The Fool in Shakespeare's The Merchant of Venice

In other words, the charge's duality in the match symbolizes the fact that we do not follow in a black and clear realm with clear(p) and unambiguous definitions of such convoluted concepts as religion, justice, and love. However, Launcelot Gobbo is not the unaccompanied fool in the run, merely the only virtuoso designate a fool. Other showcases in The Merchant of Venice either view disguises to fool others (Portia and Nerissa) or are fooled by other characters (Bassanio and Gratiano) or are fooled by themselves (Shylock and Portia's unsuccessful suitors). The invest of being a fool or trying to fool underscores the make-up of duality and right versus wrong that runs through protrude the play in term of righteousness, religion, and love. The Prince of Arragon if arrogant and presumptuous and because of this chooses the wrong casket to win Portia's hand. He is ware of his predicament, "Did I deserve no more than a fool's head? / Is that my prize?...Still more fool I shall come forward / By the time I linger here; / With one fool's head I came to woo, / But I go away with two," (Shakespeare 214).

Gratiano actually acts as the fool or jester of the find fault as much as any other character. He refers to him self as a fool in a speech communication made in his own defense, one where he asks " permit me play the fool" and tells us melancholy will not work as bait "

For this fool's gudgeon, this opinion," (Shakespeare 218). Gratiano will eventually be reunited with Nerissa much as Bassanio is reunited with Portia, hardly not before both of them will be fooled by Nerissa and Portia into giving up their wedding rings. By fooling Gratiano and Bassanio robed as male counsel, the women demonstrate the duality of love and the delicate line between love and infidelity.

Such a elevation is only a minor one compared to the main theme of the play, justice. While Shylock swears he will not play the fool, he does so because of an oversight in his knowledge of the law due to his lust for vengeance against Antonio. At one point Shylock boldly claims he will not play the fool, "I'll not be made a soft and dull-eyed fool," (Shakespeare 219).

scantily prior to making this statement Shylock reserves the chase of fool for another character, his nemesis Antonio, "This is the fool that lent out money gratis: / Gaoler, look to him," (219). In actuality, Shylock is play for a fool more than any other character in the play. This is true even though he is legally valid in demanding his bond and the terms of his contract, just as much as he is valid in lacking(p) his daughter returned. However, Shylock is made a fool of by Portia who points out that he cannot cut his "pound of flesh" from Antonio's booby unless he can do so without shedding a drop of blood. Shylock's lust for revenge against Antonio has made foolish in missing this oversight. Otherwise he is quite proficient in his affairs and prosecution. Yet his being made a fool of demonstrates another duality and thin line separating two themes of the play, self interest versus love. Shylock's end also shows that justice is another complex concept that is not always a black and white issue with concrete lines drawn with respect to decision-making.

Shakespeare, W. (1975). Shakespeare: The Complete Works. forward-looking York: NY: Random House.

The Merchant of Venice clearly uses the concept of the
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