Classifying the Merchant of Venice (Essay Sample)

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The Merchant Of Venice As A Tragicomedy
The play by William Shakespeare is one of the most arguable plays of its time. The argument arises on whether to classify it as either a tragedy or a comic play. There are those who perceive it to be a tragedy play, others a comic play and others support that the play is both a tragedy and comic play. The combination of both tragedy and comic has resulted in coining of the word "tragicomedy”. However, others argue that the play cannot be classified as it neither fall into either category (Coleman par. 1). The argument developed by each of these parties is influenced by several factors such as thematic elements, time of production, how the main characters are affected, and ending of the play. If the author of the play were alive, he would be in a position to clarify the issue. Therefore, debate on proper classification of the play continues. This paper seeks to classify the play as a tragicomedy.
Background
As mentioned earlier it is difficult there lays difficulty in defining the genre of the Merchant of Venice. The play is believed to date back between 1695 and 1600, a time coupled with enormous productivity and Shakespeare managed to compose it along other six romantic comedies, and two tragedies (Coleman par. 1). When it was first published, the play was classified as a comedy due to its main thematic elements. These elements seemed to fit best the category of a romantic comedy than the other categories. In the 19th century, the shift was seen with the introduction of another class of the fairy tale and soon William Shakespeare’s play was classified into this category. The decision was influenced by the ending of the play. Fairytale involves a pleasant ending with formality as in the case of the Merchant of Venice. In addition critics of Fairy Tales, strong refer to the ending that was coupled with multiple marriages.
On the other hand, the play is vividly remembered for it romantic scenes that strongly influenced the interpretation of the Shakespeare's play as a tragedy play. Even in the pre-Holocaust period, the play was classified as a tragedy especially in the manner in which Shylock was treated when he went to claim his bond. At this time, most theatre productions would end with a tragic note at the end of the trial scene. In 1869, "problem play" was coined by one Fredric Samuel Boas, and soon the play was categorized into this category (St. 1). After the events of the Holocaust and those of the second World, II people would not see comedy especially in the manner of in which Shylock was humiliated, mocked and forced to convert. Therefore, the second half of the twentieth century saw classification of the Merchant of Venice as a problem play. Since the play involves classification as both a tragedy and comic play it is best if we first define each of these two.
Comedy versus tragedy
Schnella likens comedy to a game played to reflect the social life (1). Not only does it involve laughter but also the "dramatic form" CITATION Lisnd \p 1 \l 1033 (Schnella, Comedy 1). Simpson brings it clear "comedy is a story of the rise in fortune of a sympathetic central character" (Simpson 1 par. 3). Traditionally, the comedy focuses on the "concerns and exploits" of common individuals. The main objective of a comedy is to instill a feeling of satisfaction as the play ends and the audience bear witness that a deserving individual succeeds CITATION Sim98 \p 1 \l 1033 (Simpson 1). This means that comedy do not necessarily evoke laughter. Additionally as in the case of Shakespearean comedy, the play is coupled with multiple plot structure, love, music, disguise and ends with marriages between unmarried couples CITATION Pat15 \p 2 \l 1033 (Coleman 2). On the other hand, tragedy is the "negative of comedy" (Simpson 1 par. 10). Instead of portraying the rise of an ordinary person or characters, it demonstrates the fall of a once influential or powerful hero. Its aim is to invoke pity and fear that according to Aristotle are natural human responses to certain forces; pain and suffering (Simpson 1).
William Shakespeare developed a very complicated play comprising of a triplicate plot. Therefore, it cannot be classified solely as a tragedy or comedy play. It can be categorized as a comedy, however; one of the three plotlines is a tragedy. It is, therefore, a multi-faceted play that involves the combination of the two categories. Not many plays depict female protagonists as strong as Portia is portrayed in the Merchant of Venice. Shakespeare manages to create an intelligent and witty character. He also manages to counteract Portia’s strength by making that of her suitors and husband weak. The paradox arises from the fact that such a strong woman subjects to her deceased father’s marriage arrangements. Portia agreed to go along but can also back out if she chooses. Portia and Nerissa, her maidservant, outsmarts their husbands and the courtroom attendants.
In Act Four, Portia and Nerissa disguise themselves that they may not be recognized. Nerissa manages to pull the crowd by her disguise dressed as a law clerk. "Come on, Nerissa; I have work in hand. That you yet know not of: we'll see our husbands. Before they think of us" CITATION Wil65 \p 90 \l 1033 (Shakespeare 90). Notably, in the sixteenth century there were no female lawyers and female clerks. Portia also manages to convince the court that indeed she was the Duke. They both are learned enough to pull this trick of their off. These two witty ladies use the disguise to save their husbands and friend Antonio from the hands of Shylock, the Jew.
These two women do not stop their trick. Portia and Nerissa decide to test their husband’s faithfulness and promises and still disguised as Duke and law clerk respectively. Upon Gratiano and Bassanio’s insistence on paying the Duke and Law Clerk for their services, the two demand that they only are paid with the wedding rings the two gentlemen had. Bassanio and Gratiano gave up their rings and on reaching home the women demanded their husbands’ rings back. The audience knows very well both Bassanio and Gratiano have given the rings to their wi...