Explain the passage from Act 1, Scene 3 of The Merchant of Venice.

The Merchant of Venice has the dispute over Antonio's "pound of flesh" and Portia's need to find a husband via a lottery system which drive the plot forward. Shylock is beginning to realise that there may be an opportunity to get some revenge on Antonio for his poor treatment of Shylock and his "tribe" over many years. 

Shylock reminds Antonio that many times, even in the "Rialto" which is a meeting place or Exchange where Merchants meet and do business, that Antonio has "rated" or criticized Shylock for his "moneys and my usances;" in other words, for his profit and the charging of interest on loans. Shylock has, he maintains, allowed it and suffered the abuse patiently because Jews ("our tribe") have borne "suff'rance" as if it were a "badge." The Jews have been persecuted for centuries to the point that others think they can mistreat him because he is a Jew and they do not need any other reason.

There is the name-calling - "misbeliever, cut-throat dog" and there has even been occasions when Antonio has spat on Shylock's coat ("gabardine') and for no reason other than the fact that Shylock makes use of his own means - "that which is mine own." So Shylock now considers Bassanio's request and again reminds Antonio that he actually spat ("rheum") on his beard and even kicked -"foot"- him over his doorstep (threshold) as if he were a stray dog - "a stranger cur." 

So, if it's money Antonio wants ("moneys your suit"), Shylock wonders what he is expected to say - Does a dog have money or a stray have three thousand ducats? Perhaps Antonio expects Shylock to bow down to him and whisper in a "bondman's key" a bondsman being a slave so in a humble tone. Should Shylock remind Antonio of all this abuse and for "these courtesies" - for this special treatment (being sarcastic) and simply lend him "much moneys?"    

Who are the main characters featured in Act 2 of The Merchant of Venice?

The plot of The Merchant of Venice revolves around Bassanio's desire to marry Portia - for all the wrong reasons at first- and the problems Portia, an independent woman, has to face in the light of her late-father's will. The enduring problems of prejudice are responsible for many of the characters' actions throughout Act II and the entire play itself.

By the end of Act I, the plot is already wrapped up in several complications, all of which contribute to the characters and their behavior in Act II.   

The Prince of Morocco will develop the discriminatory, racial aspect - often explored by Shakespeare - and reveals Morocco's insecurities. Shylock and Antonio have already foreshadowed the difficulties when race or religion interfere with business - or life!  Portia's character develops by the end of Act II as we see that she is potentially prejudiced against Morocco and others of his "complexion" as she expresses her relief at his failure to choose the casket successfully.

Launcelot and his father, together with Gratiano who is something of a talker with little to actually contribute, serve, in this act, to reinforce the overriding issue of prejudice. Launcelot's pressing desire to leave Shylock's house and employment stem from his dislike of the fact that Shylock is a Jew. Shylock - being a Jew - is apparently a "kind of devil”  and the audience would be led to believe that this is because he is a Jew whereas Shylock claims that it is the Christians who have "taught" him and made him so resentful by their treatment of him. Old Gobbo's inclusion in Act II is perhaps an effort to release any tension that may be building up in the audience.

In order to reinforce the concept that Shylock is essentially evil, his daughter, Jessica, shows no respect for him and her desire to marry a Christian and herself convert to Christianity still further cements the Jew versus Christian problem and the ultimate insult to Shylock's religion.

Act II serves as a support to the main focus of The Merchant of Venice and as such some of the characters only develop later - or not at all. Bassanio does not have much, having squandered any wealth of his own previously. Choosing the correct casket - "Who chooseth me must give and hazard all he hath" - belies the character we will see later. At this point, hazarding all he has will not cost Bassanio much because it is Antonio who has promised "a pound of flesh."

Antonio, at this point, is a kind and generous friend and his motives are unquestioned but later his intentions are questionable as his human compassion does not appear to extend to Shylock - the inference being, does not extend to Jews!

Care must be taken not to ask multiple questions at once as eNotes rules do not allow it. Hence, a general overview of characters and their part in the play - in terms of Act II - has been given, rather than individual character analyses.   

What events occur in The Merchant of Venice, act 2, scene 2?

It's not a major scene in the play to be honest.

The scene opens with the introduction of "Launcelot Gobbo", Shylock's servant, and one of the play's few comic characters, debating whether to stay working for Shylock or not. At the moment he decides to leave, his dad, Old Gobbo, turns up with a "present" for Shylock.

His father doesn't immediately recognise him, and Launcelot plays a few games with him, before revealing his real identity. And he also gets his father to give his "present" to Bassanio, hoping that Bassanio might allow Launcelot to work for him as a servant when he leaves Shylock. Bassanio agrees immediately.

Bassanio then sends Launcelot to go to his home, and get things ready: as Antonio is coming for dinner. Gratiano enters, and asks if he may accompany Bassanio to Belmont. And again, Bassanio agrees, but asks Gratiano not to joke around too much.

Can you explicate the stanzas in act 2, scene 3 of The Merchant of Venice?

This short scene in Act III acts as foreshadowing of Shylock's later ignominious defeat, and is also representative of the divisive presence of Shylock in the drama.

Called by critics a "villain both farcical and scary," Shylock seems to embody the dark corners of ancient Venice with his character as he is one of the "petty traffickers" to which Antonio alludes in Act I. He is an isolated figure, and this scene from Act III underscores his isolation as well as foreshadowing the culminating alienation he will experience as he is even separated from his own Jewish race by his forced conversion to Christianity in Act IV. For, even his daughter finds him despicable, declaring that she is "ashamed to be my father's child!" (l.17)

Even so, this scene tends to counteract the negative first impression given the audience by Shylock who, in his resentment and hatred for Antonio would "feed fat the ancient grudge" he bears him. For, those closest to him, Launcelot and his daughter Jessica, do feel guilt as they malign him with their speech:

JESSICA:  I am sorry thou wilt leave my father so....

LAUNCELOT: These foolish drops do sometimes drown my manly spirit.

Nevertheless, Shylock is such a villain that they feel the need to break from him; also, this scene further develops the subplot of Jessica's relationship with Lorenzo.

Explain Act 2, Scene 6 of The Merchant of Venice.

There is an e-text here at Enotes that has the modern English equivalent of each line, and the student may easily have access to this explanation by clicking on the link below. For, this format for answering student questions does not afford enough space for lengthy explanations. 

In an effort to assist the student with understanding Act II, Scene 6, here is some explanation:

This scene concludes the subplot of Jessica and Lorenzo's elopement as Shylock has departed for dinner with Antonio, and Lorenzo arrives. As the scene opens, Gratiano and Salerio, friends of Lorenzo wait for him under a shelter; they are surprised that he is late because lovers are normally so excited that they arrive early to meet their beloveds. This is the point of Gratiano's monologue in lines 8-19. In these lines, he draws analogies to other situations. asking when has another repeated the excitement he/she feels for the "firsts." For example, is not someone more eager to sit down to eat than when he rises from the table; is not a horse more interested in a new path than going down one he has traveled before. All things, Gatiano concludes, more exciting when they are sought than after they are experienced.

....Who riseth from a feast

With that keen appetite that he sits down?

Where is the horse that doth untread again

His tedious measures with the unbated fire

That he did pace them first? All things that are,

Are with more spirit chasèd than enjoyed. (2.6.8-13)

For I am much ashamed of my exchange [of clothes]
But love is blind, and lovers cannot see
The pretty follies that themselves commit,
For if they could, Cupid himself would blush
To see me thus transformed to a boy. (2.6.35-39)

No masque tonight. The wind is come about.
Bassanio presently will go aboard.
I have sent twenty out to seek for you. (2.6.64-66) 

What happens in Act 2, scene 7 of Shakespeare's The Merchant of Venice?

In Act II, scene vii, of Shakespeare's The Merchant of Venice, the Prince of Morocco is ready to take the three-casket challenge. Morocco is attempting to win the hand of the beautiful Portia. Her father died and stipulated that only the right man for Portia would choose the correct casket. One is made of gold, another of silver, and the third, of lead. Each has an inscription on the top, and Portia has told Morocco that the correct cask has her picture in it. If he opens this one, he has won her hand.

Morocco looks at all three caskets, thinks about the inscription on each, what the casket is made of, and what Portia has told him. He tries to make a logical choice based upon what he sees and knows. He finally decides on the gold casket, but inside is a "death mask," which lets him know he has failed. Morocco is unhappy, but Portia is not at all concerned at his failure. This is the first of the three casket tests.

Summarize act 3, scenes 4 and 5 of The Merchant of Venice.

Scene 4 of Act III begins with Portia talking to Lorenzo. She leaves Belmont in the care of Lorenzo and Jessia, because she and Nerissa are going to a monastery to spend time in prayer until their husbands return. However, when Lorenzo and Jessica leave, Portia tells her servant to take a letter to her cousin Dr. Bellario, a famous lawyer, and to bring any instructions and items he responds with to the ferry, where she and Nerissa will be waiting to leave. The messenger quickly exits, and Portia tells Nerissa that they are going to follow their husbands to Venice, but dressed as men, for reasons that she will reveal on their journey.

Scene 5 is a short scene of comic relief, where Launcelot mocks Jessica about her racial roots, arguing that because she is a Jew, she has no hope of salvation. However, at this point, Lorenzo comes in and reveals that Launcelot has gotten a black woman pregnant. The two engage in a battle of wits but all in good nature, before Launcelot leaves. Lorenzo and Jessica are left on stage to show their love for one another before they go in for dinner.

Summarize Act 5, Scene 1 of The Merchant of Venice.

This final scene of resolution opens with Lorenzo and Jessica's famous love scene. Following this, the arrival of Portia and Nerissa is announced from the monastery, where they have supposedly been praying and waiting for their husbands, and music is played to greet them. Next, the husbands return, and both of them are told off by their respective wives for having given their rings away after swearing that they would never part from them. However, Antonio saves the day for his friend and achieves reconciliation when he swears upon his soul that Bassanio will never again break such a promise, and the ladies return the rings to their husbands. In a sudden reversal of fortunes, a letter informs Antonio and the audience that three of Antonio's ships have safely made it to harbour. Lorenzo and Jessica are told of Shylock's will and their provision, and finally the three happy couples leave the stage.

What are the four subplots in The Merchant of Venice?

In no particular order, here is a list of five subplots that exist within Shakespeare's The Merchant of Venice.

1. There is a subplot involving a casket and Portia's suitors.  Portia's father is not going to allow any man to marry Portia unless that man can correctly choose the casket that has Portia's portrait.  All potential suitors have failed this test.  All except for Bassanio.  
2. There is a subplot involving the contract that exists between Antonio and Shylock.  Antonio's money is currently tied up, so he needs to borrow some.  Antonio needs a moneylender, and his moneylender winds up being Shylock.  There is definitely a lot of antagonism between these two characters, but Shylock does agree to loan Antonio money interest free; however, Shylock demands a pound of flesh if Antonio can't repay the loan.  
3. A part of the previous plot is the entire court case.  I'm not sure if you want to call it a separate plot or not, but it does involve Portia dressing up like a man in order to be Antonio's defense attorney.  
4. There is a subplot that involves a ring, Portia, Nerissa, Bassanio, and Gratiano.  
5. A final subplot is the love plot that is about the multiple relationships and marriages going on among Bassanio, Portia, Nerissa, Gratiano, Lorenzo, and Jessica.

How are the three subplots of The Merchant of Venice interconnected?

Most critics believe that there are three subplots to Merchant. 

1. The casket plot for Portia's suitors.

2. The bond/contract plot between Antonio and Shylock.

3.  The ring plot between Portia and Bassanio and Nerissa and Gratiano.

The plots are interconnected not only through characters but also through themes.

1. Portia wants Bassanio to choose the right casket so that she may marry him.

2.  Bassanio's connection to the casket plot links him to the bond plot.  If he did not need to borrow money from Antonio to impress and woo Portia, Antonio would not have entered into the bond with Shylock.

3.  The ring plot does not develop until Act 4 (the trial scene).  Portia argues for Antonio's and Bassanio's sake against Shylock and in saving Antonio's life eventually requests her ring back from Bassanio. 

Through Bassanio, the subplots are connected.  Thematically, the plots share a connection.  The casket plot expresses the truth that appearance does not always equal reality.  The ugliest and seemingly worthless lead casket possesses the prize.  This theme of misleading appearances continue in the bond plot.  For example, Shylock believes that his bond is airtight, that Antonio has no escape, but Shylock doesn't look below the surface of his "pound of flesh" request. Likewise, Portia disguises herself as a man to resolve the bond plot.  Everyone believes her to be a young, gifted lawyer, but the audience knows who she really is.  Finally, the ring plot also demonstrates appearance versus reality.  Portia, dressed as a man still, manipulates Bassanio into giving her the ring that he promised never to remove. In the end, Portia teachers her new husband that all is not as it appears by disclosing her involvement in the trial and her repossession of the ring.

How are the main plot and subplots interwoven in The Merchant of Venice?

The main plot of Shakespeare's The Merchant of Venice is the Antonio-Bassanio-Shylock plot, in which the merchant Antonio borrows money from the Jewish moneylender Shylock in order to fund Bassanio's courtship. Along the way, Shylock convinces Antonio to agree to giving him a pound of flesh if he can't pay back the loan. This plot is the main focus of the story, but it also relies on two subplots to progress.

First of all, there is the subplot involving Portia, her suitors, and the three caskets. In this subplot, a series of suitors try to guess the correct casket and win the right to marry Portia, a rich heiress. This subplot is interwoven with the main plot because Portia is the woman Bassanio aims to woo, and so Antonio only borrows the money from Shylock in order to help Bassanio fund his attempt to win the heiress of Belmont's love. 

Second, there is a subplot involving Lorenzo, a friend of Bassanio and Antonio, and Jessica, Shylock's daughter. Lorenzo and Jessica elope, enraging Shylock. This second subplot connects to the main plot because, since Shylock is upset with Lorenzo for stealing away his daughter, he's in a particularly foul mood, especially when it comes to Lorenzo's friends, Antonio and Bassanio. Thus, when Antonio fails to pay the loan, Shylock is only too happy to exact his revenge. Thus begins the main climax of the story and the famous trial scene in which Portia comes to Antonio's rescue.

Therefore, we can see that the main plot of the play relies on two interwoven subplots to progress, and the ways in which Shakespeare brings these seemingly diverse stories together is quite masterful. 

What are the main plot points in The Merchant of Venice?

The exposition in The Merchant of Venice occurs when Bassanio borrows money from Shylock, and his friend Antonio acts as guarantor for the bond, promising Shylock a pound of his own flesh if he cannot pay.

The rising action comprises Bassanio's courtship, and Shylock claiming the pound of flesh promised by Antonio. The case goes to trial and Portia, Bassanio's new wife, disguises herself and acts as Antonio's lawyer.

The climax occurs when Portia points out that Shylock's bond does not entitle him to any of Antonio's blood. If he sheds any blood while cutting the flesh from Antonio's body, he will be sentenced to death. The tables are turned on Shylock, and he is severely punished.

The falling action comprises Bassanio giving the disguised Portia a ring she (as his wife) gave to him. Then, when she is no longer in disguise, she pretends to be angry with him for giving it away. Nerissa, Portia's maid, plays the same trick on her husband, Gratiano.

The resolution occurs when the couples are reconciled, and Antonio's fortunes are restored when his ships come in to port.

What are the main theories related to The Merchant of Venice?

What is it precisely that you mean by "theories"? Are you refering to the themes that can be identified in this play and used to analyse it? Or do you mean various approaches such as gender, race and ethnicity that can be used as metaphorical keys to cast new light on the action of this play.

If it is themes you are after, I have included a link below to the enotes study section on themes of this play. If you are after theories, you might like to consider considering how examining the concept of gender can be used to interestingly challenge male patriarchy and the perception of the relations between the sexes.

One can easily see the significance of approaching this play through the lense of gender by examining the characters of Jessica and Portia. Let us remember that it is Jessica who, of her own accord, organises her escape from her father's somewhat grim and unhappy household, stealing his wealth while she was escaping. Lorenzo follows her orders in this and is presented as being rather stupified by the gain of both a wife and significant wealth. The initiative is taken by Jessica. In the same way, let us remember that it is Portia who saves her new husband's best friend in the light of his inability to do anything to save him. Act IV scene 1 is fascinating for many different reasons, but one of the reasons is the way that Bassanio is portrayed as standing helpless on the sidelines whilst his wife, in disguise, shows how extremely capable she is and that she can more than deal easily with situations that leave her husband baffled and helpless. Gender is subverted to present women as stronger and more powerful figures than men, which is very interesting given the patriarchal society in which Shakespeare was writing.

What are the themes of The Merchant of Venice?

One further theme you might like to consider is how hate begets hate. As a Jew, Shylock is a member of a persecuted minority, subjected to official discrimination and personal hatred on a daily basis. Yet his response to this hate is more hate, a bitter hatred leveled against all Christians for the sufferings of himself and his people.

This helps to explain Shylock's sheer vindictiveness, why he insists on demanding a pound of flesh from Antonio even though he knows it will do him no good. Shylock is so eaten up by hate, a hate that is itself a reaction to the hatred to which he himself has been subjected his whole life, that this normally shrewd businessman is no longer thinking of what's in his best interests. Such is the power of hate. It makes people do things they really shouldn't do. It has a terrible dynamic all of its own—one that cannot be stopped once it's been unleashed.

What are the themes of The Merchant of Venice?

The primary theme of The Merchant of Venice is the relationship between compassion and justice. This theme is best demonstrated by “the quality of mercy” speech that Portia gives while disguised as an attorney. On the other side is Shylock’s behavior as he attempts to exact payment by the latter not the spirit of a contract. Shylock also invokes the need for empathy and compassion as he asks in his monologue, “If you prick us do we not bleed?”

Another important theme is the duty of a child to their parent: Portia follows her father’s rules for choosing a husband, although she does not believe they are the best method, and by doing so ends up with the correct partner. The alternate attitude is that of Jessica, who defies her father and not only elopes with Lorenzo but also steals from her father and changes her religion. Shylock is forced to exercise compassion and mercy in dealing with her and her husband.

The general question of value is also important. The character of Shylock stands out for his excessive love of money—an often-critiqued stereotypical presentation of the association between Jews and usury. The method of the suitors’ choosing among the caskets also bears out this theme; because people are commonly “deceived with ornament,” the correct choice is lead, not the obvious ones of gold and silver.

Summarize the plot, themes, and characters in The Merchant of Venice.

A full answer to your question would take a whole book, so I strongly advise you to resort to the links below for further assistance.

The Merchant of Venice is, very simply put, a view of the strife between the Renaissance establishment and the "aliens" that lived in their midst. This is done by telling the story of Antonio, a Venetian merchant, who helps his dear friend Bassanio obtain a loan from Shylock, a Jewish money-lender. The guarantee that Shylock demands is a pound of flesh should the money not be paid back on time. The money cannot be paid, and Shylock demands his right to Antonio's pound of flesh. As he wants to cut it very near the heart, what he seems to be seeking is Antonio's death. Bassanio engages a lawyer, but his beloved Portia cross-dresses as a man, impersonates the lawyer, and presents her case so skillfully that, in the end, Shylock loses his case, his fortune, and even his religion, for he is forced to convert to Christianism.

You can find themes such as the following antithetic pairs: love-hate, charity-justice, and parents-children among others.

The most important symbol is, of course, the pound of flesh, whose meaning relates to practically all the rest. Others are Portia's three caskets and the ring that Shylock's daughter Leah stole when she eloped with her Christian lover.

Summarize the plot, themes, and characters in The Merchant of Venice.

This question has been previously asked and answered. Please see the link below, and thank you for using eNotes.

Summarize the plot, themes, and characters in The Merchant of Venice.

Bassanio, a nobleman with financial trouble, desires the hand of Portia, a wealthy heiress, in order to restore his fortune. He asks his friend Antonio, a successful merchant, to loan him money. Antonio agrees, but, as all of his assets are tied up at sea, he will have to use his credit in order to obtain the money for his friend. They go to Shylock, a Jewish moneylender. Shylock agrees to lend them 3000 ducats, but only if Antonio will sign a bond offering the usurer a pound of his flesh if the loan is not repaid in three months’ time. Antonio agrees.

Portia laments to her serving woman, Nerissa, the terms of her late father’s will. They state that whoever seeks to marry Portia must solve the riddle of the three caskets—one gold, one silver, one lead, each with an inscription—or, failing in the attempt, agree to remain a bachelor for the rest of his days. Various suitors attempt the test and fail, until Bassanio arrives. Portia favors him and is delighted when he succeeds. His man, Gratiano, also proposes to Nerissa. She accepts.

But all is not well in Venice. Lorenzo, a friend of Bassanio and Antonio, elopes with Shylock’s daughter, Jessica. This enrages Shylock, who vows to show no mercy should Antonio be unable to repay the loan. Much to the usurer’s delight, Antonio’s ships become lost at sea, placing him in financial jeopardy. Shylock has him arrested and waits eagerly to make good on the bond.

See the following link for the rest of the summary.

What are the subplots in The Merchant of Venice?

There are certainly a few important subplots in the play.

The most important plot involves Bassanio's loan dilemma with Shylock. When Bassanio is in need of money to court the beauteous Portia, he borrows 3,000 ducats from Shylock. Bassanio's friend, Antonio, acts as his surety. However, the wily moneylender is Antonio's enemy; he stipulates that Antonio must forfeit a pound of his flesh should he fail to repay the loan in three months. The main action in the play involves Bassanio and Antonio's attempts to save Antonio after the latter's ships are lost at sea (and with it much of his tremendous fortune).

Subplots of the play include the following:

1) The love stories of Portia/Bassanio, Jessica/Lorenzo, and Nerissa/Gratiano

In the play, Bassanio is enamored with the beauteous Portia. However, Portia's late father's will states that the successful suitor must prevail over the riddle of the three caskets (one gold, one silver, and one lead) or forever remain a bachelor. Portia has many suitors, but none of them succeed or desire to abide by the terms of the will. The Prince of Morocco chooses the gold casket, while the Prince of Arragon chooses the silver. Bassanio is the only one who chooses the correct casket (lead).

After Bassanio chooses the right casket, Portia gives him a ring to symbolize their commitment to each other. She makes him promise that he will never part with it. Meanwhile, Portia's lady-in-waiting, Nerissa, professes her love for Gratiano and also bequeaths him a ring.

The third romance in the play concerns Jessica and Lorenzo. When Jessica elopes with the latter, Shylock is furious. He thinks that Jessica has betrayed him.

2) The "ring" test used by Portia and Nerissa to gauge Bassanio and Gratiano's loyalties.

Later in the play, Portia (disguised as a doctor of law) presides over Antonio and Shylock's court case. Assisted by Nerissa (disguised as a clerk), she successfully maneuvers the proceedings to expose Shylock's vehement hatred for Antonio. The case is decided in Antonio's favor after Portia finds Shylock guilty for conspiring to take the life of a Venetian citizen. To pay Portia for her services, both Bassanio and Gratiano give up the rings given to them.

Since Portia and Nerissa are disguised, both men do not know that they have given their rings back to their wives. Later, Portia and Nerissa have a little fun at Bassanio and Gratiano's expense when they demand to see the rings.

How are the themes of love, possession, and commerce addressed in The Merchant of Venice?

Love is addressed many ways, including love of a parent and a child and romantic love. The issue of Portia's father and the method he used for getting her a husband after his death doesn't sound very loving to our modern ears, and yet he was probably trying to choose a good man - someone who wouldn't be drawn to silver or gold. Portia didn't like this arrangement, yet out of love and respect for her father, she stuck to it. There is also the issue of Jessica's relationship with her father, and her obvious distaste for him. Then consider Shylock's reaction to her leaving - He alternates between mourning for his "daughter" and his "ducats"! Which does he truly love? Also consider the love (passion) Bassanio and Portia feel for each other, as well as that between Gratiano and Nerissa.

Possession is addressed almost the same way as love. In choosing which casket, each suitor is choosing a possession almost more than a potential wife. Jessica steals Shylock's possessions when she runs away from his home. Then, Shylock rejects the possessions offered him (2-3 times the amount of the bond) because what he really wanted was to be able to legally murder Antonio.

Commerce is a device around which everything revolves in this play. Antonio isn't worried about losing his pound of flesh because he's sure his ships will come in. When they don't, his life is almost forfeit. Shylock is more concerned with the loss of his fortune than the loss of Jessica.

What are the different plots and sub-plots  in The Merchant Of Venice?

This is a great question because it identifies the different plot strands that make up this amazing play. The first of the two central plots are Bassanio's quest to gain Portia in Belmont and his success in picking the correct casket and thus gaining her hand. The second central plot, obviously linked to the first, is the loan that Antonio is forced to take out against the ships he eagerly awaits to furnish Bassanio, his former lover (though this is debateable), with the money that he needs to enter Belmont and win Portia's hand. This of course puts him in conflict with Shylock and ends him up in front of a court with a bloodthirsty Shylock ready to shed his blood.

The two sub-plots concern Jessica's elopement with Lorenzo and their removal to Belmont and also Launcelot's decision to leave the employment of Shylock and join his new master, Bassanio. Of course, it is important to identify how the sub-plots link in with the main plots - for example, how Jessica's desertion and robbery of her father's money is used to goad Shylock on to gain his revenge.

What are the different themes in The Merchant of Venice?

There are certainly plenty you can pick from, as in all of Shakespeare's plays. You might choose to focus on love, marriage and friendship, justice and mercy or identity for example. However, I will focus on one of the main ones: money.

It is interesting that money is a theme of the love plot as well as the hate plot. Bassanio's need for money to pay court to Portia is of course what puts Antonio in the power of Shylock. Antonio and Shylock are very different merchants, yet all merchants try to make money. Jessica as well, when she elopes with Lorenzo, brings money with her, stealing the savings of her father. She then spends extravagantly what her father gained with such care and diligence. Attitudes to the getting and spending of money are a theme of the play. Wealth by itself does not bring Portia happiness. She needs to be loved and to give love. Spending money is more fun than getting it, and generosity is better than meanness. However, the actions of Jessica in exchanging a ring that her mother gave to her father for a monkey show her to be reckless, uncaring and impudent.

Contextually, Venice was a mercantile city, and its luxurious life was based on commerce, law and credit. Great wealth was made on the back of extremely risky merchant ventures that could win or lose millions and bring around tremendous reversal of fortunes, as in the case of Antonio at the end. Of course, Bassanio himself tries a risky venture, trying to wind the hand of Portia. He deserves Portia because he is not taken in by "outward shows" or the glamour of precious metals - he is granted moral insight. Portia's wealth is fabulous - she is the metaphorical Golden Fleece won by Jason. But Portia's readiness to give her fortune and herself away for love is matched by Antonio's. This loving and giving is in stark contrast to a greed which prefers ducats to a a daughter and a hate which prefers a pound of flesh to thousands of ducats.