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《威尼斯商人》的夏洛克形象剖析
摘 要：《威尼斯商人》是莎士比亚的重要喜剧作品之一，它通过对夏洛克这一吝啬鬼形象的塑造，刻画了当时的社会和宗教背景。笔者通过对《威尼斯商人》中夏洛克的高利贷者、吝啬鬼、贪婪者、复仇者、犹太人等形象进行多层次的剖析，对莎士比亚笔下这一人物进行总体的概括和思考，以加深读者对莎士比亚作品的理解。关键词：威尼斯商人；夏洛克；守财奴；犹太人《威尼斯商人》是莎士比亚的重要代表作品，作品中塑造了一系列不同的人物形象。（剩余2838字）
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还没有龙源账户？立体的高利贷者的形象——浅析《威尼斯商人》中的夏洛克
欧洲文艺复兴时期英国杰出的人文主义戏剧家、诗人莎士比亚,在他的喜剧《威尼斯商人》中为我们塑造了一个从中世纪遗留下来的旧式高利贷者夏洛克这样一个鲜明生动而又复杂矛盾的典型形象。夏洛克这个人物的出现,则使得《威尼斯商人》成为莎士比亚的早期剧作中第一个以较显著的现实主义手法接触到当时社会阴暗面的喜剧。全剧围绕着“借债割肉”的主要中心事件来展示作为当时新兴的商业资本同旧式高利贷资本之间的矛盾,即安东尼奥与夏洛克的对立,充分暴露了资产阶级的金钱薰心。通过对夏洛克自私狠毒的行径的描述,作者揭露批判了金钱对人的腐朽作用。从夏洛克的话“积财就是积福”、“守财就是进财”的话中,我们看到了一个十足的守财奴的形象。通过他的言行,暴露了他为了金钱而表现出来的贪欲、残酷、狡诈的思想性格。我认为,在分析夏洛克这个人物时,要历史地看待,要联系当时整个社会的实际情况来看,在这个人物身上体现出来的复杂关系有民族的、阶级的、宗教的矛盾关系,作者站在新兴的商业资本主...&
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权威出处：
《威尼斯商人》是莎士比亚早期杰出的喜剧之一,作品成功地塑造了一系列栩栩如生、生动鲜明的人物,其中夏洛克更是一个鲜明、生动、复杂而著名的典型形象。这个形象的塑造有着不朽的艺术魅力,揭示出深刻的道理和意义,他的塑造成功受到了马克思、恩格斯的高度赞赏。本文拟从以下几方面来分析这个人物形象。 首先,夏洛克是资本原始积累时期在种族歧视和复杂的环境中形成的一个高利贷者。夏洛克生活在种族歧视、基督教盛行的威尼斯,他所处的那个年代,是资本主义经济发展较快的中世纪,商业资产阶级和高利贷资产阶级这两个集团在威尼斯这座城市中彼此对峙着。在这样复杂多变的矛盾中,夏洛克的处境和出身就奠定了他的思想行为的基调,决定了他性格的发展变化,衍生了他的思想意识。夏洛克在逆流和摔打中经历了许多磨难和艰辛,从而悟出一条道理:钱是万能的,“金钱高于一切,只有高利贷是他的生命。”“只要不是偷窃,会打算盘总是好事”,他追求“像母羊生小羊一样地快快生利息”,并且引经据典为自己...&
(本文共3页)
权威出处：
《威尼斯商人》创作于 15 96年 ,是莎士比亚最重要的喜剧作品之一。长期以来 ,评论家们争论的焦点集中在夏洛克这一人物身上 ,对他有各种各样的分析理解 ,上至恶棍般的犹太放贷人这一喜剧典型形象 ,下至宗教迫害的悲剧人物 ,等等。对其他人物的评论也就倾向于以对夏洛克的基本态度为分水岭。关于该剧主题 ,传统上一般认为是赞美安东尼奥与巴塞尼奥之间的友谊 ,以及女主人公鲍西娅的聪明、美貌与忠贞 ,揭露了夏洛克的凶残与贪婪。张伯香先生在其主编的《英美文学选读》 (系全国高等教育自学考试指定教材 ,英语语言文学专业本科段必修课程 )第 1章第 3节有关莎士比亚的部分中指出 ,现在越来越多的人更趋向于这样一种观点 :即该剧讽刺了基督徒的虚伪 ;讽刺了他们错误的爱情和友谊标准 ;讽刺了他们的巧取豪夺以及对犹太人的社会偏见、宗教迫害和种族歧视[1] 。这实际上就提出了关于该剧主题的新观点。按照大纲的考核要求 ,这部分内容属应用层次 ,为了帮助广...&
(本文共3页)
权威出处：
《威尼斯商人》是莎士比亚最具代表性的喜剧作品之一。商人夏洛克是作者刻画得最为生动的反面人物。造成夏洛克复杂性格的原因有很多方面 ,其中不乏社会原因和历史原因。一、犹太民族是一个灾难深重的民族 ,在数千年的人类历史中 ,他们几乎没有摆脱过外来敌人的压迫和奴役 ,这一历史原因是造成夏洛克人物性格的主要原因之一中世纪的欧洲是基督教一统天下的世界 ,罗马教会竭力宣传犹太人是上帝唾弃的民族。在经济方面 ,犹太人就业经营受到排挤和限制 ,财产时常被无故剥夺。欧洲国家在法律上禁止犹太人占有地产 ,而基督教会也不准犹太人在星期天去田间劳动 ,而在安息日 (星期六 )他们遵照犹太教规本来不工作 ,加之他们常被驱逐后漂泊不定 ,因而失去务农机会。到欧洲城市手工业行会制度确立后 ,他们的手工业经营又受到限制。到中世纪后期欧洲各国商业资本增加时 ,他们又在贸易、金融领域受到排挤。欧洲各国统治者还通过增收重税、规定就业限额、无故罚款、没收财产等各种手段 ...&
(本文共2页)
权威出处：
夏洛克作为贪婪、歹毒的代名词,不仅为欧美世界的读者所熟知,甚至为世界各国的读者所熟知。他除了作为一个文学人物的典型,更作为犹太人的典型被读者接受和记忆。令人不解的文化现象是:《圣经》中的人祖亚当、夏娃、亚伯、该隐、挪亚……犹太人的先祖,历史上的亚伯拉罕、摩西、扫罗、大卫、所罗门……已经成为欧洲乃至世界共有的历史文化遗产中的重要组成部分。即便是经过数千年的驱逐迫害和杀戮的20世纪被人们熟知的政治、经济、文化、科学各领域内的伟人、巨人到底有多少犹太人?马克思、列宁、弗洛伊德、爱因斯坦、基辛格、毕加索、卡夫卡、茨威格、斯皮尔博格、胡塞尔、柏格森、维特根斯坦、雅斯贝尔斯……如果加上诺贝尔奖得主的名单,那真不知要列出多长。考茨基说过:“犹太人一直受到人类的最严酷的对待,而他们对人类的贡献却最多。”[1](P122)这些人与夏洛克给人类留下的历史记忆是截然不同和完全相反的。这些人也许为犹太人的形象正了名,也许在一定程度上为被歪曲和污染了的犹...&
(本文共6页)
权威出处：
《威尼斯商人》是莎士比亚早期伟大喜剧之一,其内容早已为世人耳熟能详:安东尼奥与巴萨尼奥真挚的友谊以及巴萨尼奥与鲍西娅的纯洁的爱情,最终战胜了邪恶和仇恨的化身—犹太高利贷者夏洛克。剧中唯一的恶人角色夏洛克,由于其特殊的犹太身份,自然成为了莎剧中最有阅读张力,最具文化争议的角色之一。《莎士比亚》Bantam版的主编大卫·伯英顿(David.Bevington)评到,夏洛克的境遇尽管有些令人同情,但其仍然是“无容质疑的邪恶家伙”,“本质上是喜剧中大恶人”[1];而另一位莎剧评家哈罗德.布鲁姆(HaroldBloom)则称本剧为“极端地反犹太的作品”,在强烈地谴责剧本带有浓厚的宗教种族歧视色彩的同时,却仍认定夏洛克是“喜剧里的恶棍”,或者至多在某种意义上是“英雄化的恶人”[2]。或许两位评家都已意识到剧本中基督教种族主义倾向的存在,遗憾的是,由于研究立场和批评视角的局限,他们未能够深入探讨夏洛克作为犹太信徒,为坚持犹太文化信念不懈努力抗...&
(本文共5页)
权威出处：
~~《威尼斯...&
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出版：《中国学术期刊（光盘版）》电子杂志社有限公司
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喜其美慧怜其悲——《威尼斯商人》剧中鲍西亚形象浅析
(7-8+12)李建中;
(9-10)李玉影;李灏;任宏伟;
(11-12)包丽娜;于海燕;
(13-15+17)崔月霞;
(16-17)范莉;
(18+20)龚莎;
(19-20)高芳;章志红;
(21+49)贺小伟;
(22-23)罗宏;
(24)廖如莺;
(25+51)孟宪英;
(26+28)宋晓锋;
(27-28)王晓玲;杨楠;张丽珍;
(30-31)张鑫;
(32)蔡春阳;
(33+45)陈春燕;
(34-35+37)陈克毕;
(36-37)陈杰;崔珣丽;
(38-39+41)陈理真;
(40-41)杜庆凤;
(42-43)马予华;
(44-45)张春子;黄丽;
(46+57)张松存;
(47+55)牛瑜;
(48-49)陆青亿;
(50-51)陈苑;杨彩云;
(52-53)范嘉;
(54-55)胡春萍;刘萍;
(56-57)成程;
(58-59)曹琳;程张根;
(60+86)方炜祎;
(62-63)刘杰;
(64-65)娄佳丽;
(66+68)龙丹;李韦豫;
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(69-70)司彩霞;
(72-73)吴亚萍;
(74)余雪芳;
(75+82)叶晓燕;
(76)周彦希;
(77-78)陈明辉;杨蕾达;
(79)李程程;
(80+84)牟国琴;
(81-82)叶玉侠;
(83-84)李薇;
(85-86)孙飞;
(87-88)王春燕;
(89+96)魏爽;
(90+101)万秋滨;
(91)朱华昌;
(92+94)杜鹃花;
(93-94)章朝红;史康;
(95-96)金涛;
(97-98)聂彩兰;杨真洪;
(99+104)王丽华;
(100-101)黄频频;
(102)赵蓉;
(103-104)张祎;惠兆阳;
(105-106+112)董晓洁;
(107+109)黄玫;
(108-109)付翠;
(110-112)郝芳;
(113-115+122)刘大燕;
(116-117)陆莲枝;
(118+124)邱琳琳;王苏华;
(119-120)沈卉卉;
(121-122)宋科;
(123-124)李文娟;
(125+127)谭焕新;
(126-127)魏慧梁;
(128-129)王丽萍;
(130+132)徐红;
(131-132)薛娇;
(133)杨静文;
(134-135)杨文滢;
(136+138)赵萌;
(137-138)赵雅丽;
(139-140)自正权;
(141+147)胡璐;
(142)林琳;
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(148-149)郭晓丹;
(150-151)汤密;曹又林;熊玉环;赵媛媛;杜思雨;薛瑶;
(152-153+155)王倩倩;
(154-155)王冰;姜欣;
(156+167)王雪娇;田丹妮;
(157+165)张娟;
(158-159+163)张梦雅;
(160-163)张俏;
(164-165)朱世梅;
(166-167)邵文芳;
(168-169+179)高峰;
(170-171)黄艳群;
(172)李富得;陈媛媛;
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(176-177)李军;
(178-179)梁颖;
(180)马亚娜;
(181+183)马真虎;
(182-183)李绍青;
(184-186)钱艳秋;
(187-189)邬竞越;
(190)王严;
(191-194)谢倩;
(195+197)杨婷;
(196-197)叶杨;
(198+203)蔡倩;
(199)陈雷;
(200-201)张晓锋;
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(204-205)吕品;
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(219-220)喻劲梅;
(221)胡畔;
(222)李燕;
(223+226)马丽杰;
(224-226)苏静;刘世理;
(227)孙胜男;
(228)田密;
(229+242)王红梅;王晓君;
(230-232)王熙;
(233)尹航;
(234-235)张宝元;
(236-237)张大凤;
(238-239)周俊海;唐巧玉;
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(243+245)李歌;
(244-245)魏杰;崔绪娥;张绘丽;
(246-247+249)刘火泉;
(248-249)林震;
(250-251)马怀忠;赵勇;
(252)魏爽;
(253+255)徐静;
(254-255)游正芳;
(256)张维益;
(257-258)赵娱娟;
(259-260)柯东玲;
(261+264)田思萍;杨哲;
(262-264)张婷;
(265-266)杨丽新;
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(278-281)Tonny K
(282-283)王晓芳;
(284)单佳慧;
(285-286)王敏;刘景霞;
(287-288+294)杨晶晶;
(289+291)丁丽红;
(290-291)袁兴;
(292-294)朱静;杨阳;
主办单位：安徽科学技术出版社
出版周期：半月刊
出版地：安徽省合肥市《威尼斯商人》中的人物形象分析
> 《威尼斯商人》中的人物形象分析
《威尼斯商人》中的人物形象分析
来源:毕业论文网
AbstractAs we known that the merchant of Venice is one of Shakespeare’s most important works. It is a comedy. The theme of this play is to extol kindheartedness, friendship and love. And also it reflects the conflicts between the capitalists and usurers at the beginning of the capitalist society. And it expresses the author’s humanist idea on money, law and religion in capitalist society. This thesis analyzes the main figures in the play by using independent and contrast ways. It shows the heavily flavor of humanism at the beginning o and expresses some thoughts for society and human being. The thesis also makes a hard criticism to Shylock, who is a representative of feudalism, and puts a heavy humanism on Portia. It displays the thoughts of feudalism personality liberation, and stressing the great breakthrough of woman’s status and feminine consciousness in Elizabethan era.& Key WordsC pe women consciousness&摘　要众所周知，《威尼斯商人》是莎士比亚著名喜剧之一。 该剧的主题被定义为对善良、友谊和爱情的颂扬。 本剧不但反映了资本主义早期资产阶级同高利贷者间的矛盾冲突，也揭示了作者对资本主义社会金钱、和宗教信仰的人文主义观点。本采用了个案分析法以及对比分析法对该剧的主要人物形象作了一一剖析，展示了资本主义萌芽时期人文主义的浓厚气息，表达了莎士比亚对社会、对人类生活的反思，并寄以自己的理想。课题对封建旧势力的代表――夏洛克作了无情的批判，而对形象鲜明、富有光彩的鲍西娅则添上了浓厚的人文主义理想色彩。文章彰显了女性个性解放，突显了文艺复兴时期伊丽莎白当权期，女性地位、意识的重大突破。关键词人物分析；人文主义思想；个性解放；女性意识
IntroductionThe Merchant of Venice is one of the Shakespeare’s famous comedies in his early time. It’s theme is to extol kindness, friendship and love. It is the mirror of the contradiction between business bourgeois and usurer at the beginning of the Capitalist society. It’s also expressed the author’s humanism ideas on money, law and religion in this society. There, we mention Humanism--the main distinguishing feature of that period, also the brightness characteristic which is shown from the important role in this play.In this thesis, the author introduces the background of the play firstly. Reading the play, we can know that the social background in the play is according with the real society. We know at that time, the society was under the leadership of Elizabeth who was the symbol of power in England. Next the thesis gives an introduction of the main figures in the play. Antonio is rich and kindhearted. From him we can see the spirit of humanism. Portia plays the most important part in the play. The thesis talks about her character, her hobbies, and her attitude of love and the inner meaning-humanism of this figure. She is the center of all these figures the play refers to. Humanism is an ideological weapon for capitalism to fight the feudalism combat, and also it is the core idea of capitalism advanced-literature in Renaissance, and its combat refers to the ideal of Feudalism in Middle Age, especially the religion belief of Catholics. After that, the thesis gives more details about the information mentioned above. Then the thesis compares the figures to give a highlight of the humanism spirit.&Ⅰ. Social Background of the Play the Merchant of VeniceAs is known, England is a developed country. Today, it also obtains very important status in the world. It is very necessary to talk about the history of the growth of capitalism in England, especially in 16th century.A. The Social Information in Elizabeth ThroneHenry VIII died in 1547 and his nine-year-old son succeeded him. The son was known in history, Edward Ⅵ. The boy-king’s reign was a time of extreme Protestantism, for the Regency Council for him consisted almost entirely of the protestant faction. Edward Ⅵ died in 1553. only 15years old. Then his half-sister, Mary, a Catholic, became Queen. The new Queen came to the throne at the age of twenty-five. After the coronation, her parliament passed the necessary legislation to abolish the papal supremacy over the church, and gave Elizabeth all the powers over the church which her father had held, though with the more modest title of “Supreme Government” of the Church of England instead of “Supreme Head” Elizabeth died on 24 March, 1603 at the age of sixty-nine. Her forty-four-year reign had not only ensured the triumph of Protestantism in Britain and in Northern Europe, but had greatly increased the wealth, power and prestige of England. Her navy triumphed over the great Armada of the king of S her sailors’ circum navigated the world, and established a colony on the North American continent which they named Virginia after their virgin queen. At home, the merch the common people enjoyed a higher standard of living than in most other European countries, and her reign was also full of achievements in literature and other arts. After all, Elizabeth Ⅰwas one of the most successful despots to govern England in English history. ①(李超, 邓兴义:34-37)B. Special Social Background Reflecting in the Merchant of Venice
The Merchant of Venice is one of the famous comedy plays written by Shakespeare in his early time. The theme of this play is to extol kindness, friendship and love. It is the mirror of the contradiction between business bourgeois and usurer at the beginning of capitalist society. It’s also expressed the author’s humanism ideas on money, law and religion in this society. There, we mention Humanism--the main distinguishing feature of that period, also the brightness characteristic which is shown from the important roles in this play. But, what is “humanism”? Humanism is the ideological weapon of bourgeois to fight feudalism at Renaissance, is also the core idea of the bourgeois’ advanced-literature in this time. Be directed against the world outlook of Medieval feudalism is the spearhead of struggle, especially the religion belief of Catholicism. Church refers to God as the centre of cosmos. At the heart of the Renaissance philosophy is the assertion of the greatness of man. And the elements of Humanism are to establish the central status of human, their dignity and value, to advocate the spirit of rationalism and science and to protest the supreme role of God admired in Middle Ages.Shakespeare was a man of the late Renaissance who gave the fullest expression to humanist ideas. The Merchant of Venice is one of the important works which finished in the First Flowering period of English Literature. In this play, heroes and heroines fight for their own ideas and mould their own life according to their own free will and bring us into happy and ideal world with singing, dancing, harmony with nature and freedom from the vices of the world.Ⅱ. Analyzing the Heroes in the PlayIn 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. AntonioAlthough 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. BassanioIt is said Middle Ages is the most deathly stillness 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
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. ShylockShylock 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’ laught at my loss, mockt at my gains, scorn’d my nation, thwarted my bargains, cooled my friends, 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 mentions 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. III. Analyzing the Central Character in the Novel--PortiaThe girl embodies the virtues that are typical for Shakespeare’s heroines--it has no surprise that she emerges as the antidote to Shylock’s malice. She is the pretty-witted aristocrat young girl. She is ent reso wealthy and beautiful. She is the perfect female who glitters the humanism ideal in her life. This is Portia.A. The Essential Nature of PortiaAt the beginning of the play, however, we do not see Portia’s potential for initiative and resourcefulness, as she is a near prisoner, feeling herself absolutely bound to follow her father’s dying wishes. This open appearance, however, proves to be a revealing introduction to Portia, who emerges as that rarest of combinations--a free spirit who abides rigidly by rules. When Bassanio asks Belmont to choose his chest, she proves herself to be highly resourceful, begging the man she loves to stay a while before picking a chest, and finding loophole in the will’s provision that we never thought possible. Also, in her defeat of Shylock, she prevails by applying a more rigid standard than Shylock, agreeing that he can get a pound of flesh, but adding that it does not to allow for any loss of blood. Anybody can break the rules, but Portia’s effectiveness comes from her ability to make the law work for her. After depriving Bassanio of his ring, she stops the prank before it goes far, and she even insinuates that she has been unfaithful. These entire can proves Portia’s wit, resource, and humorB. The Humanism Spirit Shown by Portia Portia is the main character in this play. She embodies the virtues that are typical for Shakespeare’s heroines. Being a wealth young girl, she is beautiful, gentle and tender, and full of stratagems. She lives in Belmont--a peaceful world, and recruits the newest ideological trends. So, her mind is equipped by humanism. She is a cute girl, even her father’ she would like to abide by. Humanism has several contents. One of them is the Rationalism object to Obscurantism. It advocates treasuring people intelligent. And it is said the most reason of people is dignity depending on the power of rational. Rational is human’s nature, science is the source of joyful. So, when Bassanio arrives, Portia use her resourceful mind to call his attention to pick the correct chest. &I pray you, tarry: pause a day or two&&&&&& B for, in choosing wrong,&&&&&& I lost your company: therefore, forbear a while. ② (Act Ⅲ SceneⅡ 1-5) &&&&& ……
&&&&&& Before you venture for me. I could teach you &&&&&& How to choose right &&&&& ……&&&&&& The seeming truth which cunning times put on&&&&&& To entrap the wisest. Therefore, thou gaudy gold, & Hard food for Midas, I&&&&&& Nor none of thee, thou stale and common drudge, Tween man and man: but thou, thou meager lead,&&&&&& Which rather threatenest than dost promise aught,&&&&&& Thy paleness moves me&&&&&& And here choose I: ---Joy be the consequence! ② (Act Ⅲ SceneⅡ 100-107)This is the evidence that Portia never resigns herself to her fate. In order to peruse her own happiness and love, she makes use of her wisdom obeyed her father’s will as well as marry with the Mr. Right. This is one aspect. The other one is that when she argued with Shylock to act defense as a means of attack on the court, and consolidate at every step.& Shylock thought he encountered bosom friend at beginning. And later, suddenly he realized he has lost his preponderance. Portia’s brilliance talent and Shylock’s weakened defense, both make people cannot help laughing. Considered her attitude towards love and the performance she acts on court. There is no doubt that she is a remarkable humanist.C. Portia--a Self-conscious FemalePortia is a beautiful, dignity and wealth girl. And the most important thing is she obtains strongly female self-consciousness. She knows what is she needs, and try her best to pursue. She has an insight into the world which she exists―the code of ethics, the value…, she knows what’s the role she plays. So, she can vacillate freely in the male society, gets her goal and not to go against the rules. In this play, it seems she just does two things: help her help her husband to rescue Antonio. Both of them have fully demonstrated her intelligence, and reveal her anti-tradition figure. It’s the time when she chooses her husband to show her ability to suit male society. Portia not only has the female self-consciousness, but also understands thoroughly what is the status and role woman obtains in male society. She knows the method which keeps away from conflicts. To her husband, she is an angle: sheepish, tender and obedient. When Bassanio chooses the correct casket, she immediately says she is an “unwise, lack-education girl”. Is she really so humble? No. Portia knows very clearly that man dislikes woman is more sensible and prior than men themselves. So she makes her modest on purpose. But at the same she would like to show her important role when she gives her ring to Bassanio, she says:Myself and what is mine to you and yoursIs now converted: but now I was the lordOf this fair mansion, master of my servants,Queen O’ and even now, but now,This house, these servants, and this same myself,Are yours, my lord: I giveWhich when you part from, lose, or give away, Let it persage the ruin of your love,And be my vantage to exclaim on you.②The aim to be said like that is to remind Bassanio she is the very one that’s the real master in her family. In other words, she is the protagonist in the play, and the male is the costar who stands on the pasive, subordinary rim, and they always do as one is told. This figure-portray denied the traditon gender relationship makes female go from “rim” to “center”, from “object” to “subject”. It&s to deny the traditional female conception. And on the other hand, all of those shows Portia is a personality liberation woman.
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