Imagining Morocco’s words spoken aloud brings a curious sense of exoticism. From abroad, the Prince traveled to win fair Portia. And this copious ground covered on his trip forms a chasm of misunderstanding between the two. In this particular incident, Morocco’s style of speaking appears alien to the reader, who has yet to even hear it spoken. During the actual play, an adept actor animates the character, bringing accent and intonation to life, and adding further eccentricity to Morocco. In essence, Morocco’s dialogue best illustrates diction, as the man speaks with unique flair and word choice.
Ironically, only now that Launcelot is leaving Shylock’s service does the man attempt to take initiative and follow the Jew’s advice. Despite Shylock …show more content…
Unifying these aspects, in addition to Jessica’s subplot, is the element of love vs cynicism. Illustrating this difference is the setting of Belmont vs Venice. Romance, love and mercy flow freely in the former, while the latter brims with resentment, acrimony, and money. Hatred and cynicism, in this incident, build upon each other, and Shylock asserts “The villainy you teach me I will execute—and it shall go hard but I will better the instruction (III.i.59-61). In contrast, Portia stands for mercy, and Jessica and Lorenzo prove that love conquers hate. In essence, one major theme or even the central idea of the whole play is lovely Belmont vs cynical Jewish Venice.
While Portia does not fall in love with her eyes, this statement is misleading. In this incident, Portia implies that Morocco’s skin color does not bother her. However, the heiress previously confessed to Nerissa that if Morocco “have the condition of a saint and the/ complexion of a devil, I had rather he should shrive me than wive me” (I.ii.115-116). Therefore, this statement Portia delivers after the Prince beseeches her “Mislike me not for my complexion” (II.i.1), is a fallacy. Honeyed words delude Morocco into thanking Portia for her …show more content…
One reason Jessica asserts this is because the young woman must dress as a boy to sneak away from her father. Although night has fallen, the girl still frets over her costume in embarrassment. Clearly, Jessica does not want Lorenzo to see her dressed as a page. However, there remain few options left to the budding couple, and Jessica braces herself with the comforting notion aforementioned: “love is blind”.
Starting his self-oriented speech, the Prince proudly promises his bravery. In this incident, Morocco mentions his scimitar, and thus assembles an adroit alliteration. Commencement of consecutive words with the same letter lifts simple speech to a stylistic device. Therefore, the Prince utilizes an alliteration in his monologue. In essence, Morocco’s speech is rife with figurative language.
Obviously Launcelot, as a human, moves faster than a diminutive snail. While the clown lazes about, the man cannot possibly move slower or cover less ground than a listless mollusk. And, as wildcats statistically sleep between 16 and 20 hours a day, Launcelot cannot dream of out-sleeping them. In contrast, adult humans only sleep for an average of six and a half hours per night. But Shylock did not mean for this scathing tirade to be taken literally; the man exaggerated for dramatic effect. In essence, the Jew’s derogatory words are a melodramatic wallow in bitterness and
Ironically, only now that Launcelot is leaving Shylock’s service does the man attempt to take initiative and follow the Jew’s advice. Despite Shylock …show more content…
Unifying these aspects, in addition to Jessica’s subplot, is the element of love vs cynicism. Illustrating this difference is the setting of Belmont vs Venice. Romance, love and mercy flow freely in the former, while the latter brims with resentment, acrimony, and money. Hatred and cynicism, in this incident, build upon each other, and Shylock asserts “The villainy you teach me I will execute—and it shall go hard but I will better the instruction (III.i.59-61). In contrast, Portia stands for mercy, and Jessica and Lorenzo prove that love conquers hate. In essence, one major theme or even the central idea of the whole play is lovely Belmont vs cynical Jewish Venice.
While Portia does not fall in love with her eyes, this statement is misleading. In this incident, Portia implies that Morocco’s skin color does not bother her. However, the heiress previously confessed to Nerissa that if Morocco “have the condition of a saint and the/ complexion of a devil, I had rather he should shrive me than wive me” (I.ii.115-116). Therefore, this statement Portia delivers after the Prince beseeches her “Mislike me not for my complexion” (II.i.1), is a fallacy. Honeyed words delude Morocco into thanking Portia for her …show more content…
One reason Jessica asserts this is because the young woman must dress as a boy to sneak away from her father. Although night has fallen, the girl still frets over her costume in embarrassment. Clearly, Jessica does not want Lorenzo to see her dressed as a page. However, there remain few options left to the budding couple, and Jessica braces herself with the comforting notion aforementioned: “love is blind”.
Starting his self-oriented speech, the Prince proudly promises his bravery. In this incident, Morocco mentions his scimitar, and thus assembles an adroit alliteration. Commencement of consecutive words with the same letter lifts simple speech to a stylistic device. Therefore, the Prince utilizes an alliteration in his monologue. In essence, Morocco’s speech is rife with figurative language.
Obviously Launcelot, as a human, moves faster than a diminutive snail. While the clown lazes about, the man cannot possibly move slower or cover less ground than a listless mollusk. And, as wildcats statistically sleep between 16 and 20 hours a day, Launcelot cannot dream of out-sleeping them. In contrast, adult humans only sleep for an average of six and a half hours per night. But Shylock did not mean for this scathing tirade to be taken literally; the man exaggerated for dramatic effect. In essence, the Jew’s derogatory words are a melodramatic wallow in bitterness and