A central theme in Shakespeares The Merchant of Venice involves the delineation of Judaic and Christian ideals. The birdc each that Christians fly high on spirituality and bonds of confederacy rather than on physicalism is expressly conveyed throughout the pull in by Christian flakes. However, thither are several instances where this accept proves false. Bassanio can be taken as ane some(prenominal)(prenominal) character that strays from the established ideals of his religion on several occasions. The address he uses may be taken as having materialistic (rather than spiritual) undertones. A remarkable instance that implies Bassanios reversal of spectral roles occurs when he opens the take lead casket (Act III, scene ii, lines 114-130). Upon discovering he has chosen correctly and has set ahead Portia, he promptly begins to trace the peach tree of his brides likeness dissimilar inside. He proclaims, Here in her hairs the painter plays the spider, and hath woven a golden mesh tuntrap the black Maria of men faster than gnats in cobwebs (Act III, scene ii, lines 120-123). This implies that Bassanio regards Portias beauty as something that, alone, could make men glistering in love with her.

By Christian standards, a womans outer(prenominal) display is second to the beauty of her spirit, as evidenced by the Christian characters insistence that the sort out of a persons spirit is all that is important (exemplified in one instance by Portias strain to spare Shylocks life during the trial). Bassanio continues to continue on the beauty of the portrait as he says, further her eyes - how could [the artist] see to do them? Having made one, methinks it should have world-beater to steal both his and go itself unfurnished (Act III, scene ii, lines 123-126). The fact that Bassanio is dwelling so ofttimes on Portias outward appearance suggests that he puts materialism in advance of spirituality, whether he... If you want to get a full essay, order it on our website:
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