabus:
Unit 1: History: Renaissance, Chorus, Dramatic Design, Romantic
Comedy
Unit 2 History: Metaphysical Poetry, University Wits
Unit 3 History: Comedy of Humours, Comedy of Manners
Unit 4: The Merchant of Venice (Play) – William Shakespeare
Semester end examination:
Q. 1 Long Answer Question (History) (1/2) 14 x 1 14 Marks
Q. 2 Long Answer Question (History) (1/2) 14 x 1 14 Marks
Q. 3 Long Answer Question (Play) (1/2) 14 x 1 14 Marks
Q. 4 Long Answer Question (Play) (1/2) 14 x 1 14 Marks
Q. 5 (A) Short Notes Question (History) (1/2) 07 x 1 07 Marks
Q. 5 (B) Short Notes Question (Play) (1/2) 07 x 1 07 Marks
Recommended reading:
Daiches, David. A Critical History of English Literature.

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Ford, Boris (Ed.). The New Pelican Guide to English Literature: The Age
of Chaucer Ford.
Boris (Ed.). The New Pelican Guide to English Literature, Vol. 2, The Age
of Shakespeare.
Legouis and Cazamian. History of English Literature.
Sanders, Andrew. The short Oxford History of English Literature. Oxford
Paperbacks. Oxford: Clarendon Press.2001
Bernhard Ten Brink. History of English Literature, Vol.2, Part 2. Henry
Holt & Co.: New York.1896
Steven N. Zwicker. The Cambridge Companion to English Literature
1650-1740 Ed. by Cambridge University Press, New York. 2009
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Part - A 7 Long Questions: History of English Literature upto

1660:
Q.1 Write a detailed note on the features of Renaissance. OR
Discuss the characteristics of Renaissance. OR
Renaissance is "the birth of the modern world out of the ashes of the
dark ages." - Explain. OR
Comment on chief characteristics of Renaissance. OR write a note
on influence of Renaissance on Elizabethan Literature. OR
"Renaissance was the age of wonder, the glory and the beauty of
human mind." - Elaborate.
Ans. 'The Renaissance' is a French word. Its meaning is rebirth, revival or
reawakening. The Renaissance was the revival of ancient classical

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mythology literature and culture. It can also be considered the
reawakening of the human mind after the long slumber of the dark middle
ages. It was the age of wonder, the glory and the beauty of human mind.
It appeared as if mankind was awakened from the long sleep and looked
at the glory of nature with astonishment. It was like a rediscovery by
mankind of himself and the world. It was the revival of the cult of beauty -
the beauty of woman, nature, art and literature. It started in Italy in the
14th century with the works of Petrarch and certain others. In 1453 it was
stimulated by the fall of Constantinople and the invention of the printing
press in Germany. The great discoveries of scientists and navigators also
boosted the arrival of Renaissance. Its influence reached England during
the last phase of 15th century and the beginning of the 16th century. As
Compton Rickett puts it, "While Italy was afire with the new sunrise; it was
still for England merely a streak of light upon the horizon."
Let us have a look at the historic background too. It was the
Age of Queen Elizabeth - 1. In England renaissance means rebirth. It
conveys the idea that for centuries European cultures had been extinct
but by some means it came back to life which led to the rediscovery of
Greek and Roman Literature. This reawakening reached classical
learning to Italy in 14th century. It was essentially a European movement
which was born in Italy and then spread to Germany, France and
England. One was the fall of Constantinople, the capital of the Roman
Empire. After this fall of the Roman Empire, the Greek scholars went
away to Italy with valuable manuscripts. Thus a revival of classical studies
began in Italy. Latin writers who were almost forgotten were rediscovered.
The most important characteristics of the Renaissance were
broadening of the vision of man. During the middle ages the world was
very limited and narrow. It was limited spiritually, intellectually and
3
physically. Geographically too its boundaries were narrow. With the arrival
of renaissance everything was changed. The vision and the world of man
suddenly became wider and bigger. The study of Greek literature
influenced the understanding of man so much that a new kind of
humanism was developed. The humanism of the renaissance must not be
confused with the modern sense of interest in man. It also meant the
revival of art and literature. It implied a revolt against medieval
scholasticism and man's concerns with himself. For the first time man
became the centre of study and attention.
The following are the causes which brought about the
renaissance in Europe and England.
(A) Printing Press: The most significant event which marks the dawn of
the renaissance in England is the invention of printing press. It was first
started in Germany and then Caxton established the printing press in
England. The books were soon published and it helped the development
of education and spread of knowledge.
(B) Voyages: The English were the great explorers. They went to the
West Indies and down the coast of South America and returned with their
ships loaded with silver, gold, pearls,emeralds,silk and spices. The people
listened to the traveller's tales with awe and astonishment. Their
imagination became flamed and everywhere there was a strange breath
of wonder even in Shakespeare who said,"What a piece of work is man!"
and "O' brave new world."
(C) Nationalism: After the defeat of the Spanish Armada by the English,
the national spirit in England rose to a great height. There was a great
upsurge of patriotic felling among the people of the time. We can feel the
feeling in Chaucer and its blossoming in the Elizabethan Literature.
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(D) Individualism and worldliness: The Renaissance gave birth to
individualism and worldliness. The Greek literature focussed more on the
present world than the future world. Under the influence of Greek
Literature, individualism and sense of democracy developed. The writers
began to voice their feeling and ideas freely. They criticized the
government or the kings in their works.
(E) Astronomical Discoveries: There were discoveries in the field of
astronomy also. Copernicus also made discoveries in astronomy. The
world was no more a big place. New knowledge began to pour from all
sides. All such discoveries made great impact on the literature of the time.
(F) The Age of Social Contentment : During the age of Elizabeth,
commerce made considerable progress. Thousands of people could get
employment because of rapid increase in trade and commerce.
Increasing trade brought enormous wealth to England. For the first time
systematic care for the needy and the poor was attempted. There was
improvement in the standard of life which brought about a new social
content.
(G) Enthusiasm: The renaissance or the age of Elizabeth is an age of
dreams, of adventure of unbounded enthusiasm. The horizons were
widened in all directions. Bacon said confidently, "I have taken all
knowledge for my province." This enthusiasm is visible in Elizabethan
Literature.
Now let us also have a look at the literary tendencies during the
renaissance:
(1) Prose: The many sided intellectual activities of the renaissance were
fully reflected in the literature of the 16th century. The prose writing of
Malory, Erasmus and Sir Thomas Moore largely responsible for heralding
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the dawn of the resistance in England. Moore's 'Utopia' was the true
prologue to the renaissance. In the 16th century Bacon's essays are the
true specimens of the pragmatism and worldly philosophy. They are the
example of worldly wisdom.
(2)Poetry : Sir Thomas Wyatt and Henry Howard were the pioneers of the
new poetry in England. They brought the sonnet from Italy with its
freshness and vigour. They gave English poetry a new sense of grace,
dignity and harmony. They introduced blank verse in English poetry. The
spirit of renaissance finds it culmination in the poetry of Spenser.
(3) Drama: The dramas of University Wits bubble with the spirit of
Renaissance. Marlowe has been called 'The true child of the
renaissance'. In his four plays Tamburlaine, Dr. Faustus, the Jew of Malta
and Edward - 2, we find a full blooded expression of the spirit of the
renaissance with all aspirations, hopes and adventure. The pleasure of
the earth is greater than the pleasure of the heaven. This feeling has been
expressed in 'Tamburlaine'. The love for wealth is also expressed in 'The
Jew of Malta.' The desire for power and knowledge are expressed in 'Dr.
Faustus'. In Shakespeare, we find the peak of the renaissance spirit.
Shakespeare borrowed from the Greek and the Roman stories but gave
touch of his own. The zest for life finds expression in the dramas of
Marlow and Shakespeare.
In the age of Elizabethan, we see a beautiful combination of
classical spirit and romantic enthusiasm. During this age several great
books from other languages were translated into English. The writers of
this age showed the spirit of independence and creativity. The form of
drama flourished a lot in this age. Shakespeare made a work in tragedy
and comedy both. Ben Jonson popularized the comedy of humours.
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Poetry also enjoyed its heyday. During the Elizabethan age songs, lyrics
and sonnets were produced a lot. England truly became 'the nest of
singing birds'. Literature was not just an escape from life for the writers of
the age but for them it was an expression of action, energy and
enthusiasm.
Q.2 Discuss Dramatic Design.
Ans. If we want to understand the drama properly, we have to understand
the dramatic design of the play well. Every dramatic story arises out of
some conflict. It may be clash of individuals or passions or interests. The
conflict between good and evil is the eternal conflict. In a play, it is
represented through the hero and the villain. The villain does not need to
be a person, it may be safe, conventions of society or the nature of the
hero himself. The dramatic design is composed of the following parts:
(1) Exposition: It is the beginning of the conflict or opening of the plot with
some conflict. Here the real story of the play begins. Exposition should be
logical and convincing. It should arouse the interest of the readers or the
spectators. It is the initial incident.
(2) Rising Action: Secondly, the action continues to rise. It can be called
'Rising Action'. It brings intensity and the plot becomes complicated. The
outcome remains uncertain.
(3) Climax or Crisis: Climax is the most important part of the play. It is the
culmination ઩રાકાષ્ઠા of the events. It is the highest point of crisis in the
play.
(4)Denouement: It is falling action that is the next part of the dramatic
design. From the highest point of climax, the action starts moving towards

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the end. It is difficult for the dramatist to deal with this part as he has to
maintain the interest in the play after the climax.
(5) Catastrophe or Conclusion: Catastrophe is the end of the play. Here
the play is brought to the end. The catastrophe of the play should also be
convincing and natural.
The above five points are found in many of the plays in English
drama. This fivefold structure was universally accepted at one time and
the play was divided into five acts. But these division often do not fit into
the actual dramatic design of many English plays, not even in
Shakespearean plays. In modern times , plays with four acts because it is
popular but still it follows the same dramatic design. Even in one act play,
the playwrights follow this pattern.
Q.3 Discuss the Metaphysical Poetry. OR
Write a detailed note on the Metaphysical Poetry. OR
Write an essay on the chief characteristics of the Metaphysical
poetry. OR
John Donne as a Metaphysical poet. OR
"The Metaphysical poetry is remarkable for its concentrated passion,
intellectual ability and dramatic power." Explain.
Ans. The Metaphysical poetry began early in Jacobean Age. John Donne
was the leader and the founder of the Metaphysical school of poetry. It
was a reaction and revolt against the romantic exuberance પ્રચુરતા and
excesses of the Elizabethans. It was Dr. Jonson who christened Donne
and his followers as the Metaphysical poets. The Metaphysical poetry is
remarkable for its concentrated passion, intellectual ability and dramatic

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power. There is also introspection and self-analysis. Literally, the word
'meta' means beyond and 'physics' means matter. Thus, Metaphysical
means something beyond physical matter. In fact, the metaphysical
poetry is not spiritual in the real sense. In fact, Donne's poetry is not
Metaphysical in the spiritual sense of the world. His poetry is
metaphysical in the sense that its technique or style is highly
intellectualized. There is much intellectual analysis and excessive use of
over elaborated similes and metaphors.
(2) Its Age: The metaphysical movement took place during the early
Jacobean period. During the 17th century it was a reaction against
Spenserian poetry. Donne, Herbert, Cowley, Vaughan, Marvell and
Crashaw were the exponents of metaphysical poetry. Most of these poets
wrote their poetry during the 17th century. They influenced and dominated
poetry during the half century of the Puritan period.
(3) Its Originators :
(A) John Donne: He is regarded as the originator of the Metaphysical
poetry. Though he was born in Elizabethan age, he broke away from
Elizabethan tradition and revolted against the easy style of the
Spenserian poetry. He made amazing innovations in the matter and form
of poetry. Donne wrote lyrics, elegies, satires and religious poems. His
poetry is full of subtlety, wit, imagination and vagueness and obscurity. He
confined dissimilar and remote ideas. He used similes and metaphor from
unfamiliar sources. He used logical and intellectual images instead of
sensuous and emotional.
(B) George Herbert: He was another great metaphysical poet. He was the
saint of the metaphysical school. Prof. Palmer calls him the poet who
spoke face to face with God. His poetry is really spiritual in the real sense.
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His lyrics are collected in a volume called 'The Temple', 'Pilgrimage' is one
of the best poems in the 'The Temple'. He also used amazing metaphor
and conceits.
(C) Richard Crashaw: Originally he was Anglican but later on he became
Catholic. He was influenced by the Spanish mystics. His main poetical
work is 'The Step of the Temple', a collection of religious poems. He also
uses conceits. His lyrical strains get reflected in his poetry.
(D) Henry Vaughan: He was a mystic at heart. He had a considerable gifts
for fantasy. He is at his best when he deals with the themes of childhood
and at communion with nature. His poems have influenced Wordsworth.
Like Wordsworth he saw eternity and the face of God in nature.
(E) Abraham Cowley: Cowley began his career as a poet at the age of 12
and his poems were published when he was 14 years old. Wit is the
hallmark of Cowley's poetry. His poetry lacks sweet sound and melody.
He was too intellectual and rational.
(F) Andrew Marwell: Marwell was the only Puritan among the
metaphysical poets. In spite of his Puritanism, he is not gloomy like other
puritans. He was a humanist at heart. His poetry is also based on the
adoration of the nature. His poem 'The Garden' expresses a kind of
ecstasy. He takes delight in buds, blossoms and bushes. There is a
sensuous quality in his poetry. 'To His Coy Mistress' is regarded as one of
his beautiful poems. There is a new intensity and passion in his poetry.
Now let us have a look at the characteristics of metaphysical poetry:
(1) Complexity: Metaphysical poetry is complex and difficult. Here, the
poet uses the most varied conceits and farfetched images, similes and
metaphors.
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(2) Singular Thoughts: The Metaphysical poets wanted to be singular in
the expression of their thought. They wanted to say something that had
not been said before. They wanted to design a new track. They expressed
starting thoughts in a new manner. They delighted in verbal fancies.
(3) Amorous and Religious poetry: Metaphysical poetry has two groups-
amorous and religious. Donne wrote both. Andrew Marwell wrote love
poetry while Herbert, Crashaw and Vaughan used their poetic gifts in the
adoration of God. Donne's love poetry was different from the conventional
one. His poetry is full of wit, fascination and anger.
(4)Reflection of learning: In metaphysical poetry, we find reflection of
learning of poets. It gets reflected in obscure references. It becomes
difficult for an ordinary reader to follow what the poet really wants to say.
(5) Affection and hyperbole: There is an artificiality of thought and
hyperbolic conceits in the Metaphysical poetry. Richard Crashaw's
description in 'Saint Mary Magdalene' is an example of this.
(6) Obscurity: Metaphysical poets yoked dissimilar ideas and do not try to
unite them. They used elliptical languages. This types of poetry appeal to
the intellect. The poetry is often obscure.
Metaphysical poets influenced the modern poetry:
(1) Complexity: Metaphysical poetry is complex and difficult. Here, the
poet uses the most varied conceits and farfetched images, similes and
metaphors.
(2) Singular Thoughts: The Metaphysical poets wanted to be singular in
the expression of their thought. They wanted to say something that had
not been said before. They wanted to design a new track. They expressed
starting thoughts in a new manner. They delighted in verbal fancies.
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(3) Amorous and Religious poetry: Metaphysical poetry has two groups-
amorous and religious. Donne wrote both. Andrew Marwell wrote love
poetry while Herbert, Crashaw and Vaughan used their poetic gifts in the
adoration of God. Donne's love poetry was different from the conventional
one. His poetry is full of wit, fascination and anger.
(4) Reflection of learning: In metaphysical poetry, we find reflection of
learning of poets. It gets reflected in obscure references. It becomes
difficult for an ordinary reader to follow what the poet really wants to say.
(5) Affection and hyperbole: There is an artificiality of thought and
hyperbolic conceits in the Metaphysical Poetry. Richard Crashaw's
description in 'Saint Mary Magdalene' is an example of this.
(6) Obscurity: Metaphysical poets yoked dissimilar ideas and do not try to
unite them. They used brief languages. This type of poetry appeals to the
intellect. The poetry is often obscure.
Metaphysical poets influenced the modern poetry version much. For
about two centuries, the reputation of metaphysical poetry was the lowest.
In the 20th century some modern critics revaluated the metaphysical
poets and placed them on high pedestal. Herbert Grison, in 1912 brought
out an edition of Donne's poetry and revival the interest of the reader in
the metaphysical poetry. T.S. Eliot, W.B.Yeats, G.M. Hopkins were much
influenced by metaphysical poetry.
Q.4 Write a detailed note on University Wits. OR
Who were University Wits ? What was their contribution to English
drama? OR
Discuss the University Wits. OR Write a critical essay on University
Wits.
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Ans. A group of seven playwrights emerged in around 1580 and
afterwards which is known as the University Wits. Thus group
revolutionized English drama and took it to the great heights of poetic
dramatic splendour. They paved the way for unparalleled Shakespearean
glory after some decades. So University Wits are the playwrights of the
Pre- Shakespearean era.
Pre- Shakespearean drama is primarily written by the University Wits.
They were known as University Wits because they came from Cambridge
or Oxford University. University Wits consisted of writers like John Lyly,
George Peele, Robert Greene, Thomas Nashe, Thomas Lodge, Thomas
Kyd and Christopher Marlowe. They could feel the pulse of the audience.
They knew the stage and that's why they kept in mind not only the actor's
part but also the audience's love for stories. Initially, they revised old plays
and then became independent as writers. They also worked together.
Marlow worked with Shakespeare in the revision of the plays. They
adopted stories from and characters from the old ones. That's why there
is lot of repetition of names in their plays. The presented the bohemian
spirit of the Renaissance.
Contribution of the University Wits:
The university wits introduced a new format of comedy and thus
contributed to the formation of the romantic comedy which flourished in
the hands of Shakespeare. Lyly as well as Peele wrote comedies which
are full of romantic wit, satire and humour. They made a change in the
plot construction and made some advancement and the plot was no more
loose. In 'Friar Bacon' and 'Friar Bungway' we find several threads but it
has been done with great harmony. It was this group of the University
Wits who prepared ground for the historical plays of Shakespeare's
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historical plays. 'Edward-II' of Marlowe prepared the way for
Shakespeare's 'Richard-II'. Again the University Wits prepared the way for
Shakespearean tragedy too. 'Hamlet' reflects the influence of Kyd's
'Spanish Tragedy'. Marlowe influenced Shakespeare's tragedy writing.
Peele and Lyly added poetry to the dramatic production. Marlowe added
passion, spirit and force to drama. Thus, the university wits prepared the
ground for Shakespeare. Their contribution was really great in the growth
of drama during the Elizabethan Age.
New Concepts:
During this age, the classical influences had started affecting English
drama. It emphasized the observance of three unities. It also followed
strict notions related to the comic and the tragic. This tradition had its own
lines regarding dramatization of lines and deeds of historical men and
women. It would get disturbed if these classical dramatic guidelines were
followed. During the transitional period, the dilemma had weakened
English Drama. The University Wits brought it out of this confusion and
placed it on the higher platform of art. This new drama was the fusion of
the new classical tenets, the traditional native forms and the folk material.
Refined Language:
The University Wits used classical verbal and poetic elements and refined
their language. The language was full of pun, conceits, wits, antithesis,
paradox, hyperbole and other features to develop a suitable dramatic
medium. Lyly employed euphemism in his plays like 'The Women in the
Moon', 'Midas', 'Canepaspe', 'Endymion', etc. Lyly was the first writer to
write prose drama. He introduced humour that amused and entertained
audiences. There was no obscenity. The dialogues provided a degree of
depth and complexity.
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Characterization: University Wits developed the art of characterization. In
their hands, characters became full and life-like. Thomas Nashe gave
wonderful characters like Margaret, Friar Bison, Dorothy and Ida. Even
Marlowe's characters are memorable for their larger than life individuality.
Kyd's characters are full of life. Marlowe's portraits reveal ambitious
characters driven by the desire to achieve their goals.
Let us discuss these University Wits one by one:
(1) John Lyly: He was the dramatist who looked to the court for favour. His
comedies were meant for the child actors in the royal service. 'Women in
the Moon', 'Endymion', and 'Midas' are famous plays written by Lyly. He is
good at wit which gets reflected in his plays. His dialogues are full of wit.
(2) George Peele: Peele has written a pastoral, a romantic tragedy, a
chronicle history and a romantic satire. 'The Old Wive's Tale' and 'The
Love of King David and Bathsheba' are his famous plays. Peele is famous
for his poetic style, phrases and imagery too.
(3) Robert Greene: Greene is very famous in the world of English
literature for his 'Friar Bacon' and 'Friar Bungay'. It is a romantic comedy.
He has described three worlds in this play. They are the world of magic,
the world of aristocratic life and the world of country.
(4) Thomas Kyd: He is known for 'The Spanish Tragedy'. He has used
Senecan apparatus of horror here. It is a revenge play. Through this play,
he prepared the way for Shakespeare for writing 'Hamlet'.
(5) Christopher Marlowe: Marlowe took the subject matter of drama to a
higher level. This can be considered a valuable contribution from him. He
appealed to the imagination of the audience by providing heroic subjects
'Tamburlaine the Great', 'Dr Faustus, 'The Jew of Malta' and 'Edward - II'
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are his famous plays. Marlowe introduced the element of struggle in
tragedy. He used blank verse. His characters are full of vigour, life and
energy.
Q.5 Discuss the Comedy of Humours.
OR Discuss in detail the definition and features of the Comedy of
Humours. OR Realistic Comedy.
Ans. In order to understand what the comedy of humours is, we shall
have to discuss what comedy is. Comedy is a type of drama which aims
at entertainment and happy ending. The writer creates humour and fun by
describing strange aspects of human speech, character and behaviour
that is generally seen in the society everywhere. Comedy does not
discuss serious or moral issues. It does not even deal with the basic
problem of good and evil. Sometimes comedy is satirical too.
According to the Greeks, comedy meant that drama which mingled
beautiful lyrics with obscenity અશ્઱ી઱તા, slang and broad verbal humour.
While for the Romans, comedy was the presentation of social intrigues
and conspiracy which ended happily.
According to the Elizabethans, the play that might have tragic element
but has happy end was considered a comedy. The great comedy always
had a serious point to disclose. Comedies are of different types. They are
like Romantic comedy, sentimental comedy, anti-sentimental comedy,
comedy of humours, comedy of manners etc.
Let us discuss the comedy of humours in detail.

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 We can define the comedy of humours as a type of play based upon
the 'humour' or dominant trait, of the individual. The comedy of humours is
also known as dramas of humours.
Ben Jonson popularized this form of drama. According to the old
medical science, the word 'humour' meant the four fluids in the human
body. They are the choler પ઩ત્ત, the melancholy, the phlegm and blood.
Any person's nature depends on the proportion of these four elements in
the body. If any of these elements is in excess, it may create a bias and it
gets revealed in the behaviour or actions of the person.
According to Jonson, 'humour' means "As when someone peculiar
quality doth so possess a man, that it doth draw all his effects, his spirits
and his powers. In their conflictions, all to run one way. This may be truly
said to be humour."
Because of the imbalance in the liquids in the body there would be
effect on health, moral character and temperament.
Following will be the effect of excess of any liquid.
(i) Excess of blood: It would produce a hopeful, joyful and amorous
temperament.
(ii) Excess of phlegm: It would create phlegmatic disposition means
dullness, paleness and cowardly nature.
(iii) Excess of bile or choler: It would make one irritable impatient and
stubborn.
(iv) Excess of melancholy: It would make one meditative thoughtful and
stop one from taking quick actions.
Following are the important characteristics of the comedy of humours.
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(a) Classical Form: It is one of the most important features of the comedy
of humours. Jonson was a classical dramatist. He believed in strict
following of the old rules and models practically. He always adopted the
models prescribed by the ancient masters. His classical sense was
against the romantic plays of Elizabethan Age. He stood against the
crudities ઉદ્ધતાઈ of the Romantic dramas.
(b) Intense Realism: Jonson believed in presenting the realities. He wrote
comedies where the life is real. He presented the classes and the follies
of London during his time. He started this when there was a fear that
comedy would become nothing but a drama based on the make believe
as was followed by Shakespeare.
(c) Comic Repetition: In the comedy of humour, comic variation and
repetition are highly important. It indicates the repetition of situation of
device. Repetition arouses automatic response. Plot fits into the critical
spirit exactly. This does not harm the aesthetic purpose of Jonson. He
presented a purely comic figure as the main character. The example of
such repetition can be found in 'Volpone'. Here, the character Mosca is
generally busy with his cares, make-up, in malicious delight.
(d) Simplicity in Characters: In the comedy of humours, the characters
are simple. They are created on the basis of the concept of four
'humours'. They are obsessed by some trait. There is rigidity and
uniformity in their habits. Concerning characterization, the comedy of
humours is totally different from the romantic comedy. Shakespeare's
characters are human and lifelike. While Jonson's characters are flat.
They don't grow or change. They don't develop much and are very simple.
Apart from the setting, they don't exist at all. There is no liveliness and
they appear to be made only for the stage and theatre.
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(e) Dependent on wit and satire: This is yet another important feature of
the comedy of humours. It depends on wit but more on satire. There is
satire through exaggeration.
Let us discuss some traits of important comedies of Jonson.
● Every Man in His Humour: It is the masterpiece of Jonson. Here he
depicts the tricks played upon the elder Kno'well and jealous Kitely. There
is expression of various humours. The play ends with happy marriage
between young Kno'well and Kitely's sister.
● Every Man out of His Humour: It is about a glorious Knight, a Jester, a
pretentious દંભી courtier and a dating husband. All reveal their humour and
led to affections and get cured.
● Cynthia's Revels: It is very much like every man out of his humour as it
describes a group of would be gallants and ladies. These people are full
of pretentions and follies. Censor is the representative of the author who
laughed at the follies of those characters.
● Volpone: Here, we meet the plantation model who comes as a servant.
There is little joy but it exposes the greed and inequality. Here, we find
satire.
● The Silent Woman: In this play, the plot is farcical. Morose is entrapped.
He dislikes noise. He gets married to Epicoence and has to face a noisy
life against his wish. This play is also full of satire.
● The Alchemist: Subtle, Don, Common Fate and housekeeper are the
characters of this play. All disclose some or the other folly one by one.
Their folly and greed are really entertaining. The absent housekeeper
returns. This play is in blank verse. The language is full of idioms.

19
Q.6 The Comedy of Manners. OR Comedy of Manners as the
portrayal of the society. OR Write a note on the chief characteristics
of the Restoration Comedy.
Ans. The Restoration period of English literature roughly lasts from 1660
to 1688. It begins with Charles II returning to the throne following the rule
of various republican governments that ruled England from 1649 to 1659
after Charles I was executed. During the restoration period a new type of
comedy flourished. It is called the comedy of manners because it reflects
the culture of the upper class in which manners are supreme. According
to Prof. Micoll, manners are something brilliant about a man or a woman
and not a humour but it is a grace or a habit of a refined culture. It deals
with the gallants, intrigues situations, affections of fashionable people.
There are no low and mean characters. In the Restoration Comedy, there
is superficial life rather than the internal life or the nature of the
characters. It aimed at presenting not only the manners of the society of
the time but it aimed at ridiculing them. In the Restoration Comedy, plot
and characters both are less important than the refined manners and witty
dialogues. Very often, we find licentious સ્ળેચ્છાચારી and immoral characters
in the Restoration comedies.
The Restoration Age is the age of the comedy of manners. It began with
the return of Charles - II from France to England. With his return, he also
brought the influence of French Literature and life in England. It reacted
against the puritan sternness. They submitted to easy morals and cheap
entertainments. The literature of the period was influenced by the French
writers like Cornille, Recine and Molice. The following dramatists
contributed to the development of the comedy of manners.

20
(1) Sir George Etherege: Etherege is the one who copied the life he knew
and his successors copied him. 'The Comical Revenge', 'Love in a Tub',
'She would if she could', 'The Man of Mode' etc. are some of his important
plays. These comedies got importance as they established a new tradition
in the comedy. This comedy was made perfect by Congreve later on. He
portrayed a true picture of the graceful, heartless, upper class with their
licentious behaviour. His comedies are full of immorality.
(2) William Wycherley: He wrote four plays which include 'Love in a
Wood', 'The Gentleman Dancing Master'. In his plays we find his reaction
against Puritanism. There is indecency અભદ્રતા in his plays. There is also
farcical હાસ્યાસ્઩દ element in his plays. Exaggeration can be seen in the
description of manners in his plays. His style is coarse. His characters
represent French style which shows the influence of French drama.
(3) William Congreve: He is the master of comedy of manners. All his
plays were written before he completed 30 years of his age. He has given
a number of remarkable comedies. 'The Old Bachelor' is the play that
presents a perfect piece of comic figure of a young man. Dryden called it
a great comic play. His famous and great comedy is 'The Way of the
World'. It is a typical comedy of manners. Dialogues are full of sparkling
and brilliant. There is wit and intellectualism. Characterization and
dialogues are brilliant too. His characters spoke wittily. His prose is
refined. His other play 'Love for Love' also succeeded.
(4) Sir John Vanbrugh: 'Relapse', 'The Provoked Wife' and 'Confederacy'
મૈત્રીજોડાણ are his famous plays. The theme is that of unhappy marriage.

We can't compare Congreve's art and elegance with this but Vanbrugh's
art is full of energy and honour. His plays have weak construction.

21
(5) George Farquhar: 'Love in a Battle', 'The Recruiting Officer' and 'The
Beaux Stratagem' are the famous plays written by Farquhar. His plots are
carefully elaborated. He is away from the real comedy of manners and
has broadened its boundaries and made humour sweet. In his plays, we
can see growing respect for moral standards.
Now let us discuss some of the important comedy of manners.
(1) Etherege: (i) The Comic Revenge (ii) She would if she could
(2) Wycherley: (i) Love in a Wood (ii) The Gentleman Dancing Master
(iii) The Country Life
(3) Congreve: (i) The Old Bachelor (ii) The Double Dealer
(iii) Love for Love (iv) The Way of the World
(4) Sir Vanburgh: (i) The Relapse (ii) The Provoked Wife (iii) Confederacy
(5) George Farquhar: (i) Love in a Battle (ii) The Recruiting Officer
(iii) The Beaux Stratagem
And now let us have a glance at some important characteristics of
comedy of manners.
(i) Presentation of Manners of the Upper Class: The restoration comedy of
manners presented the manners, modes and convection of the upper
class of the society.
(ii) Realistic character: The Comedy of Manners was realistic in character
and it focused on life, manners, love intrigues and foppery of the
aristocratic classes of society.

22
(iii) Influence of French play writers: It was influenced by the French play
writers. The writers of the comedy of manners borrowed from the French
dramatists.
(iv) Wit in dialogues: In this type of comedy plot construction was
subordinated to witty dialogues and depiction of manners.
(v) Entertaining: These plays were meant for entertainment. Love was
treated lightly. There was humour too. In these plays we also find
intrigues and moral laziness.
(vi) Reaction against Puritanism: The Restoration Comedy was a reaction
against Puritans and sternness of the earlier age. That's why there is
some moral licentiousness in these comedies.
(vii) Description of the external life: Here we don't find the depiction of the
inner minds of the characters but they depict only the external life and
manners of the artificial society.
(viii) Its theme: Theme of these comedies was love intrigues, sex
scandals and unhappy marriage. These comedies made fun of the
institution of marriage. The women in the play are immoral and carefree.
They often indulged in extramarital relationship.
Q. 7 Romantic Comedies of Shakespeare. OR Shakespearean
Comedy. OR Elizabethan Romantic Comedy.
Ans. Shakespeare is considered as one of the most original poets in
English literature. Mathew Arnold says, "Others abide નભાળી ઱ેવ ું our
questions, thou art free." He meant to say that Shakespeare is above the
rules of criticism and traditions. He goes beyond his time and creates a
new path. Shakespeare did not only follow the old traditions and carved a
new path for others to follow.
23
 Comedy form was borrowed from Greek literature but these comedies
were different from the English comedy. Shakespeare created a new type
of comedy which was called the romantic comedy. Ben Jonson wrote
comedies in which he satirized the follies of mankind. His comedies were
called the comedy of humours as he described various human
temperament in his comedy. These comedies often contained bitter satire.
Shakespeare started to write a new type of comedy in which the
atmosphere and the background were full of romance, music and
imagination. It was a kind of Utopia where people were always happy.
Shakespeare wrote the following comedies:
1. A Mid Summer Night's Dream
2. As you Like It
3. The Merchant of Venice
4. Twelfth Night
5. Much Ado About Nothing
6. Taming of the Shrew
Shakespeare's comedy is considered as a romantic comedy. It was very
much different from Greek comedy and others. For the first time, it was
Shakespeare who took liberties with three unities and mingled comic with
tragic. Its aim was not satiric but innocent, good natured laughter. We do
not laugh at the characters but we laugh with them. Shakespearean
comedy is not satiric but it's poetic. It is creative.
Now let us discuss the important characteristics of the romantic
comedies of Shakespeare:

24
(1) Romantic Setting: The Shakespearean comedy has very romantic
setting. It is romantic because it provides an escape from the serious
realities of life. He depicts the world which is away from the madding
crowd. It is the dream world full of love and joy. Love and happiness rule
the characters.
The action of the play takes place in some distant land. e.g. in 'As You
Like It' Shakespeare describes the forest of Arden. Very often he
transports us to ancient forest in Greece. These places are not real but
created by Shakespeare. The realities of life are forgotten and characters
pass their time in dance, music and lovemaking. In another play 'A Mid
Summer Night's Dream', there is a heavenly place full of beauty, joy, mirth
and rivalry. We forget our worries and boredom to read this. The
characters are like fairies and aerial beings.
(2) Mingle of Romance and Realism: In the romantic comedies of
Shakespeare, there is a wonderful mingling of romance and realism. The
characters are real but the background is romantic. The characters of
romantic comedies are not great heroes, princes or princesses. They are
often common human beings. Some characters fly high in the sky of
imagination while some are down to the earth. In 'As You Like It' some
characters laugh at romantic attitude of other characters. In beautiful
forest of Arden, there is rough weather. Jacques describes ingratitude of
man which is more painful and then frozen wind. Rosalind is also a very
realistic character. She dwells in the world of dreams but is aware of the
dry and bitter reality of the life. Touchstone is a fool but he is highly
romantic. In 'A Mid Summer Night's Dream', Bottom and his companions
remind us of the hard realities of life.
(3) The theme of love: The central theme of romantic comedies is love.
There are pairs of lovers in all the comedies of Shakespeare. They marry
25
at the end of the play. Not only the hero and heroine marry but a number
of marriages take place at the end. They often fell in love at first sight. The
path of true love never runs smoothly. There are some hurdles but finally
lovers get united. In 'As you like it' there are four pairs of lovers. In 'Much
Ado About Nothing' there is a pair of Beatrice and Benedict and in 'The
Merchant of Venice ' we have Portia and Bassanio. Shakespeare's
heroines are more powerful than heroes.
We meet mad lovers writing poetry on the bark of trees and sighing.
Various aspects of love are beautifully depicted in Shakespeare comedy.
It is said that love is nature's second son. The sources of human life are
love.
(4) Music and song: In 'Twelfth Night' the duke says, "Music is the food of
love." It simply means that where there is love, there is music.
Shakespeare always involves music, dance and songs in his comedies.
There are many songs and merry making characters in 'As You Like It',
'Twelfth Night', 'Mid Summer Night's Dream'. The Shakespearean
comedies are full of songs and fun. Music and dance are the soul of the
romantic comedy.
(5) Clowns in Shakespearean Comedy: In Romantic comedies, we meet
the clowns and fools. They are Touchstone, Feste, Sir Andrew, Sir Toby
Dogberry etc. in various comedies of Shakespeare. Fools provide fun and
humour and also play a linking role between plots and sub-plots.
Shakespeare's fools are not fools really. They were very intelligent and
witty people. Clowns are professional fools. They are wise practically.
(6) The heroines in the romantic comedy: John Ruskin says,
"Shakespeare has no heroes, only heroines." His heroines are more
powerful than his heroes. They lead the action in the play. They are not
26
only pretty but they are superior compared to men in intelligence. They
are loving by nature. Rosalind, Portia, Viola etc. are the examples of
powerful heroines of Shakespeare. The heroines are capable of solving
all the problems and they bring happiness to the lovers and other
characters by solving the problems.
(7) The role of fortune: Shakespeare had a great faith in fate. In his
tragedies also we can see fate playing a very important role and same is
the case with romantic comedies. Characters pass through some troubles
but finally the Goddess of fortune supports them and brings them out of
troubles. Goddess of destiny or fortune plays an important role. Hero and
heroine fall in love. They pass through problems but finally they get
united. The goddess of fortune is generous and kind towards the lovers.
(8) The complex plot: The plots in the romantic comedies of Shakespeare
are often complex. He introduced subplots too. There are parallel
characters, situations and plots. Characters are more important than plot.
That's why the plays have loose ends. In 'As You Like It', plot is complex
but there is a logical end. There are good and bad both that are
reconciled at the end.
(9) Pastoral atmosphere: Shakespearean comedies have pastoral
background. Pastoral element can be seen in the Elizabethan Age. It was
the choice of public and audience of the Elizabethan Age. It was used in
Elegies, Ballads and Romances. There are descriptions of forest, flowers,
brooks, hills, green grass etc. There are pastoral characters like Shepherd
and Shepherdesses.
(10) Conclusion: The Shakespearean comedy has been loved and
appreciated all over the world in all the age. It appealed every time. Its
atmosphere was funny and romantic. There used to be humanity, humour
27
and fun. Freshness of Shakespearean comedy has been preserved all
through the ages. Even today we enjoy comedies because they provide
an escape from the dry and dull world of reality.
======================================================================

Part: B 9 Short Notes: History of English Literature upto 1660

Q.1 Chorus: OR Functions of Chorus:
Ans. The word chorus means to dance. Originally Greek tragedy was
derived from such performances which were combination of singing and
dancing. Here are some points to be remembered regarding chorus. They
are as following.
(1) The chorus in tragedy was rectangular ઱ંબચોરસ in formation and very
often military in movement. It can't be called cyclical.
(2) Choral odes were sung by all or a part of the chorus.
(3) The state of wealthy people used to pay the expenses of training the
chorus.
Originally, tragedy and chorus both have been religious. Later,
tragedy and comedy became secular બબનસાંપ્રદાપયક as they were no more
connected with the rituals of the play. Chorus is the representative of the
conservative રૂઢઢચુસ્ત soul of the play. It stood as the spokesman of the
traditional religion and society. It presented the traditional social wisdom.
Thus, chorus has to be taken as a group speech. The playwrights
like Aeschylus used it as a spectacle in the play and also used to widen
the emotional range. For a long time, chorus was dominant but then arose
a conflict between the need of dramatist and traditional character of the
28
chorus. That's why, with the passing of time chorus began to lose its
importance.
Chorus used to play the role of a witness and attended the action
of the play. They not only observed the action of the play but commented
upon it. In this way, the chorus pleasure, tears, mourns, wonders and
makes efforts to cope with the action. Chorus very often generalizes the
meaning of the action. It also reflects choral wisdom which represents the
tradition. Aeschylus' chorus is the least weak. Euripides' use of chorus is
different. He uses it for poetic intensity. Chorus declined gradually but it
has been revived by various writers. Milton also uses chorus but his use
was formal and dramatic. Shelley, the great imaginative poet, employed
chorus in cosmic dimension. In modern time, T.S. Eliot used chorus in
'The Murder in the Cathedral' which reflects his great mastery but it must
be admitted that chorus has very little role to play in the modern drama as
its purpose has been outlived. Most of the Elizabethan dramatists had
Roman models before them.
Shakespeare also used chorus but with certain limitations. In 'Henry-V',
he employs chorus as a commentator on the action. They impart it the
character of an individual. Thus, chorus has been used by various
dramatists and poets in different ages.
Q.2 Theory of 'Humours': OR Ben Jonson's contribution to the
theory of humours: OR Explain Ben Jonson's theory of comedy and
his contribution to Elizabethan comedy.
Ans. Definition and Explanation:
Ben Jonson created the concept of the comedy of humours and
popularized it in England. Comedy of humours is opposite to the comedy
of Shakespeare which was also known as romantic comedies. The
29
comedy of humours is based on the ancient concept of 'Humours'. The
term 'Humour' is used to indicate some predominant characteristics of the
character. This concepts refers to the classical and medieval theory of the
universe. As per this theory, everything in the world exists as a proper
elementary qualities like hotness, coldness, wetness and dryness. The
proper combination of these makes the basis of organic universe. Air is
the combination of heat and moist. Water is the combination of cold and
moist. Fire is the combination of heat and dryness. Earth is the
combination of cold and dry. It was believed that humours release
vapours which enters the brain and created an imbalance. This brought
about the dominance of one humour which would affect the behaviour of
the person. If this balance of humours is perfect, the temperament of the
person will be ideal one. If there is imbalance in these humours, it would
disturb the balance of the brain and would create an excess in one quality
and would create follies. According to Jonson, comedy should deal with
that element of humours. As per the opinion of Jonson, 'Humour' is a
particular quality that is found in a man which draws all his effects, spirits
and powers. That's why 'Humorous' characters mean those character
whose behaviours are determined by a single feature or 'Humour'.
Use of theory of Humours by Jonson:
Ben Jonson wrote comedy of humours. 'Every Man in his Humour' is
the earliest play by Jonson. His characters are befitting to his concepts of
'Humours'. The term 'Humour' was a fashion and 'Humour' was used to
describe presentation or affection. It was also used to describe the
whimsically of speech. He has used it to depict some typical folly seen in
human beings.

30
 As we all know, Jonson was a realist and a satirist. His aim was to
present those characters in the familiar milieu of real life which was
supposed to present a particular feature of the character of the attitude.
Old Kno'well in the play is the father of Edward who has some
weaknesses of his class. In him we can see the humour of excessive
parental care. He goes on doubting his son though the latter is good. He
always thinks that his son is wrong and he is right. He does not appreciate
his son's love for poetry. His characterization is highly realistic. Kitely is
the merchant and he is a real 'humour'. His element is jealousy. He is
jealous but does not harm anyone.
Young Kno'well is the man of wit and culture. He is smart and wins
Bridget with smartness.
Brainworm is yet an another character who is a servant and intrigues
by nature. He is at the centre in the plot. He is often found under disguise
and unravelling takes place at the cut because of Brainworm. He is genial
in mood. He makes others victims without any malignity and yet the
justice elements forgive him at the end of the play.
Bridget is a woman character who possesses wisdom and good sense
but her only humour is insipidity. She gets married with the hero but her
existence is very shadowy. Other ladies characters like Dame Kitely and
Tib are realistically portrayed house-wives of the contemporary time. They
don't possess any humours on the stage.
His aim was to scourge the follies of the time. He wanted to expose the
selfishness of individual pretensions and affections which kept them away
from the serious behaviour.
Q.3 Write a note on the Elizabethan Theatre:

31
Ans. Shakespeare's tragedy is considered as a landmark in the history of
English literature. Shakespeare was creative and an innovator. In order to
get mastery, others had to work hard while Shakespeare could get
mastery very easily and naturally. He observed everything in the mirror of
life and understood it properly. He was not just a great artist but an
experimenter. Shakespeare was a genius who made very appropriate
changes in his play in order to suit the stage conditions of his era.
If we want to understand Shakespeare's techniques on the stage, we
have to get a clear idea about the Elizabethan stage. During the rule of
Queen Elizabeth, the theatres became highly popular. There were
theatres like The Globe, The Rose, The Swan etc. Shakespeare did not
write plays for just reading. They were meant for stage performance. So,
we must think about them concerning with the requirements of the stage.
If we compare the modern version of inaction of those plays with the
original text, we shall find the points of difference. Modern versions often
differ and there are alterations which are quite arbitrary મનસ્ળી. This
reflects that the stage for which Shakespeare used to write was far more
different from our own. The stage conditions were totally different in
Shakespeare's time.
Keeping in mind this, it is necessary to study the condition of stage that
existed in the Elizabethan Age. Johannes' sketch in 1596 gives us a clear
idea about the Elizabethan theatre and stage.
(1) Movable scenery was not much known. That's why the dramatist had
to use the same stage even for different locations. Names were not given
to these location.
(2) The stage platform was divided into three parts - the front stage, the
back stage and the upper stage.
32
(3) The front stage was traditionally employed for any open space street,
square or field.
(4) The use of backstage was done as a room in the palace, council
chamber or any other interior.
(5) The upper stage gallery was used as the actors' retiring room. It was
also used as an elevated spot like the walls of the castle, gallery or
balcony. e.g. Juliet's gallery in Shakespeare's play 'Romeo and Juliet'.
(6) Simplicity of the stage-setting provided freedom and rapidity to the
movement of the action.
(7) As there was no change of a scene it was made without any difficulty.
One group of characters would leave and the other would enter
afterwards. The fresh scene would begin without any device.
(8) No movable scenery was showed which affected various structural
devices of Shakespearean plays. There was no attachment with the
considerations of locality and place. There used to be many minor scenes
which would seem absolutely unnecessary these days.
(9) There was no drop-curtain in the Elizabethan stage. There was no
method of closing a scene and so the scene closed only when all the
characters would go out of the stage. It sounded funny but even the dead
bodies were also cleared in this way.
(10) Shakespeare has been obliged to bring each scene to its natural
conclusion very often. Such scene would look like anti-climax. That's why
it is said that in Shakespeare's plays the curtain falls like the knife of
guillotine.
In this way we must understand very clearly that Shakespeare's plays
were written focussing on conditions of the stage. His plays were to be
33
staged and so it is necessary to keep the Elizabethan stage conditions in
mind while appreciating his plays.
Q.4 Write a short note on Dramatic Irony:
Ans. Dramatic irony is a kind of contrast. It shows contrast between two
aspects of the same thing. It can possibly be provided earlier or later in
the play. It presents difference between what is said and what is done. It
has got two meanings. One is meant for the spectators while the other is
for the characters that are playing various roles on the stage. The
characters often speak something or behave and act in some ways in
ignorance of certain important facts and realities. Spectators are aware of
these facts but the characters or speakers on the stage are absolutely
unaware of them.
Thus, there are two types of ironies:
(1) The irony of situation or incident
(2) Verbal irony.
'Electra' of Sophocles is an apt example of irony of situation. Aegisthus
is standing beside the covered corpse thinking that it is the corpse of
Clyaemnestra. Here, Orestus himself is present and in disguise asks
Aegisthus to uncover the veil and display the face.
In Shakespeare's play 'Henry - V', the conspiracy to murder the king is
hatched. The conspirators believe that it is quite secret but the spectators
are aware of the fact that king himself is aware of it. The conspirators go
ahead towards self-conduction. In 'Julius Caesar' also, there is an irony of
situation employed very effectively.
Another type of irony is verbal irony. This irony depends on the
speech of the characters. It has two different meaning - one is meant for
34
the speaker himself and the other is for the audience. Here, characters
are ignorant but audience is aware of it. Verbal irony was very popular in
the Greek drama. Sophocles' 'Oedipus, the King' is one of the greatest
masterpieces which consist of such verbal ironies.
In Greek drama, the dramatist himself keeps us informed about the
important facts in advance. In Shakespeare's plays also, there are many
examples of verbal irony. In 'Twelfth Night' and 'As You Like It', the
heroines appear in the disguise of young man. The characters on the
stage are unaware of their gender and position but the audience knows it.
Their remarks are understood differently by the other characters and
audience.
Sometimes, even a single word is full of meaning. Othello is referred
to as an honest man who turns into a cruel murderer. In 'Macbeth', the
hero exclaims, "So fair and foul a day I have not seen." It is in fact a
casual remark about the weather but the witch's prophecy, "Fair is foul
and foul is fair" reflects the evil hidden as fair in Macbeth which gets
exposed later on. His ambition makes him blind and inhuman. Many
soliloquies in 'Macbeth' are full of verbal irony.
Another aspect of verbal irony is called prophetic irony. It is the contrast
between the course of events as expected and what actually happens. In
this way, irony plays a very important role in the drama.
And the last one is cosmic irony. Cosmic irony depicts man's feverish
efforts and indifference of the universe. Such irony is introduced in
Hardy's 'The Dynasts'.
According to J.H. Robinson, irony is popular in literature because
man himself full of ironies. He is innocent like a child but also cruel like a

35
wild animal. He is savage by nature. His desires are contrasting and he is
absolutely unpredictable.
Q.5 Renaissance and its effect on literature:
Ans. The Elizabethan Age is one of the richest periods in the history of
England as well as English literature. The Renaissance means rebirth.
Literature of Renaissance is full of passions and delight. It touched
passionate delight in the joyous and yet presents a serious view of the
world. The literary products were full of vigour and imagination. This age
was fruitful in various ways not just because of Shakespeare but there
must be many other writers, particularly dramatists who gave a great
contribution from their side to provide the age its literary character. Let us
have a glance at the effect of the Renaissance on literature.
Actually, we cannot say on which particular day Renaissance began.
Literally, Renaissance means 'rebirth'. This refers to the rebirth of
classical learning after getting neglected for many years. The
Renaissance is also connected with the questioning of tradition, the rise of
scientific spirit, individualism and interest in the present world.
Historically, Renaissance started with the conquest of Constantinople
by the Turks on 29th May, 1453. The Roman Empire's fall at once and the
history witnessed that many scholars fled to Italy with Greek and Roman
manuscripts. In Italy, there was already a revival of interest in classical
literature. The study of classical writers increased. Italian scholars like
Petrarch dedicated their lives in the study of classical authors like Plato,
Aristotle, Cicero, Homer, Virgil and Ovid.
During the 6th century in England, the Renaissance attained full of
maturity. The most remarkable event was the invention of printing from
movable type. Books were easily available to people after this. The
36
reading public increased. Renaissance thus got stimulated by the revival
of learning. English explorers went to the West Indies and South America.
They acquired great wealth including silver, gold and gems which found
its expression in romantic poetry as well as drama.
The spirit of patriotism also grew stronger in England after the defeat of
the Spanish Armada. This patriotism got expression in 'Richard - II'.
Discovery of new routes helped to establish the commercial prosperity of
centuries like Spain, Portugal and England. The economic growth helped
in the development of intellectual and artistic life also.
Copernicus gave a theory that earth moves round the sun and this
knowledge helped Pope Gregory - XIII in the reformation of the Julian
calendar in 1582.
There was feudal system સામંત઴ાહી વ્યળસ્થા in the middle ages. But
Renaissance showed the rise of new merchant class. Man believed in the
enjoyment of pleasure available on the earth. Concentration was on the
total development of man's personality.
Activities of the Renaissance were reflected in its literature also. Malory,
Erasmus and Thomas More brought in intellectual awakening in England
through their prose writing. Bacon's essays also reflect the spirit of
Renaissance. Poetry of Wyatt, Surrey and Spenser also reflect the spirit
of Renaissance. In plays like Dr. Faustus, Edward-II, Tamburlaine the
Great and The Jew of Malta by Marlow, we find love, wealth, pleasure and
power. He also expressed desire for knowledge and beauty. In Edward-II,
there is questioning spirit.
Q.6 Write a short note on Soliloquy:

37
Ans. The Soliloquy means the dialogue with oneself. Dialogues are an
important part of the drama form. Thus, Soliloquy is also very important in
drama. But the soliloquy must be used judiciously. Dialogues mean an
exchange of words or conversation between two or more characters and
soliloquy means to talk to oneself. We can call it a dialogue with oneself.
Actually it sounds quite unnatural because people do not talk to
themselves generally. We all know that we rarely speak to ourselves but
we do not think in our mind as if we are talking. This conversation with the
self is presented in the form of soliloquies on the stage. When the
character speaks soliloquy, we can understand that he is thinking alone
and aloud in his mind. Thus, talk or conversation with the self is described
in the form of soliloquies on the stage during the performance of the
drama. We can also call soliloquy a loud thinking.
The intention behind the use of soliloquy is to take the audience and
readers deep into the hidden feelings of the mind of the character.
Through dialogues only, the real self of a character does not get revealed
while a soliloquy makes it possible to know the true self of a person. We
must know the characters not only from outside but also we have to try
and understand the characters from within. We should also know the
inner minds and feelings of the characters. A dramatist can't dissect his
characters. A dramatist cannot make remarks on the minds of characters
directly but he uses soliloquy for this purpose. He employs soliloquies in
order to reveal the inner minds of the characters. Soliloquies allow us to
peep into the hidden minds of the characters in the play. The secret
currents of the minds of the characters get revealed. Even in fiction,
soliloquies have been used by the writers. It is an extra device used by
the author. We can consider it as an additional facility in the prose but in
play, soliloquy is necessary and it is a useful device for bringing out the
38
inner working of the minds of the characters. It provides us the picture of
the inner thoughts of the character.
Q.7 Clowns and Fools in Shakespearean drama.
Ans. Shakespeare is known as one of the most important comedy writers
in the world of English literature. His comedies are divided into groups
according to their themes, language, tone and atmosphere. Most of
comedies of Shakespeare are called Romantic comedies. Shakespearean
comedies posses their own traits like the world in the comedies, the
element of realism, the element of love, description of the lighter side of
life, humour and laughter, role of women, music, songs, mixture of joy and
pathos and among characters, there are fools and clowns. Fools and
clowns are present in comedies and tragedies of Shakespeare. These
characters provide laughter and fun by their wit. Clowns also sing songs
and provide fun and frolic. He is known as a fool but he is not a fool in
reality. Fools of Shakespeare are wise and they possess a great sense of
humour. They not only provide laughter but throw light on certain situation
and reality also. Clowns successfully create interest on the stage. Let us
look at the clowns of Shakespeare who played important roles on the
stage. They make the serious situations or story of the drama light and
funny.
(1) Touchstone:
He is the court fool whose duty is to provide entertainment to the king.
His observation is very keen. He is witty and philosophical also.
Touchstone satirises the weakness of someone in particular and people in
general. He reveals follies of others in the play. When we come to know
about his opinions and judgement, we would never consider him a fool.
As the name 'Touchstone' refers, his duty is to test the value of men and
39
society. Touchstone is a satirist and evaluates anyone quickly. He
exposes the folly of a person in love. His role is that of a commentator.
(2) Trinculo:
He appears in Shakespeare's play 'Tempest'. He too is a court-jester. He
is always found drunk. He tries to create fun but falls flat. Because of his
overdrinking, he is not able to stand. He is often insulting and found
quarrelling. He makes fun of the superiority of his abilities. He is less
effective.
(3) Feste:
He appears in 'Twelfth Night'. His name comes from the Latin word
'Festus' which means cheerful and joy in mood. He has a great dramatic
effect in the play. He follows a word play, arguments, reasoning and
entertains us. He too is a professional fool. He is shrewd in comments. He
plays practical jokes also.
(4) Lancelot Gobbo:
He is the clown in 'The Merchant of Venice'. He is a servant, clown and a
messenger. He uses slang. He argues illogically. He deceived his own
father by pretending to be dead. He creates farce.
(5) Bottom:
He is seen in 'A Mid Summer Night's Dream'. He is not a clown but his
role is that of a fool. He is funny and at the same time satirises the
weaknesses of the human nature. He is a weaker by profession but he is
very witty, intelligent and resourceful. He is overconfident. He creates fun
by his strange behaviour in the forest scene as his head is transformed
with an ass head. With an ass head he falls in love with the fairy queen

40
and makes love too. It is so funny to see him ordering fairies to bring
grass instead of nuts.
(6) Falstaff:
He is regarded as the greatest clown of Shakespeare. Of course, he
appears in 'Henry- IV' which is a historical play. He plays a central role in
the drama. He is an example of unmatched humour. He possesses a
huge body. He is careless about the social or moral norms in his life.
Thus, Shakespeare's fools are not ordinary at all. Their role is
significant. Their commentary on life is really great. He provides humour
and also adds to the effect of the tragedy.
Q.8 Humanism in Renaissance:
Ans. Renaissance refers to 'rebirth'. It is the rebirth of classical learning.
The movement reflects questioning of tradition, the rise of scientific spirit,
individualism and interest in the present world. The age is marked by
many discoveries which helped in the flourishing of literature also.
Intellectual activities are also reflected in literature.
Yet another important aspects of Renaissance is Humanism. During the
Elizabethan age there was the revival of classical learning. People of the
age were interested in the study of the classical learning. The re-
discovery and new interpretation of ancient traditions gave birth to new
culture which can be called humanism. Erasmus was the leader of this
humanitarian attitude. The humanists were led by Erasmus and they all
started taking interest in life and mankind in general. In England also,
there was influence of humanistic culture.
According to this new creed and approach, Life was not a more
penance. Life was not to be endured by the good Christian in preparation
41
for heaven. Now the wind had started blowing from a different direction.
People started taking interest in life instead of thinking of future and
heaven means another world, they started focusing on the present life.
People made efforts and struggled hard to make life better and happier.
The approach of the people became humanistic. These humanistic
principles created the new ideal man who strived to get perfection on all
sides. The new man with humanistic approach used his intellect and
exercised it upon philosophy, literature and science. Man started training
his body for war and chase. Man was now a perfect lover.
Q.9 The Reformation and its influence on Literature:
Ans. The term 'Reformation' refers to the religious and political
developments that were the result of the protestant religion during the
16th century. It was the time when Martin Luther broke away from the
Roman Catholic Church. Reformation was a revolt against the Roman
papacy. Protestantism emphasized the individual struggle between
doubts and faith. Only faith can lead to salvation. The church was refused
to be an intermediary between man and God. Reformation was the results
of the Renaissance.
Breach with Rome: In Britain the Reformation was started by Henry - VIII's
break with the pope in 1535. In England, reformation was political,
religious and social. There was a great social and religious revolution. For
achieving his own policy, Henry -VII had to reform the church and accept
the authority of the Bible.
The reason for the break with Rome was a question of divorce. A long
parliament of the reformation was called and with this started the
reformation of England. Queen Elizabeth found a moderate religious
policy which brought reformation in England.
42
Influence of Reformation on Literature:
Reformation also left its mark on English literature. Religious literature
was written in England under the influence of Reformation. Bible was
given to England. It also paved the way for 'The Authorized Version of the
Bible' in 1611. 'Bible' and 'The Book of Common Prayer' are glorious
achievements of the Reformation.
A number of tracks, treatises, sermons and prayer books were
written during the time. Hugh Latimer wrote sermons in plain style.
Yet an another important gift of the reformation is 'The Book of
Martyrs' by John Fox. Writers were inspired to write chronicles. Even
'History of Great Britain' was published in 1611 which was written by John
Speed.
Poets like Milton and Spenser were highly influenced by the
Reformation. There was spirit of Renaissance and reformation in their
works. 'Four Hymns' and 'Faerie Queene' by Spenser and 'Paradise Lost',
'Paradise Regained' and 'Samson Agonistes' are the greatest examples of
works of the Reformation.
======================================================================

Part: C 13 Long Questions : The Merchant of Venice

Q.1 Discuss the plot overview or summary of the Merchant of
Venice.
Ans. Antonio was a leading merchant of Venice. He was rich and
respected man. He had a fast friend named Bassanio who owed Antonio
a large amount of money. Bassanio wanted to repay the amount to his
friend but he could not do so as he had no money. He then asked for a
loan from Antonio. Bassanio tells Antonio that in Belmont, there lives a
43
rich and beautiful heiress whom he courts. Bassanio asks for a loan from
Antonio to travel to Portia's estate. Portia was a rich, young, beautiful and
intelligent lady.
As a good friend, Antonio wants to help Bassanio but he had no
money because all his money was invested in trade of ships which were
still at the sea. Antonio suggests Bassanio to get loan from a rich Jew
money-lender named Shylock. Antonio decides to be the guarantor. In
Belmont, Portia expresses her sadness over the terms of her father's will.
According to the will, she must marry the man who correctly chooses the
right casket from the three caskets. Portia did not like most of the current
suitors. Portia and her maid Nerissa fondly remember the paid visit by
Bassanio. There were three caskets of gold, silver and lead. Most of the
suitors failed to choose the right casket. Portia was happy that a wrong
man could not choose the right casket.
Bassanio goes to Shylock for borrowing the loan. Shylock had a
grudge against Antonio for his insulting behaviour and anti-Semitism યહદૂ ી
પળરોધી. He offers the loan to Bassanio but places certain condition. He

asks for a pound of Antonio's flesh if Bassanio could not return the money
within three months. He even decided not to charge any interest. The
bond was agreed and it was signed by Antonio.
Bassanio prepared to leave for Belmont with his another friend
Grasiano. Meanwhile, Shylock's servant Launcelot wishes to change his
master and requests Bassanio to employ him. Shylock's daughter Jessica
also wants to leave home as she wants to become a Christian and marry
Antonio's friend Lorenzo. Jessica elopes with Lorenzo taking gold and
jewels with her. The following day, Bassanio sails for Belmont and
Shylock is full of anger as his daughter had stolen his treasure.
44
 In Belmont, Portia's suitors - the Prince of Morocco and the Prince of
Aragon fail to choose the right casket. The Prince of Morocco chooses
gold casket and the Prince of Aragon chooses silver casket. Bassanio
comes there and Portia greets him eagerly. He chooses the lead casket
and wins Portia. His friend Grasiano asks for Portia's maid Nerissa to be
his wife. Portia gives her ring to Bassanio and ask him never to give the
ring to anyone else.
Lorenzo and Jessica come to Belmont. Then the news arrives that
Antonio's ships have been lost in the sea. Naturally, he is bankrupt and
sad. Shylock now insists on the fulfilment of his bond. Antonio is arrested.
Bassanio and Grasiano leave in haste to help Antonio. Portia and Nerissa
resolve to follow them. They are disguised as lawyers.
In the Venetian court, Shylock demands for the pound of flesh from
Antonio's body. He wanted to kill him. The Duke seeks the legal advice of
Balthazar who is Portia in disguise. Portia pleads to Shylock for mercy.
She says that mercy is a double blessing for the giver as well as the
receiver. Bassanio offers his wife's money to pay the debt. But Shylock
refuses. Antonio's life was in danger now.
Balthazar tells the court that Shylock can take pound of flesh from
Antonio's body according to the bond but not a single drop of blood should
be shed. Shylock is told that there is no mention of blood in the bond.
There is only mention of pound of flesh. Shylock is defeated and he
cannot collect the pound of flesh from Antonio's body.
For threatening the life of a Venetian, Shylock forfeits his goods to
Antonio and Bassanio. Antonio refuses his share of compensation. He
asks for it to be put in a trust of Lorenzo and Jessica. He also demands
that Shylock should become a Christian.
45
 Shylock is broken and leaves the court. Bassanio and Grasiano
thank the lawyers. They ask for their rings as legal fees. They refuse to
give their rings but Antonio intervenes and asks them to give their rings.
Portia and Nerissa return home at night and meet Lorenzo and Jessica
enjoying the peacefulness of Belmont. Their husbands arrive and see that
they have no rings on their fingers. Portia and Nerissa scold them that
they have given away the rings to other women. They call them disloyal
men.
After sometimes, they tell their husbands that they had acted as
lawyers to save Antonio's life. Balthazar was no one else but Portia.
Antonio receives the good news that his ships are safe and they have
reached the port. The play ends as three couples prepare happily to
celebrate their love and marriage.
Q.2 Briefly describes the story of The 'Merchant of Venice' by
Shakespeare.
Ans. 'The Merchant of Venice' is one of the popular plays of Shakespeare.
Its story is highly interesting. 'The Merchant of Venice' opens with
Antonio, a Christian merchant, in a depressed state. His friends try to
cheer him up, but nothing works to make him feel better. Finally his friend
Bassanio, an aristocrat who has lost all his money, comes and asks
Antonio to lend him some money.
Antonio, who has invested all his money is suffering ventures and so he
is unable to lend money to Bassanio. Instead, he offers to use his good
credit to get a loan for Bassanio. Bassanio finds Shylock, a Jewish
money- lender and convinces him to give a loan of three thousand ducats
as long as Antonio will sign the contract. There occurs an unusual twist,
instead of charging interest in the form of money. Shylock agrees to waive
46
it as long as Antonio promises him a pound of his flesh as collateral.
Antonio thinks that it was a 'merry sport', so he accepts the condition of
the bond (contract) and signs it.
Bassanio takes the money and prepares to go to visit Portia, a wealthy
heiress living in Belmont. She is unmarried because her father had
declared a condition for all the suitors that they must first select one of the
three caskets in order to marry her. The caskets, one made of gold, one
of silver and one of base lead, all contained different messages. Only one
of these caskets contained a picture of Portia. The suitor who picks the
casket with the photo will be granted permission to marry her.
Before Bassanio arrives, the Prince of Morocco tries his luck in
choosing among the caskets. He picks the gold casket because it
contains an inscription reading 'what every man desires'. Instead of
Portia's picture, he finds a skull which symbolises the fact that gold hides
corruption. As part of losing the suit, he is further sworn to never propose
marriage to any other woman and must return to Morocco immediately.
The next suitor, the Prince of Aragon, selects the silver casket which
bears an inscription stating that it will give a man what he deserves. Inside
is a picture of an idiot, indicating that his self-cantered approach was
foolish. He too leaves in shame.
Back in Venice, Jessica, the daughter of Shylock, has fallen in love with
Lorenzo. They plan to escape one night when Shylock is invited to eat at
Bassanio's house. After Shylock leaves, Lorenzo goes to his house with
two friends. Jessica appears at a window dressed as a boy and tosses a
chest of money and jewels down to them. She then emerges from the
house and runs away with Lorenzo.

47
 Shylock, upon discovering that his daughter has run away with a lot
of money, he blames Antonio for helping her escape. At the same time
there are rumours developing in Venice that many of Antonio's ships, with
which he expected to repay Shylock for the loan, have sunk or been lost
at sea. Shylock becomes happy to get the news that Antonio is losing
everything because he wants to extract his pound of flesh in revenge for
the many insults Antonio has dealt him throughout the years.
Bassanio arrives in Belmont and meets Portia. She remembers him as
the dashing soldier with whom she fell in love several years earlier. Portia
begs Bassanio to wait before choosing among the caskets, but he
demands the right to start immediately. Without even properly reading the
inscriptions, Bassanio selects the lead one because he considers it a
threatening casket. Portia is overjoyed when he finds her portrait inside.
She gives him a ring to seal their engagement and they prepare to get
married the next day. Gratiano, who has accompanied Bassanio to
Belmont, tells him that he and Nerissa (Portia's friend) wish to be married
as well.
A messenger arrives and hands over a letter to Bassanio from
Antonio in whom he informs Bassanio that he has lost all his money and
must forfeit a pound of flesh to Shylock. Bassanio immediately tells Portia
what has happened. She orders him to take six thousand ducats and
return to Venice where he can pay Shylock and cancel the contract. After
Bassanio and Gratiano have left, Nerissa and Portia depart for Venice
disguised as men.
Shylock gets Antonio arrested and brought before the Duke of Venice,
who presides over a court of justice. The Antonio goes free. When he
refuses, the Duke asks him how he expects any mercy if he is unable to
48
offer it. The Duke then tells the gathered men that he is waiting for a
doctor of the law to arrive.
Nerissa enters the court and hands a letter to the Duke which notifies
him that a doctor named Bellario has sent an educated young lawyer in
his place. Portia arrives disguised as the lawyer Balthazar. She informs
the Duke that she has studied the case and will preside over it. She first
asks Shylock for the contract and looks it over. Bassanio offers to pay
Shylock the six thousand ducats, but he refuses to accepts the money,
preferring instead the revenge of killing Antonio. Unable to find any
loopholes, Portia grants Shylock his pound of flesh. Shylock, overjoyed at
winning his case, holds a knife ready to cut into Antonio's chest.
Portia stops him by asking if he has a surgeon present to suppress the
flow of blood. Shylock tells her that the bond said nothing about providing
a lawyer. She informs him that he may have his pound of flesh, but that if
he sheds a single drop of blood then Venice can take away his lands and
wealth according to the law. Shylock, clearly unable to comply with this
law, asks instead that he be given the six thousand ducats. Portia refuses
his request, explain that she has already ruled according to the contract
and that it must be carried out.
Portia then starts to read the contract literally, reaffirming that Shylock
must take exactly one pound of flesh, no more and no less, or he will
violate the contract and die. Shylock tells the court that he wishes to
completely drop his case and forgive Antonio the entire three thousand
ducats. Portia again refuses his request, explaining that the law in Venice
states that if any foreigner conspires against the life of a Venetian, half his
wealth is to be given to the man against whom he conspired and half is

49
taken as a fine by the state. In addition, the Duke is granted the power of
life and death over him.
When Shylock is pardoned by the Duke, he informs the court that he
would prefer death rather than lose everything he owns. Antonio asks the
court to return the fine of half of Shylock's wealth provided Shylock
converts Christianity.
In addition, Antonio declares that he will keep his share in a trust for
Jessica and Lorenzo. Portia agrees to this and also makes Shylock
promise to give all his money to Lorenzo upon his death.
After the trial, Bassanio thanks Balthazar (Portia) for his (her) good work
and offers him (her) anything he (she) desires. Portia asks him for the ring
she had given him earlier as a token of their love. He is upset about giving
it to her since he thinks he is Balthazar. However, after Antonio points out
that he nearly lost his life for Bassanio, Bassanio pulls off the ring and
hands it to her.
Portia and Nerissa return to Belmont dressed normally. Lorenzo and
Jessica have been living there, enjoying the comfortable life Belmont
offers. Soon after the two women arrive, Bassanio and Gratiano also
return from Venice. The happy reunion is destroyed when Portia asks
Bassanio about the ring which (he had given away to her). She forgives
him only after Antonio vouches for Bassanio's fidelity.
Portia then gives Antonio the ring and has him hand it to Bassanio.
He is shocked to see it is the same ring he had given to Balthazar. Portia
finally tells him the truth about Balthazar. The play ends with three happy
couples: namely Lorenzo and Jessica, Nerissa and Gratiano, as well as
Portia and Bassanio. However, Antonio and Shylock remain outcasts,
separated from the happy ending.
50
Q.3 Briefly introduces important characters of the play 'The
Merchant of Venice'.
Ans. The important characters of 'The Merchant of Venice' are follows:
1. Shylock: A Jewish money lender in Venice. Angered by his
mistreatment at the hands of Venice's Christians, particularly Antonio,
Shylock schemes to eke out his revenge by ruthlessly demanding as
payment a pound of Antonio's flesh. Although seen by the rest of the
play's characters as an inhuman monster. Shylock at times diverges from
stereotype and reveals himself to be quite inhuman. These contradictions
and his eloquent expressions of hatred, have earned Shylock a place as
one of Shakespeare's most memorable characters.
2. Portia: A wealthy heiress from Belmont. Portia's beauty is matched only
by her intelligence. Bound by a clause in her father's will that forces her to
marry whichever suitor chooses correctly among three caskets. Portia is
nonetheless able to marry her true love, Bassanio. Far and away the most
clever of the play's characters, it is Portia, in the disguise of a young law
clerk, which saves Antonio from Shylock's knife.
3. Antonio: The merchant whose love for his friend Bassanio prompts him
to sign Shylock's contract and almost lose his life. Antonio is something of
a jolly figure, often inexplicably સમજાળી ન ઴કાય તેવ ું melancholy and, as
Shylock points out, possessed of an incorrigible અયોગ્ય dislike of Jews.
Nonetheless, Antonio is beloved of his friends and proves merciful to
Shylock, albeit તો઩ણ with conditions.
4. Bassanio: A gentleman of Venice and a kinsman and dear friend to
Antonio. Bassanio's love for the wealthy Portia leads him to borrow money
from Shylock with Antonio as his guarantor. An ineffectual businessman,
51
Bassanio proves himself a worthy suitor, correctly identifying the casket
that contains Portia's portrait.
5. Gratiano: A friend of Bassanio's who accompanies him to Belmont. A
rude and talkative young man. Gratiano is Shylock's most vocal and
insulting critic during the trial. While Bassanio courts Portia, Gratiano falls
in love with and eventually weds Portia's lady-in-waiting, Nerissa.
6. Jessica: Although she is Shylock's daughter, Jessica hates life in her
father's house and elopes with the young Christian gentleman, Lorenzo.
The fate of her soul is often in doubt : the play's characters wonder if her
marriage can overcome the fact that she was born a Jew and we wonder
if her sale of a ring given to her father by her mother is excessively
heartless.
7. Lorenzo: A friend of Bassanio and Antonio, Lorenzo is in love with
Shylock's daughter Jessica. He schemes to help Jessica escape from her
father's house and he eventually elopes with her to Belmont.
8. Nerissa: Portia's lady-in-waiting and confidant. She marries Gratiano
and escorts Portia on Portia's trip to Venice by disguising herself as her
law clerk.
9. Launcelot Gobbo: Launcelot Gobbo is Bassanio's servant. A comical,
clownish figure who is especially expert at making puns, Launcelot leaves
Shylock's service in order to work for Bassanio.
10. The Prince of Morocco: A Moorish prince who seeks Portia's hand in
marriage. The prince of Morocco asks Portia to ignore his dark face and
seeks to win her by picking one of the three caskets. Certain that the
caskets reflect Portia's beauty and height, the prince of Morocco picks the
gold chest, which proves to be incorrect.
52
11. The Prince of Arragon: An arrogant Spanish nobleman who also
attempts to win Portia's hand by picking a casket. Like the prince of
Morocco, however, the prince of Arragon chooses unwisely. He picks the
silver casket, which gives him a message calling him an idiot instead of
Portia's hand.
12. Salarino: A Venetian gentleman and friend to Antonio, Bassanio and
Lorenzo. Salarino escorts the newlyweds Jessica and Lorenzo to Belmont
and returns with Bassanio and Gratiano for Antonio's trial. He is often
almost alike from his companion Solianio.
13. Solanio: A Venetian gentleman and frequent counterpart to Solarino.
14. The Duke of Venice: The ruler of Venice who presides over Antonio's
trial. Although a powerful man, the duke's state is built on respect for the
law and he is unable to help Antonio.
15. Old Gobbo: Launcelot's father, also a servant in Venice.
16. Tubal: A Jew in Venice and one of Shylock's friends.
17. Doctor Bellario: A wealthy lawyer and Portia's cousin. Doctor Bellario
never appears in the play, but he gives Portia's servant the letters of
introduction needed for her to make her appearance in court.
18. Balthazar: Portia's servant, whom she dispatches to get the
appropriate materials from Doctor Bellario.
Q.4 Discuss the theme of Self-interest versus Love in 'The Merchant
of Venice'.
Ans. 'The Merchant of Venice' is one of the most famous comedies by
Shakespeare. There are several themes he has focused in the drama.
One of those important themes is self-interest versus love.

53
 On the surface, the main difference between the Christian characters
and Shylock appears to be that the Christian characters value human
relationships over business ones while Shylock is only interested in
money. The Christian characters certainly view the matter this way.
Merchants like Antonio lend money free of interest and put themselves at
risk for those they love, whereas Shylock agonizes over the loss of his
money and is reported to run through the streets crying, "O, my ducats! O,
my daughter!" With these words, he apparently values his money at least
as much as his daughter, suggesting that his greed overweighs his love.
However, upon closer inspection, this supposed difference between
Christian and Jew breaks down. When we see Shylock in Act III, scene i,
he seems more hurt by the fact that his daughter sold a ring that was
given to him by his dead wife before they were married than he is by the
loss of the ring's monetary value. Some human relationships do indeed
matter to Shylock more than money. Moreover, his insistence that he has
a pound of flesh rather than any amount of money shows that his
resentment is much stronger than his greed.
Just as Shylock's character seems hard to pin down, the Christian
characters also present an inconsistent અસંગત picture. Though Portia and
Bassanio love one another, Bassanio seeks her hand in the first place
because he is monstrously in debt and needs her money. Bassanio even
asks Antonio to look at the money he leads Bassanio as an investment,
though Antonio insists that he lends him the money solely out of love. In
other words, Bassanio is anxious to view his relationship with Antonio as
a matter of business rather than of love. Finally, Shylock eloquently
argues that Jews are human beings just as Christians are, but Christians
such as Antonio hate Jews simply because they are Jews. Thus, while the

54
Christian characters may talk more about mercy, love and charity, they
are not always consistent in how they display these qualities.
The conflict between Shylock and the Christian characters comes to a
head over the issue of mercy. The other characters acknowledge that the
law is on Shylock's side, but they all expect him to show mercy, which he
refuses to do. When, during the trial, Shylock asks Portia what could
possibly compel him to be merciful, Portia's long reply, beginning with the
words, "The quality of mercy is not strained," clarifies what is at stake in
the argument. Human beings should be merciful because God is merciful
: Mercy is an attribute ઱ક્ષણ of God himself and therefore greater than
power, majesty or law. Portia's understanding of mercy is based on the
way Christians in Shakespeare's time understood the difference between
the Old and New Testaments. According to the writings of St. Paul in the
New Testament and the Old Testament depicts God as requiring strict
adherence ઩ા઱ન to rules and tough and harsh punishments for those who
stray. The New Testament, in contrast, emphasizes adherence to the
spirit rather than the letter of the law, portraying a God who forgives rather
than punishes and offers salvation to those followers who forgive others.
Thus, when Portia warns Shylock against pursuing the law without regard
for mercy, she is promoting what Elizabethan Christians would have seen
as a pro-Christian, anti-Jewish agenda."
The structure of Renaissance drama demanded that Shylock be a
villain and, as such, clearly unable to show even a drop of compassion for
his enemy. A sixteenth-century audience would not expect Shylock to
exercise mercy - therefore, it is up to the Christians to do so. Once she
has turned Shylock's greatest weapon the law against him, Portia has the

55
opportunity to give freely of the mercy for which she so beautifully
advocates.
Instead, she backs Shylock into a corner, where she stripes him of his
bond, his estate and his dignity, forcing him to kneel and beg for mercy.
Given that Antonio decides not to seize Shylock's wealth as punishment
for conspiring against him, we might consider Antonio to be merciful. But
we may also question whether it is merciful to return to Shylock half of his
wealth, only to take away his religion and his profession. By forcing
Shylock to convert, Antonio disables him from practicing usury વ્યાજખોરી,
which, according to Shylock's reports, was Antonio's primary reason for
spitting on him in public. Antonio's compassion, then, seems to stem as
much from self-interest as from concern for his fellow man. Mercy, as
delivered in 'The Merchant of Venice', never manages to be as sweet,
selfless or full of grace as Portia presents it.
Q.5 Draw the character sketch of Antonio.
Ans. Although the plot turns on Antonio's difficulty, his character is not
sharply drawn. He is a rich man and a comfortable man and a popular
man, but still he suffers from an inner sadness. One obvious, dramatic
reason for Antonio's quiet melancholy is simply that Shakespeare cannot
give Antonio too much to do or say without taking away valuable dialogue
time from his major characters. Therefore, Shakespeare makes Antonio a
quiet dignified figure.
One of Antonio's most distinguishing characteristics is his generosity.
He is more than happy to offer his good credit standing so that Bassanio
can go to Belmont in the latest fashions in order to court Portia. And one
of the reasons why Shylock hates Antonio so intensely is that Antonio has
received Shylock's borrowers by lending them money at the last minute to
56
pay off Shylock; and Antonio never charges interest. He is only too happy
to help his friends, but he would never stop to accepting more than the
original amount in return. Antonio's generosity is boundless and for
Bassanio, he is willing to go to the full length of friendship, even if it
means that he himself may suffer for it.
Antonio is an honourable man. When he realizes that Shylock is within
his lawful rights, Antonio is ready to fulfil the bargain he entered into to
help Bassanio. "The Duke cannot deny the course of the law," he says.
And later, he adds that he is "arm'd To suffer, with a quietness of
spirit....For if the Jew do cut but deep enough. I'll pay it presently with all
my heart."
Antonio's courage and goodness are finally rewarded; at the end of
the play, when the three pairs of lovers are reunited and happiness
abounds at Belmont, Portia delivers a letter to Antonio in which he learns
that the remainder of his ships has returned home safely to port.
Q.6 Draw the character sketch of Bassanio.
Ans. Bassanio's character is more fully drawn than Antonio's, but it does
not possess the powerful individuality that Shakespeare gives to his
portraits of Portia and Shylock. First off, when one begins considering
Bassanio, one should dismiss all the critics who condemn him for his
financial habits. Bassanio's request to Antonio for more money is perfectly
natural for him. He is young; he is in love; and he is, by nature, impulsive
and romantic. Young men in love have often gone into debt; thus
Bassanio has always borrowed money and, furthermore, no moral stigma
ક઱ંક should be involved. Shakespeare needs just such a character in this

play for his plot.

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 If Bassanio is not a powerful hero, he is certainly a sympathetic one.
First, he has some of the most memorable verse in the play - language
which has music, richness and dignity. Second, he shows us his
immediate, uncalculated generosity and love : this is specially obvious
when Bassanio, who has just won Portia, receives the letter telling him of
Antonio's danger. Bassanio is immediately and extremely concerned over
the fate of Antonio and is anxious to do whatever is possible for his friend.
Here, the situation is melodramatic and calls for a romantic, seemingly
impossibly, rescue mission.
When at last Bassanio and Portia are reunited, he speaks forthrightly
and truthfully to her. He refuses to involve Antonio, even though it was at
Antonio's urging that he gave away his wedding ring to the judge who
cleverly saved Antonio's life : "If you did know," he tells Portia,
"for what I gave the ring
And how unwillingly I left the ring...
You would abate ઘટાડો the strength of your displeasure."
No matter how powerful the circumstances, he admits that he was
wrong to part with the ring because he had given his oath to Portia to
keep it. As the play ends, Bassanio's impetuous ઉત્સાહી nature is once
more stage-centre. Speaking to his wife, he vows:
" Portia, forgive me this enforced ઱ાગુ wrong...
and by my soul I swear
I never more will break an oath with thee."
Of course, he will; this, however, is part of Bassanio's charm. He
means it with all his heart when he swears to Portia, but when the next
58
opportunity arises and he is called on to rashly undertake some adventure
full of dash and daring, he'll be off. Portia knows this also and loves him
deeply, despite this minor flaw.
Q.7 Draw the character sketch of Portia.
Ans. Portia is the romantic heroine of the play and she must be presented
on the stage with much beauty and intelligence. Of her beauty, we need
to convincing, Bassanio's words are enough; thus we turn to her love for
Bassanio. Already she has given him cause to think that it is possible that
he can woo and win her, for on an earlier visit to Belmont. Bassanio did
"receive fair speechless messages" from her eyes. And when Nerissa
mentions the fact that Bassanio might possibly be a suitor, Portia tries to
disguise her anxiety, but she fails. Nerissa understands her mistress.
Portia is usually very self-controlled, but she reveals her anxiety
concerning Bassanio a little latter when he has arrived at her mansion and
is about to choose one of the caskets. She has fallen in love with him and
her anxiety and confusion undo her. "Pause a day or two", she begs for
"in choosing wrong, I lose your company." She thus makes sure that he
knows that it is not hate that she feels for him.
Bassanio's correct choice of the casket overwhelms Portia. She wishes
she had more of everything to give Bassanio:
"This house, these servants and this same myself
Are yours, my lord : I give them with this ring."
She willingly shares all she owns with Bassanio. Once master of her
emotions, she has fallen completely under the spell of love's madness.
Love is a mutual giving and receiving and so it is with perfect empathy
સહાનુભ ૂપત that she sends her beloved away almost immediately to try and

59
save his friend Antonio. They will be married, but their love will not be
perfect until his friend is saved, if possible.
Portia's second characteristic that is most readily apparent is her mercy
- that is, her tact કુનેહ and sympathy. Despite her real feelings about the
Prince of Morocco, Portia answers him politely and reassuringly. Since
the irony of her words is not apparent to him, his feelings are spared. She
tells him that he is:
"as fair as any comer I have look'd on yet
For my affection."
She shows the Prince of Morocco the honour his rank deserves. But
once he is gone, she reveals that she did not like him.
"A gentle riddance છુટકારો," she says; "Draw the curtains."
When the Prince of Arragon arrives, Portia carefully addresses him
with all the difference due to his position. She calls him "noble." But after
he has failed and has left, she cries out,
"O, these deliberate fools!"
To her, both of these men are shallows and greedy and self-centred; yet
to their faces, she is as ladylike as possible. Lorenzo appreciates this
gentle generosity of spirit; when Portia has allowed her new husband to
leave to try and help his best friend out of his difficulty, he says to her :
"You have a noble and a true conceit સમજણ of god-like smity."
In the court room, Portia (in disguise) speaks to Shylock about mercy,
but this is not merely an attempt to delay: she truly means what she says.
It is an eloquent appeal she makes. Her request for mercy comes from

60
her habitual goodness. She hopes, of course, to soften his heart, knowing
the outcome if he refuses. But the words come from her heart, honestly
and openly and naturally.
Finally, of course, what we most remember about Portia, after the play
is over, is her wit and her playfulness. Even when Portia is complaining to
Nerissa about the terms of her father's will, she does so wittily:
"It is not hard, Nerissa, that I cannot choose one nor refuse none".
And then she ticks off the eccentricities અનોખા઩ણું of the six suitors who
have arrived at Belmont to try for her hand. They are childish,
humourless, volatile ચંચ઱, ignorant, too fantastically dressed, weak or
have a drinking problem. She is clearly glad to be rid of them all when it is
announced that they are departing.
We recall too the humorous way that she imagines dressing like a man
and aping the mannerisms of all the men she has observed in her short
life. She bets Nerissa that she can out-man any man when it comes to
boasting and playing the macho bit:
"I have within my mind
A thousand raw tricks of these bragging બડાઈ મારળી Jacks,
Which I will practice."
Men are as transparent as stale beer to her; she revels in turning the
tables and having a bit of fun even while she is on a daring mission to try
and save Antonio's life. And even in the courtroom, when Bassanio
extravagantly offers his life for Antonio's, Portia taunts in an aside that
"Your wife would give you little thanks for that,

61
If she were by, to hear you make the offer."
The entire ring plot is Portia's idea and she and Nerissa relish the
prospect of the jest at their husbands' expense. Bassanio swears over
and over that he never gave his ring away to another woman (and he is
more than a little embarrassed to admit that he gave it to another man.)
But with a fine sense of comedy, Portia plays the role of the "angry wife"
just as well as she played the role of the "learned young lawyer's" at
Antonio's trial.
Only when Portia first falls in love with Bassanio does she lose all self-
control; once she regains control of herself, she takes matters in her
hands until the very end of the play and there she displays total command
of the situation. "You are all amazed," she tells them and then she shows
them a letter from Padua, explaining everything and she gaily invites them
inside where she will continue to explain and entertain. She is a delightful
creature, one of Shakespeare's most intelligent and captivating heroines.
Q.8 Draw the character sketch of Shylock, the Jew.
Ans. Shylock is the most vivid and memorable character in 'The Merchant
of Venice' and he is one of Shakespeare's greatest dramatic creations.
On stage, it is Shylock who makes the play and almost all of the great
actors of the English and Continental stage have attempted the role. But
the character of Shylock has also been the subject of much critical
debate: How are we meant to evaluate the attitude of the Venetians in the
play toward him? Or his attitude toward them? Is he a bloodthirsty villain?
Or is he a man "more sinned against than sinning"? One of the reasons
that such questions arise that there are really two stage Shylocks in the
play: first, there is the stage 'villain' who is required for the plot; second,

62
there is the human being who suffers the loss of his daughter, his property
and, very importantly for him, his religion.
Shylock's function in this play is to be obstacle, the man who stands in
the way of the love stories; such a man is a traditional figure in romantic
comedies. Something or someone must obstruct young, romantic love;
here, it is Shylock and the many and various ways that he is linked to the
three sets of lovers. The fact that he is a Jew, in a sense, accidental.
Shakespeare wanted to contrast liberally against selfishness - in terms of
money and in terms of love. There was such a figure available from the
literature of the time, one man who could fulfil both functions: this man
would be a usurer, or money-lender, with a beautiful daughter that he held
onto as tightly as he did his ducats. Usury was forbidden to Christians by
the church of the Middle Ages and as a consequence, money lending was
controlled by the Jews: as a rule, it was usually the only occupation which
law allowed them. As a result, a great deal of medieval literature produced
the conventional figure of the Jewish money-lender, usually as a minor
character, but also too, as a major character.
It is from these medieval literary tradition that Shakespeare borrows the
figure of Shylock, just as Marlowe did for his 'Jew of Malta'. Some
commentators have said that the character of Shylock is an example of
Elizabethan (and Shakespeare's own) anti-Semitism યહદૂ ી પળરોધી. In
contrast, many have seen the creation of Shylock as an attack on this
kind of intolerance. But Shakespeare, they forget, was a dramatist. He
was not concerned with either anti-Semitism or pro-Semitism, except in
the way it shaped individual characters in his plays to produce the
necessary drama that he was attempting to create. The play is thus
emphatically not anti-Semitic; rather, because of the nature of Shylock's

63
involvement in the love plots, it is about anti-Semitism. Shakespeare
never seriously defined or condemned a group through the presentation
of an individual; he only did this for the purpose of comedy by creating
caricatures in miniature for our amusement. Shylock is drawn in bold
strokes; he is meant to be a 'villain' in terms of the romantic comedy, but
because of the multi-dimensionality which Shakespeare gives him, we are
meant to sympathize with him at times, hate him at others. Shakespeare's
manipulation of our emotions regarding Shylock is a testament to his
genius as a creator of character.
When Shylock leaves the courtroom in Act IV, Scene 1, he is
stripped of all that he has. He is a defeated man. Yet we cannot feel deep
sympathy for him - some, perhaps, but not much. Shakespeare's intention
was not to make Shylock a tragic figure; instead, Shylock was meant to
function as man who could be vividly realized as the epitome સારાં઴ of
selfishness; he must be defeated in this romantic comedy. In a sense, it is
Shakespeare's own brilliance which led him to create Shylock as almost
too human. Shylock is powerfully drawn, perhaps too powerfully for this
comedy, but his superb dignity is admirable, despite the fact that we must
finally condemn him. Perhaps the poet W.H. Auden has given us best
clue as to how we must deal with Shylock:
"Those to whom evil is done," he says, "do evil in return." This explains in
a few words much of the moneylender's complexity and our complex
reactions toward him.
Q.9 Discuss the major themes, motifs and symbols of the play "The
Merchant of Venice".
Ans. Exploring the different themes within William Shakespeare's comedy
play, 'The Merchant of Venice', themes are central to understanding The
64
Merchant of Venice as a play and identifying Shakespeare's social and
political commentary.
Reality and Idealism:
The Merchant of Venice is structured partly on the contrast between
idealistic and realistic opinions about society and relationships. On the
other hand, the play tells us that love is more important than money,
mercy is preferable to revenge and love lasts forever. On the other hand,
more cynical voices tell us that money rules the world, mercy alone
cannot govern our lives and love can evaporate after marriage.
The play switches abruptly અચાનક between these different attitudes.
Shakespeare organizes the shifts between idealism and realism by
associating the two concepts with the play's two locations. Venice is
depicted as a city of merchants, usurers and cynical young men. Belmont,
in contrast, is the land where fairytales come true and romance exists.
Mercy:
'The Merchant of Venice' begs the question, does mercy exist in the
world? Between religious intolerance and personal revenge, the play
seems without a merciful being.
However, against all the odds, Portia does manage to bring about
some mercy in Venice. When Shylock faces execution for his crimes,
Portia persuades the Duke to pardon him. She then persuades Antonio to
exercise mercy by not taking all of Shylock's money from him. Here,
Portia's presence turns the proceedings away from violence and toward
forgiveness. Portia does, therefore, succeed in transmitting some of her
idealism into Venice. Act IV ends with the suggestion that idealism can
sometimes survive in the real world.
65
Prejudice:
Throughout the play and as Act 3, Scene 4, Launcelot Gobbo is still
trying to reconcile સમાધાન his affection for Jessica with his belief that all
Jews are devils. This theme continually recurs in the clown scenes and it
seems as though Shakespeare is deliberately making fun of the
Christians attitudes toward the Jews.
The function of a clown is to misunderstand people and undermine
અળમ ૂલ્યન their assumptions by asking simple, obvious questions. By

highlighting the confusion of biblical texts and raising pragmatic questions

about the conversion of Jews, Launcelot, in his clownish ways,
demonstrates the absurdities and complications that arise from the
automatic damnation of a religious faith. Ultimately, he prevents the play
from simplifying life too much beneath the apparently clear-cut cultural
division.
Portia:
Portia is the only character whom it is difficult to criticize and Shakespeare
appears to use her as a symbol of mercy and forgiveness. The symbolism
of Portia becomes most apparent when she travels to Venice, disguised
as a lawyer. Because Venice can be thought of as symbolizing the real
world, whereas Belmont is the world of idealism, when Portia travels to
Venice, she is a character from the fantasy world entering the dangerous
city. Her idealistic beliefs have to come face to face with reality.
Three Caskets:
Portia's suitors must choose one of three caskets; gold, silver or lead.
One of the caskets contains a portrait of Portia; the others do not. If the
suitor chooses the casket containing Portia's picture, he has won the right
66
to marry her. But none has succeeded so far. Attached to the caskets are
inscriptions. The inscription on the leaden casket does not sound as
enticing as the others, because it requires the chooser to risk everything
he has. The inscriptions on the gold and silver caskets are different; they
tell the chooser that he will gain something by choosing them. But the
inscriptions have double meanings.
Q.10 Discuss the genre of the play 'The Merchant of Venice'.
OR Discuss the play 'The Merchant of Venice' as a comedy with
tragic element.
Ans. 'The Merchant of Venice' is a typical example of a Shakespearean
comedy in that its central conflict finds resolution before real harm comes
to anyone. As in many comedies, the conflict at the heart of merchant has
the potential સંભપળત to end tragically. After Antonio forfeits his deadly
bond, Shylock demands the pound of flesh he's been promised and he
almost succeeds in claiming it after making his argument in court.
However, Shylock's plan falls apart when Portia shows up in court
disguised as a young male "doctor of the law." (incidentally, this instance
of cross-dressing disguise constitutes another common feature
Shakespeare's comedies.). Not only does Portia twist Shylock's argument
against him, but she also cites a law declaring that Shylock, an 'alien'
Jew, must suffer punishment for having undertaken to forfeit the life of a
Venetian citizen. Despite an initial suggestion that he should be hanged
for his attempt to endanger Antonio's life, Shylock ends up with a less
serious sentence: he loses half of his wealth and has to convert to
Christianity. This resolution is certainly devastating for Shylock, but
nevertheless એમ હોળા છતાં, the lack of fatalities marks the play's ending as
an appropriately "comic".
67
 Although merchant shares the basic structure of Shakespeare's other
comedies, the play also makes subtle deviations from typical comedic
form. Take for instance, the play's treatment of lovers. Like other
comedies, 'The Merchant of Venice' features lovers who are intially kept
apart by circumstance and family interference, but they all unite in
marriage before the play ends. The lovers overcome their obstacles and
marry each other midway through the play, before the main conflict has
been resolved in Act IV. In other words, the lovers occupy a much less
significant position in the play's plot than lovers in Shakespeare are other
comedies. Furthermore, only two pairs of lovers - Portia and Bassanio as
well as Jessica and Lorenzo - have any meaningful obstacles to
overcome. The third pair - Nerissa and Gratiano - gets married at the
inspiration of the moment, inspired by Portia and Bassanio's successful
union. This third marriage only has significance as it makes it possible for
Portia and Nerissa to play a parallel trick on their new husbands in the
final act.
Another twist on the typical comedy has to do with Shakespeare's
complex treatment of Shylock. Shylock is clearly the play's villain, as
indicated by his rigid insistence on taking Antonio's pound of flesh. The
dehumanizing way other characters treat him. Shakespeare portrays
Shylock as a complex and sympathetic figure. Shylock's famous speech
in Act III, when he asks, "If you prick us, do we not bleed?" offers a
powerful denial to the anti-Semitism rampant પ્રચંડ in the world of the play.
Modern audiences often sympathize with Shylock, who ends up
alone, destitute, alienated from his daughter and forced to abandon the
faith of his religion. Some critics have even suggested that Shakespeare
depicted Shylock so sympathetically in order to make a plea for greater
tolerance of Jews in his own way. Critics who advocate this reading point
68
to Portia's unlawful courtroom performance as evidence that the verdict
against Shylock is unjust. Such a failure of justice is no small problem,
particularly given the play's emphasis on the holiness of Venetian law. On
this reading, Shylock's sad end makes the play's final act and the lover's
quarrel at its centre seem frivolous વ્યથથ.
Q.11 Is Shylock a villain? Discuss in detail.
Ans. 'The Merchant of Venice' is a popular play of William Shakespeare. It
is a comedy with serious or tragic elements. In many theatrical
productions, Shylock has been presented as a villain. In many ways, he
looks like antagonist of the story. He becomes an obstacle in the wedding
bliss of Portia and Bassanio.
Shylock is a greedy, money-minded Jew. He is also a cruel, heartless
father. That is the reason why Jessica, does not love her father. He
tortures her with bitter words and heartless behaviour. However, Antonio
and other Christians of Venice often humiliated him. This anti-Semitic
behaviour created prejudice and hatred towards Shylock and other Jews.
Christians often called him cut-throat dog. Shylock says that he hated
Antonio as he was a Christian. Thus, Shylock's attitude is anti-Christian.
Antonio borrows loan from Shylock for his friend Bassanio. Shylock
places a condition that if he could not repay the loan in time, he would cut
one pound of flesh from his body. His revengeful nature wants Antonio to
die. The audience and readers have more sympathy for Bassanio and
Portia and so they often consider him as a villain. Shylock turns villain-like
as the play moves ahead.
Shylock is not merely a villain but a victim too. He is the victim of
humiliating attitude of Christians. Shylock had lost his wife and he was

69
quite unhappy and despaired. His daughter Jessica runs away from home
with her lover. She stole money and jewellery from her home. She had no
sympathy for her father. Shylock was upset by the loss of his money and
his daughter.
Christians often borrowed money from the Jews and yet they treated
them humiliatingly. Most of the anti-Semitic people treated Shylock as
devil. In fact, Shylock cannot be regarded as a villain. He does not
possess virtues but his experience of Christians made him angry and
created hatred for Christians.
His daughter Jessica wanted to become a Christian and therefore she
married a Christian. Christians did not treat Jews as Venetians. They
considered a Jew as a Satan. Shylock had been treated less as a human
being as he is not a Christian.
At the end of the trial, he suffers and loses all his property. If we look at
his life, his daughter ran away with a Christian and she stole his money
and jewels. He wanted to kill Antonio as a part of his revengeful attitude
but at the end, the Duke punishes him by ordering to surrender his
property to the kingdom and Antonio. Antonio refuses to take half of the
share by proposing that he should be converted into a Christian.
Shylock is not a villain by nature but he is the victim of the cruel
treatment of Christians towards the Jews. He says that a Jew is also a
human being. He may feel the same pain like Christians.
In his famous monologue, Shylock argues that Jews are humans who
suffer insults by Christians. He also says that his sense of revenge is a
reaction that Christians have nurtured in his mind. It is the result of the
cruel behaviour of the Christians towards him.

70
 Shylock may be greedy, money-minded, selfish and narrow-minded
but ultimately, he is a human being who has become a victim of anti-
Semitic attitude of the Christians.
Shakespeare has not painted him as a villain. He has depicted his
sufferings also but like all Renaissance people, Shakespeare has
depicted Shylock as a human being with several vices like money-
mindedness, revengeful nature and ugly-looking man.
The Christian attitude towards the Jews was anti-Semitic in those days
and that is the reason why Shakespeare has given us the glimpse of this
attitude. Shakespeare held mirror upto nature depicting the social
condition of Venice in those days.
Q.12 Write a note on anti-Semitic attitude of the Venetians in 'The
Merchant of Venice'.
Ans. Anti-Semitism is a hostility or prejudice towards Jews. It is
manifested in many ways such as expression of hatred or discrimination
against individual Jews.
In 'The Merchant of Venice', anti-Semitic attitude is visibly expressed.
Shylock was a Jew who was a merchant and money-lender. He was
money-minded, selfish and insensitive towards his own servant and
daughter. Even his daughter did not like him and she eloped with her
Christian lover stealing money and jewellery from her father's house.
If we look at the history of England, we find that the Jews came to
England in the wake of the Norman conqueror. They became King's
dependents and serfs. In July,1290, Edward I formally expelled Jews from
England. Number of the Jews were converted to Christianity to live in
England. But because of their conversion, they forfeited their possessions
71
and they became poor and penniless. These laws remained in force till
Cromwell's days in mid - 17th Century.
The focus of 'The Merchant of Venice' is on Shylock as a money
lender. Both Christian and Jewish law did not approve of money-lending
at interest. It was called 'usury' Jewish law forbade usury among Jews
but it did not do so between Jews and Christians.
Hence, Jews were allowed to do things that were forbidden to
Christians. As attitudes towards the Jews hardened, they were squeezed
into the areas that were off-limits to Christians. They were marginalised as
a result into occupations like selling old cloths, peddling and money
lending. Racism started during 12th and 13th centuries among European
Christians towards Jews.
The Reformation led to change in attitude to money-lending. So, by
the time of Shakespeare the protestant concept of usury was confined to
lending money at a very high rate of interest. In Shakespeare's time, the
practice of usury was spreading widely. London was like Venice as a
centre of international trade and commercial prosperity. Usury became a
necessity. Borrowing and lending was quite popular. Only borrowing
sustained many aristocratic families. Even the monarchy was sustained
by borrowing of money. Shakespeare too had borrowed money to build
his famous Globe Theatre in 1599. The Church condemned usury as
sinful. The law tried to control the rate of interest at 10%. Usury was
generally considered to be a grave social evil. Yet society had to lend and
borrow people could not sustain themselves. The loan to Bassanio by
Shylock was without interest. Shylock wanted to kill Antonio and therefore
he made him sign a bond that if he could not repay the loan in time, he

72
would cut a pound of flesh from Antonio's body. Bassanio offered 6000
ducats in place of 3000.
Shylock was not a villain but villain-like. This kind of villainy was familiar
idea in Shakespeare's age. In Shakespeare's time, there were a few
hundred Jews in England. They were Spanish and Portuguese Jews.
Christians treated them humiliatingly.
Antonio treated Shylock rudely and he also lends money. He was a
reputed merchant. In Act I, scene 3, when Bassanio was seeking loan,
Shakespeare reveals Antonio's treatment through Shylock. Shylock says
that sufferance was the badge of their tribe. Antonio called him a dog.
Anti-Semitism in Europe continued till 19th and 20th centuries..
Shakespeare has presented Shylock as a money-lender who has
suffered humiliation by the Europeans and Christians. However, Antonio
had mistreated him often making Shylock angry and despaired.
This concept of anti-Semitism is European or Christian weakness.
Shylock is ultimately a human being. He says that when something pricks
him he too feels the pain. He says that he is a Jew but he has eyes,
hands and other organs. He is fed with the same food. He is cooled by
winter and warmed by summer.
He says:
"If you prick us, do we not bleed?
If you tickle us, do we not laugh?
If you poison us, do we not die?
And if you wrong us, shall we not revenge?"
These words show that suffering makes people angry and revengeful.
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Q.13 Write a critical note on symbolic significance of three caskets.
Ans. In 'The Merchant of Venice', there is a test like Indian idea of
Swayamvar. However, it is a test that depends on one's character,
temperament and understanding.
Portia was a rich lady in Belmont. Her father wanted her to marry a
suitable man. He left three caskets to test the suitors. One who chose the
right casket would marry her. There were three caskets:
1. Gold 2. Silver 3. Lead
All these caskets have symbolic significance. The gold casket is symbol
of greed and desire for money and materialism. Gold glitters but all things
that glitter is not gold. Shallow people generally value surface over
substance. They are attracted by external beauty or pomp. This appeals
to human beings also. A person who is handsome is not always good and
noble.
Silver is also precious but less precious than gold. It is not as
luxurious as gold. The silver casket symbolises a more cautious greed.
Some people prefer not too precious thing but the precious thing with
normal price. Silver is like that, some people have middle class mentality
who prefer mediocre thing in life.
The lead casket is the lowest. It is not very precious. It is an ordinary
but heavy metal. It holds inner treasure. It is durable and durable for
longer period. The lead casket represents Portia who is not merely
beautiful but virtuous and valuable. She is quite wise and judicious in
nature. She is not merely emotional but rational in her attitude. She loved
Bassanio but she was worried whether he would succeed in choosing the

74
right casket. However, Bassanio does not choose gold and silver but lead
casket. He succeeds in choosing the right woman as a wife.
Bassanio chooses, the lead casket over gold and silver which
represent his rational and intelligent attitude. He shows his down to earth
nature. For ordinary people, lead is more useful than gold or silver. Gold
and silver are merely pompous and not useful. Lead is heavy, strong and
durable.
The contest combines a number of Christian teachings. Simplicity and
control over material desire are more important in life. One who runs after
money is never truly happy. Faith and charity are important virtues in
Christianity. Risk-taking is a virtue that proves a great virtue in life. The
contest suits Bassanio as he was a noble man with simplicity, faith,
goodness and risk-taking courage. Finally, it can be said that three
caskets represent three types of people - greedy and materialistic,
cautious and confident and risk-takers with rational attitude.
======================================================================

PART: D 16 Short Notes from The Merchant of Venice

Q.1 Write a short note on Nerissa.
Ans. Nerissa is a minor but very important character. She is a lady-in-
waiting. She is a happy-minded woman. She fully supports her mistress.
She has high hopes that Bassanio will return to Belmont. She agrees to
marry Gratiano on condition that, Bassanio succeeds in choosing the right
casket and win the hand of Portia.
When Bassanio wins Portia's hand, she agrees to marry Gratiano, the
friend of Bassanio. At his request, she takes care of Jessica, when she
comes there. She joins Portia in dressing up as men and go to Venice.
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She plays the role of the clerk of the Law. After the trial, she tells him that
he should not give his ring to anyone else.
At the beginning of the play, she acts as a sounding board to Portia.
She listens to Portia complain about her life and the problem created by
three caskets. She feared that, if a wrong man chose the right casket, her
marital life would be ruined. Nerissa is a practical girl. She marries
Gratiano and she goes to Venice as a law-clerk. When she finds that her
husband has given the ring to the law-clerk, she scolds him. However, the
ring was given to Nerissa by Gratiano when the law clerk compelled him
to do so. She is like a miniature Portia.
Q.2 Write a short note on Lorenzo.
Ans. Lorenzo was a friend of Bassanio and Antonio. He fell in love with
Shylock's daughter Jessica. They elope and Jessica steals the money
and jewellery of her father. Lorenzo schemes to help Jessica to escape
from her miserly father. She decides to convert herself to Christianity.
Lorenzo flees to Genoa with Jessica before moving on to Belmont at
Salerio's insistence. He tries to help his friend Bassanio when he finds
that Antonio's ships have been lost in the sea. Portia asks him to take
charge of Belmont when she has gone to Venice. In her absence, Portia
asks Lorenzo to take care of Jessica, the daughter of Shylock. Shylock
was searching for his lost daughter.
Lorenzo liked music and enjoyed it. At the end, he is happy to become
legal heir of Shylock's property. Jessica had fallen in love with Lorenzo
and she wanted to turn herself into a Christian. She knew that her father
would never allow her to marry a Christian and so she eloped with
Lorenzo. Lorenzo was a penniless Christian who turns into a rich man
after marrying Jessica.
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Q.3 Write a short note on Motifs in 'The Merchant of Venice.'
Ans. Motifs are the recurring structure, contrasts and literary devices that
can help to develop and inform the major themes of the text. In 'The
Merchant of Venice', there are several motifs that develop the themes of
the drama. These motifs are as follows:
1. Law: The play is about law and justice. Laws and rules can be
manipulated for cruel or wanton purposes. They can also produce good
results. Portia's father had left three caskets, so that a suitable suitor can
choose the right thing and marry her.
2. Justice: Portia is an intelligent lady. She goes to Venice as a lawyer
named Balthazar. She persuades Shylock to be merciful but he does not
do so. At last, Portia tells him that, if a blood drop is shed, he would be
punished. Shylock got defeated and justice was done by the Duke at last.
Shylock had to surrender all his property to the kingdom.
3. Cross-dressing: Cross-dressing is often used in several plays of
Shakespeare. Portia and Nerissa save Antonio in the disguise of men,
Jessica also escapes Shylock's house by dressing as a pageboy.
4. Dutiful Devotion: Portia obeys her father's will. On the other hand,
Jessica leaves her father stealing money and jewellery. Launcelot greets
his blind and long lost father. There are examples of dutiful devotion and
loyalty in contrast with dutiful indifference.
Q.4 Write a short note on major symbols in 'The Merchant of Venice'.
Ans. Symbols are the objects, characters, figures and colours used to
represent abstract ideas or concepts. In 'The Merchant of Venice' there
are several important symbols. They are as follows:

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1. Three Caskets: Portia's father had left three caskets of gold, silver and
lead. He wanted his daughter to marry a wise and prudent suitor. Gold
represents only external beauty. All that glitters is not gold. That is the
reason why Prince of Morocco chooses gold casket and fails. The Prince
of Oragon chooses silver casket but Bassanio chooses the lead casket,
which represents not external beauty but strength of love.
2. Pound of flesh: Shylock wanted to kill Antonio. It represents the
revengeful nature of Shylock.
3. Leah's ring: The ring given to Shylock in his bachelor days by a woman
named Leah is referred to in the play. Leah was Shylock's wife and
Jessica's mother. Jessica stole the ring along with other jewellery.
Shylock was angry when Jessica left with her lover to become a Christian.
She stole the ring that represented his love for his wife. It is an important
symbol of Shylock's humanity and his ability to love. Shylock's grief
proves that he is not a villain but a victim of miserable condition and
humiliating experiences of anti-Semitic Christians.
Q.5 Write a short note on Duke of Venice:
Ans. The Duke of Venice is an important minor character. He plays the
role of the ruler. He believes in justice and laws. Shylock lent money to
Bassanio with the bond of the condition that if Antonio could not repay the
loan, he would cut a pound of flesh from his body. When Antonio failed to
repay the loan, Shylock went to the court and requested the Duke of
Venice for Justice. Antonio also says that the Duke cannot deny the
course of law. Venice had laws to protect non-Venetian traders. He also
supported economic well-being of Jews.
The Duke respected Antonio but he could not help him because of the
signed bond. The Duke believed in justice and the trial took place. The
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Duke told him that mercy is the greatest virtue and therefore, he should
have mercy on Antonio. He told him to forgive him and save his life.
The Duke of Venice upholds જાલળી રાખે છે the law and at last, he
punishes Shylock for his desire to kill Antonio. Portia as a lawyer proves
that Shylock wanted to kill Antonio. She said that if a drop of blood was
shed while cutting a pound of flesh from Antonio's body, he would be
punished. Shylock was defeated. The Duke tells Shylock to surrender all
his property - half to the kingdom and half to Antonio. However, Antonio
refuses to take money and gives it to the kingdom. Shylock suffers
because of his criminal-minded nature. At last The Duke is happy that true
justice was released.
Q.6 Write a short note on Launcelot Gobbo.
Ans. Launcelot Gobbo is a minor but important character in 'The Merchant
of Venice'. 'The Merchant of Venice' is a delightful comedy. Gobbo is
somewhat proud. He has a crude philosophy. He is also somewhat rude.
He used big words and misapplied them. Otherwise he is good-natured
and full of fun.
Launcelot is the servant of Shylock, the wealthy Jewish merchant of
Venice. He was a money-lender, who earned a lot of money. Shylock's
rude and stern behaviour made Gobbo angry and unhappy. He says that
their house was like hell and Shylock was like a devil.
Launcelot does not appear until the 2nd scene of the second Act. We
find him stealing and leaving Shylock's home. He is not happy as the
servant of strange-natured Shylock. His monologue expresses his opinion
about Shylock. He says that his conscience compels him to run away
from Shylock. He calls him a devil.

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 Launcelot Gobbo is a quick-witted young fellow. He was badly fed and
therefore he leaves Shylock and joins as a servant of Bassanio. He was
very friendly with Jessica, the daughter of Shylock. The function of Gobbo
is that of a comic relief. He moves from one misadventure to another. He
has a chance of encounter with his father. He turns this chance to play
tricks on old Gobbo. When he goes to Bassanio to join as his servant, he
also serves as a intermediately between Jessica and Lorenzo. He lives
with them.
Q.7 Write a short note on Prince of Aragon.
Ans. The Prince Aragon was the Prince of Spain. He was a suitor to
Portia's hand. He wanted to marry Portia - the rich and beautiful lady. He
was pretentious ઴ેખીખોર by nature. He wanted to look elicit બહાર કાઢવું and
disliked common people. He went to Portia's place and he was tested
according to the will of Portia's father. He had left three caskets - gold,
silver and lead. The Prince of Aragon rejects lead because of the ominous
warning. He thought that gold refers to external glittering only. All that
glitters is not gold. Then he chooses silver. He thought that, he would win
the hand of Portia. Aragon is both arrogant and proud. He fails to find the
correct casket. By his mental arrogance, he chooses the wrong casket
and fails to win the beautiful Portia. Silver is not as precious as gold. The
silver casket symbolises more cautious greed. The word 'Aragon' refers to
arrogance. He is egotistic and believes that he is superior to other suitors.
On the lead casket, there was an inscription...
"Who chooseth me must
give and hazard all he hath
You shall look fairer ere

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I give or hazard."
As a result, he does not succeed in choosing the right casket and goes
back in despair.
Q.8 Write a short note on Prince of Morocco.
Ans. The Prince of Morocco was one of the suitors of Portia. He wanted to
win her as his wife. In Act 1, he enters the palace of Portia. He was quite
flamboyant and seemingly overbearing nature. His opening remark is -
"Mislike me not for my complexion."
He has a racial experience and he has suffered humiliation due to
dark skin. He is not embarrassed about his dark skin. He proclaims his
African heritage. He boasts that despite his dark skin, many virgins have
been impressed by him.
He also says that he is fearless and courageous. He displays artful
flattery. He has conceited opinion about himself. He boasts about his
conquests in the battle and says that he would undertake the most
arduous tasks to win Portia.
He says that he is better than most of the other people. The Prince
tries his luck by choosing the golden casket. He thinks that Portia is the
richest gem and so he chooses the golden box. Thus, he chooses the
wrong box and he admits that he was fooled by the alluring glitter of gold.
It is ironic that the prince who initially asked others to ignore his colour is
obsessed by glittering gold. The Prince of Morocco was black but chose
the colourful golden box. Thus he failed to win Portia.
Q.9 Write a short note of Gratiano.

81
Ans. Gratiano is a very close friend of Bassanio. He always tries to help
him. He accompanies him to Belmont. He is a bit garrulous (talkative)
man. He criticises Shylock and insults him. While Bassanio courts Portia,
Gratiano falls in love with Portia's lady-in-waiting named Nerissa. He is a
great talker who does not stop talking. Bassanio tells him to control his
tongue.
He also helps Lorenzo in abducting Shylock's daughter Jessica.
Bassanio succeeds in choosing the right casket. He returns to Venice with
Bassanio on his mission to save Antonio from death. He speaks
mercilessly and openly in the court against Shylock's greed and money-
mindedness. At last Antonio is saved by Portia under the disguise as a
lawyer. Portia's law-clerk manages to convince him to give his wedding
ring as a gift. When Bassanio and Gratiano reach Belmont. Portia and
Nerissa become angry and scold them. Finally, they realize that Nerissa
was in disguise as a law-clerk and Portia was lawyer. Gratiano plays an
important role in the play though he is a minor character.
Q.10 Write a short note on Jessica.
Ans. Jessica was the daughter of Shylock, a miserly Jew. She did not like
her father's nature. Shylock was money-minded and selfish. Jessica loved
a Christian young man named Lorenzo. He was a penniless Christian.
Jessica and Lorenzo eloped and married. Jessica also stole money and
jewellery from her father's house. Jessica's role is a minor one but also
vital. Her actions motivate Shylock's revengeful nature. Shylock hated
Christians. Jessica's marriage with a Christian was a fatal blow for
Shylock. Not only that, she stole his money and jewellery. Literary critics
criticise Jessica for her theft of money from her father's house. It can be
taken as a betrayal of Shylock's trust. Shylock loved his daughter but
82
Jessica did not like his father's nature. However, love was the only
motivation feeling that made her steal her father's money. She was not a
woman with evil-mind or stealing nature. She loved Christians rather than
her own community.
She speaks around 660 words in the entire play. However, her
pivotal role is elopement with Lorenzo. She serves as a mirror depicting
the difference between Christian behaviour and Jewish behaviour. Anti-
Semitic attitude of the people is also reflected through the character of
Jessica. She converts herself to Christianity thinking that Christians are
nobler than her own community. Lorenzo also proves to be a loyal
husband.
Q.11 Write a short note on Portia's speech on Mercy.
Ans. Portia comes to Venice in disguise as a lawyer named Balthazar.
She tells that Shylock would be given justice. Shylock was happy and he
called her Daniel. Portia tells Shylock to have mercy and save the life of
Antonio. It occurs in Act 4, scene 1. The speech by Portia on mercy is
highly effective and relevant as a human virtue. This speech is regarded
as one of the best speeches by William Shakespeare. Portia says that
quality of mercy is not stained. It is like gentle rain from heaven. Mercy is
a virtue that blesses both the giver as well as the receiver. Mercy is the
mightiest virtue of the mightiest person. The merciful man becomes a true
monarch even better than the crown. The Scepter (રાજદંડ) shows the
force of temporal power. Mercy is above the scattered sway. It is not an
external power but inner spiritual quality. It is an attribute to God himself.
God is always merciful and so a person with mercy is godly in nature.
Mercy is the true justice.

83
 Portia tells Shylock that he should show mercy and save the life of
Antonio. Revenge is an evil. It is not a solution of the problem. Mercy and
forgiveness are the greatest virtues. They are the major themes of the
play, Shakespeare presents mercy as the most valuable quality. He
eulogizes and glorifies mercy as the greatest virtue. Merciful person can
change the entire society. A true king is not just a brave warrior but
generous hearted, merciful man.
Portia in disguise tries to caution Shylock for his revengeful nature
against Antonio. As the Duke was unable to give true justice, he writes to
Dr. Bellario and his lawyer Balthazar. Balthazar (Portia) supports law and
justice but insists on showing mercy. Portia adds that it is the mercy that
humans need most from God. The merciful person is double blessed. He
blesses the other as well as himself.
At the end of her speech, Portia says that Shylock's revengefulness
would bring punishment for him. Cruelty and revenge are the vices that
are punished by God. At the end, Shylock has to lose his property,
prestige and religion.
Q.12 Write a short note on The Court Scene in 'The Merchant of
Venice'.
Ans. Shakespeare's 'The Merchant of Venice' is a play that depicts very
interesting court scene in Act 4, Scene 1. In the court, Antonio and
Shylock are against each other. Antonio's bond to borrow money from
Shylock stated that if he could not repay the money in time, Shylock
would take a pound of flesh from his body. As Antonio could not pay in
time, Shylock went to the court of Venice and asked for justice.
Shylock wanted to kill Antonio and therefore, he was in great anger.
Bassanio tries to settle the case by offering Shylock the double amount of
84
the original loan. But Shylock remains unmerciful. He insists that Antonio
must give him a pound of flesh only. Portia comes to the court as
Balthazar, the famous intelligent lawyer. She says that Shylock's case is
strange and inhuman. Shylock praises Portia as "a Daniel came to
judgement." He calls her a worthy judge. He says that he wanted justice
according to the bond only.
Portia supports Shylock saying that the law would follow the bond only.
She tells Antonio to keep himself ready for Shylock's knife. Just before the
judgement, Bassanio and Antonio declare their love for each other. Portia
says that Shylock should take a pound of flesh but no drop of blood
should shed. If blood comes out of Antonio's body, Shylock will have to
forfeit his land and goods to Venice. Shylock is shocked. He says that it is
impossible to cut a pound of flesh without shedding blood. Shylock finds
himself in a serious situation.
With the defeat and despair, Shylock is in critical situation. The Duke
says that Shylock shall render half of his wealth to Antonio and another
half to Venice. Shylock becomes a pauper ગરીબ વ્યક્તત. Antonio says that if
Shylock converts to Christianity, he would forego his share of money from
Shylock. The Duke accepts it. Shylock leaves sadly and in utter despair.
Q.13 Write a short note on Balthazar.
Ans. Balthazar is an important character in the play 'The Merchant of
Venice'. Actually, he is one of the servants of Portia. She sends him to
bring her letters to Bellario and to meet her and Nerissa on the way to
Venice with the law-clerk clothes. Bellario gives the clothes to them and
Portia steals his name for her disguise as a boy.

85
 Portia was disguised as a lawyer who came to defend Antonio during
his trial in Venice. She had heard from Bassanio, who had won her hand
by choosing the right casket.
Later Portia disguises herself as a lawyer named Dr. Balthazar. She
comes to the court dressed as a lawyer to help Antonio, the friend of her
lover and husband. As a lawyer, Balthazar speaks very effectively and
intelligently. He tells all that justice will be given to Shylock. He tells him to
keep his knife ready to cut a pound of flesh from Antonio's body. Shylock
was excited but then he stopped him and said that not a drop of blood
should be shed otherwise he would be punished severely. Shylock was
defeated. He lost his property and became penniless. Later, Basanio
realized that Dr. Balthazar was nobody but Portia. Portia proves that
women can be even more intelligent than men.
Q.14 Write a short note on Tubal.
Ans. Tubal was a wealthy Jew of Venice. He lent money to Shylock to
make up 3000 ducats for Antonio. Antonio wanted to borrow 3000 ducats
for his friend Bassanio who wanted to go to Belmont to try his luck as a
suitor. Antonio was a close friend of Bassanio who liked Portia. As a
friend Antonio wanted to help him but unfortunately he had no money. His
ships were in the sea for trading.
Shylock's daughter Jessica runs away with a Christian named
Lorenzo. Shylock sent Tubal to track down Jessica. He brings the news
that Antonio's ships are lost and he is on the verge of bankruptcy.
Tubal was a shrewd Jew. He was a Hebrew by religion. He gives the
news of Jessica's elopement to Shylock and also the news of Antonio's
loss of ships and money. He tells him that it was his time to take revenge
on Antonio. He deliberately gives a good as well as sad news
86
alternatively. He is a minor character but he plays an important role in the
story indirectly. His communication with Shylock makes Shylock change
his emotions.
Q.15 Write a short note on Bellario.
Ans. Dr. Bellario was the doctor of law. He was Portia's cousin. He always
tried to help Portia whenever she needed. In Act 3, Scene 4, we come to
know him. He was so devoted to Portia that she was always helped by
him. We are told that Portia wanted the garments of the lawyers. She also
wanted some notes. In Act 4, Scene 1, we discover that the garments
from Bellario are the academic robes of the Doctor of Law and the clerk of
the Law. Portia wears the clothes of a lawyer and Nerissa the clothes of a
clerk.
The Duke had invited Dr. Bellario to come and help settle the case
between Shylock and Antonio. Portia sent a messenger Balthazar to
Bellario with a note of introduction addressing the Duke to accept
disguised Portia. Portia goes to Venice under the name of Balthazar as a
substitute for his own presence. He pleads that due to his ill-health, he is
not able to go to Venice.
Dr. Bellario wrote to the Duke to accept a new intelligent lawyer Dr.
Balthazar to plead on behalf of Antonio. Portia in disguise wins the case
and saves Antonio, the friend of her husband. Dr. Bellario helps Portia to
send her in disguise to the court. Dr. Bellario is a minor character with
great affinity with Portia.
Q. 16 Write a short note on Salerio.
Ans. Salerio was merchant of Venice. He was a good friend of Antonio
and Bassanio. He owned at least one ship. He was also worried about
87
Antonio. Antonio often remained sad and unhappy. With Gratiano, he
helps Lorenzo to abduct Jessica. He does not know where the two lovers
have fled. He is worried about Antonio's debt to Shylock. He believed that
Shylock was a very selfish and cruel man. Shylock had a desire to kill
Antonio. He was scared of Shylock. He is sent to Belmont by Antonio to
let Bassanio know about his bankruptcy. Shylock wanted to cut the pound
of flesh from Antonio's body. Salerio wanted to save Antonio. In short,
Salerio is a well-connected merchant of Venice. He loved Bassanio and
Antonio and tried to help them. By nature, he is kind but often concerned
and cynical. Salerio and Solanio are the story-tellers in 'The Merchant of
Venice'. They fill important information that the audience wants to know.
He was always worried about Antonio's ship-trade.
======================================================================

Test Paper: 1
Q.1 Write a note on Renaissance and its characteristics. [14] OR
Q.1 Discuss Comedy of Humours. [14]
Q.2 Write a note on University Wits. [14] OR
Q.2 Write a note on Metaphysical poetry and its characteristics. [14]
Q.3 Draw the character sketch of Bassanio. [14] OR
Q.3 Write a note on symbolic significance of three caskets. [14]
Q.4 Draw the character sketch of Shylock. [14] OR
Q.4 Briefly describe the story of 'The Merchant of Venice'. [14]
Q.5 (A) Write a short note (Any One): [7]
(1) Launcelot Gobbo

88
(2) Lorenzo
(B) Write a short note (Any One): [7]
(1) Elizabethan Theatre
(2) Humanism in Renaissance
======================================================================

Test Paper: 2
Q. 1 Discuss the comedy of manners. [14] OR
Q.1 Discuss the Metaphysical poetry and major poets of the Metaphysical
poetry. [14]
Q.2 Discuss the comedy of Humours. [14] OR
Q.2 Discuss the characteristics of Romantic Comedy. [14]
Q.3 Discuss the theme of self-interest and love in 'The Merchant of
Venice'. [14] OR
Q.3 Is Shylock a villain? Discuss in detail. [14]
Q.4 Discuss symbolic significance of three caskets. [14] OR
Q.4 Write a note on anti-Semitic attitude of Venetians towards Jews. [14]
Q. 5 (A) Write a short note: (Any One) [7]
(1) Chorus - its functions
(2) Soliloquy in drama
Q. 5 (B) Write a short note: (Any One) [7]
(1) The Prince of Morocco
(2) The Speech on Mercy by Portia
89
======================================================================

Test Paper: 3
Q.1 Discuss the characteristics of the Renaissance. [14] OR
Q.1 Write a detailed note on University Wits. [14]
Q.2 Discuss the dramatic design of the drama. [14] OR
Q.2 Write a detailed note on Shakespearean Comedy. [14]
Q.3 Draw the character sketch of Antonio. [14] OR
Q.3 Draw the character sketch of Portia. [14]
Q.4 Discuss the genre of the play 'The Merchant of Venice'. [14] OR
Q.4 Discuss the major themes, motifs and symbols in 'The Merchant of
Venice'. [14]
Q.5 (A) Write a short note: (Any One) [7]
(1) Dramatic Irony
(2) Clowns and Fools in Shakespeare's plays
Q.5 (B) Write a short note: (Any One) [7]
(1) Dr. Bellario
(2) Jessica
======================================================================

English Paper: 3 April 2019 Sau. Uni. Paper (Core)

(Only Literature)
Q.1 Discuss the characteristics of Metaphysical poetry and its
contributors. [14] OR
90
Q.1 Write a critical note on the features of Renaissance. [14]
Q.2 Write a detailed note on University Wits. [14] OR
Q.2 Discuss in detail The Comedy of Manners as the portrayal of the
society. [14]
Q.5 (A) Write a short note: (Any One) [7]
(1) Chorus
(2) Theory of Humours
======================================================================

English Paper: 3 April 2019 Sau. Uni. Paper (Elective : 1)

(Only Literature)
Q.1 Write a note on the chief characteristics of the Restoration Comedy.
[14] OR
Q.1 Explain - "Renaissance is the birth of the modern world out of the
ashes of the dark ages." [14]
Q.2 "The Metaphysical Poetry is remarkable for its concentrated passion,
intellectual ability and dramatic power." - Explain. [14] OR
Q.2 "If we want to understand the drama properly, we have to understand
the dramatic design of the play well." - Elaborate.
Q. 5 (A) Write a short note: (Any One) [7]
(1) Theory of Humours
(2) University Wits
======================================================================

91
 CCE 3 Sau. Uni. Paper (Core) Exam Date: 7 July 2022
Q.1 Can Antonio be called the hero of the play 'The Merchant of Venice'?
Justify your answer. [14] OR
Q. 1 Discuss the excellencies and shortcomings of Portia's character.
Q.2 Discuss 'The Merchant of Venice' as a Shakespearean comedy. [14]
OR
Q.2 Analyze the character of Shylock as a villain.
Q.3 Discuss the Restoration Comedy or the Comedy of Manners. [14] OR
Q.3 Write a detailed note on the Dramatic Design.
Q.4 "Renaissance coloured thoughts and ideas of the people of the
Elizabethan age". Explain. [14] OR
Q.4 Write a detailed note on the University Wits.
Q. 5 Write short note: (Any Two) [14]
(1) The Significance of the Casket-Scene
(2) The Trial Scene
(3) The Metaphysical Poetry
(4) The Realistic Comedy
=====================================================================

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