威尼斯商人人物简介
巡山小妖精
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2020年07月29日 12:59
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Shylock: he earned a living by usury charge high interest, he is mercenary, cunning, vengeful, greedy, stubborn, cruel, and very unpopular in the city
鲍西娅：她聪明、机智而又行事果断，沉着、善良仁慈，充满着人性的光辉
Portia: she is intelligent, witty and to act resolutely, calm, kind-hearted, full of the glory of human nature
安东尼奥：慷慨仁厚，放债不取利息，珍重友谊，不惜为之牺牲生命。
Antonio:he is generous, lend money do not take interest, treasure friendships very much。
Ⅱ. Analyzing the Heroes in the Play
In this play, Shakespeare portrays many roles. The proportion that male figures taking is much more notable than female’s. So, it‘s necessary to narrate and display their nature character and symbol.
A. Antonio
Although the play’s title refers to him, Antonio is a rather lackluster character. He emerges in ActⅠ, sceneⅠas a hopeless depressive, someone who cannot name the source of his melancholy and who, throughout the course of the play, devolves into a self-pitying lump, unable to muster the energy required to defend himself against execution. Antonio never names the cause of his melancholy, but the evidence seems to point to his being in love, and the most likely object of his affection is Bassanio.
Antonio has risked the entirety of his fortune on oversea trading ventures, yet he agrees to guarantee the potentially lethal loan Bassanio secures from Shylock. He is willing to offer up a pound of flesh, signifying a union that grotesquely alludes to the rite of marriage, where two partners become “one flesh”. Further evidence of the nature of Antonio’s feelings for Bassanio appears later in the play, when Antonio’s proclamations resonate with the hyperbole and self-satisfaction of a doomed lover’s declaration: “pray God Bassanio come/ To see me pay his debt, and then I care not”② (Act Ⅲ, Scene III, 35-36) without a mate, he is indeed the “tainted wether”—or castrated ram—of the flock, and he will likely return to his favorite pastime of moping about the streets of Venice② (Act Ⅳ, Scene I, 113). After all, he has effectively disabled himself from pursuing hid hobby—abusing Shylock—by insisting that the Jew convert to Christianity. Although a 16th century audience might have seen this demand as merciful, as Shylock is saving himself from eternal damnation by converting, we are less likely to be convinced. Not only does Antonio’s reputation as an anti-Semite precede him, but the only instance in the play when he breaks out of his doldrums in his “storm” against Shylock②(ActⅠ, Scene III, 132). In this play, Antonio proves his character is melancholy, cruelty and some seldom saying—homosexual.
B. Bassanio
It is said Middle Ages is the most deathly stil
lness period in Europe. It also can be seemed it’s the time that west Europe’s culture and literature go to grave. As to the pillar of spirit, there is nothing except a total series of religious doctrine. In this environment, people used compliment and boast words to exchange their minds and thoughts. In that society, everyone remain under artificial mask wandered in different kinds of occasion. An absolutely undisguised money relationship makes the true human nature into ash during the masks scraped each other. Bassanio, a noble who is neatly dressed, whose speech and deportment is natural and graceful, gradually becomes a declining aristocrat by spending without restraint. He is a handsome and intelligent young man. But living in such a society, what his every day’s schedule is to squander money on different meeting and use blandishment speech to talk with other aristocrat. His property is limitation. Once he runs behind his expenses, he will ask his best friend—the wealth merchant in Venice—Antonio for money. From the context, it seems he never returned what he borrowed. To be such a man who wants of lofty aspiration. Maybe the best method frees himself from poverty is to get a profitable marriage. And we mostly can make sure; to obtain money is more important than to marry Portia. This can be improved in later—he gives his bride’s ring to the clerk. Although his lover has declared that if he loses her ring, she will never pardon him.
C. Shylock
Shylock in this play is the antagonist. He is the model of usurer. Most people read him as a bogeyman, a clownish Jewish stereotype. He is selfish, curtly, avaricious and niggard. Once he has the chance to revenge his foe. He will try his best to make the other into deathtrap. In the court, he is clam and wisdom, even fights for several Christian’s joint attack. But most of his speech is coarse, and sometimes “mean”. All of this makes people take unkindly to him. But with the several aspects sagacious with Antonio, it makes him be a mult-personality figure. Being a pagan who lives in Christian society he has strong emotion on racial constriction and the enthusiasm of raising Jewish people’s status. Living in this society, he suffers too much public humiliation and oppression as he says in the following:
“He hath disgraced me, and hinder’d me half a million; laught at my loss, mockt at my gains, scorn’d my nation, thwarted my bargains, cooled my friends, heated mine enemies; and what’s his reason? I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Fed with the same food, hurt with the same weapons, subject to the same diseases, heal’d by the same means, warm’d and cool’d by the same winter and summer, as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laught? If you porion us, do we not die? And if you wrong us, shall we not revenge?” ②(Act Ⅲ SceneⅠ50-63)
His frequently men
tions of the cruelty he has endured at Christian hands make it hard for us to label him a natural born monster. Shylock argues that Jews are humans and calls his quest for vengeance the product of lessons taught to him by the cruelty of Venice citizens. In such condition, his “malicious” is much more reasonable.
Besides the facial of Shylock’s malignance, actually, he is a person whose sense of decency has been fractured by the persecution he endures. Comparatively, those kindness and wisdom Christian, in fact, have another hideous feature. So, in my mind, Shylock is a man who is worth sympathizing.
鲍西亚——睿智与美丽的化身。在我看来，这是除夏洛克之外最生动的人物形象，也是全剧中我最喜欢的人物。鲍西亚生在一个富裕的家庭，她美丽高贵，成为人人追求的对象。但她并不是一个徒有其表的“花瓶”人物，她不仅美丽，还是睿智的化身。她年轻、貌美、智慧超人，芳名远播，面对纷沓而来的求婚者，她把人的品行作为考虑的第一条件，而并不看重门第财富。她遵从父亲遗训，设置了金、银、铅三个匣子供求婚者挑选，结果攫取金匣的摩洛哥王子得了一张骷髅画，拿了银匣的法国阿尔贡亲五看到的是傻瓜画像，只有聪明、坦诚的巴萨尼奥选中了朴实无华的铅匣，得到了藏在里面的鲍西亚的倩影。鲍西亚则毫不犹豫地投入这个贫穷的青年人的怀抱。这体现了鲍西亚高尚情操和美好心灵。在法庭上，当凶恶的夏洛克挥舞着借据逼迫法庭残害安东尼奥的性命时，所有的男人都束手无策，只有智慧的鲍西亚看出了契约的漏洞，重新对契约进行法律的解释，制止了满心报复的夏洛克的凶残行为，这又为鲍西亚的聪慧形象增添了明丽的一笔。
安东尼奥——友情的化身。剧中他为了朋友巴萨尼奥能向贝尔蒙一位继承了万贯家产的美丽女郎——鲍西亚——求婚，向夏洛克贷三千块金币，而安东尼欧身边已无余钱，只有向夏洛克以他那尚未回港的商船为抵押品。可是不幸的是他的商船却没能及时回来，因此他不能及时还钱给夏洛克。夏洛克便将他告上了法庭，并根据契约，要求割安东尼奥身上的一磅肉。而可怜的安东尼奥本来之前可以跟巴萨尼奥解释自己没钱不能帮他的，但出于友情，他慷慨解囊，甚至不顾自己的生命。为了友情可以牺牲一切，无论是金钱，还是生命。这种品质让人敬佩。
夏洛克——可恨可怜的人。不得不说这是全剧中最有个性，也最值得玩味的人物。在我看来他是可恶的，同时也是可怜的。他做着放贷的生意，为了生活，这本也无可厚非。但是，当他对于安东尼奥欠他钱，而安东尼奥的朋友们愿意付他几倍的本金时，却执意要按照契约，割下安东尼奥身
上的一磅肉。这无异于要置安东尼奥于死地。这让人感觉他很可恶。也许是他的心中有着太多的仇恨。说他可怜是因为，他是一个犹太人，他受到包括安东尼奥在内的那些非犹太人的歧视，也许夏洛克要置安东尼奥于死地，执意要割下他身上的一磅肉正是由于这种歧视而蓄积的仇恨使他想要对这个进行报复。
巴萨尼奥——全剧中给我印象并不是十分深刻的一个人。他勇于追求爱情，在追求爱情的过程中也表现十分机智。他是聪明的，勇敢的。但正是由于他的爱情，才使夏洛克与安东尼奥之间的矛盾爆发。也正因为有了矛盾，戏剧才有了峰回路转的情节，他和他的爱情其实在一定程度上推动了全剧的发展。不得不说这个看似并不出奇的人物形象在剧中是必不可少的。