The Merchant of Venice Act One Scenes 1 2 Essays

The Merchant of Venice Act One Scenes 1 2 Essays The Merchant of Venice Act One Scenes 1 2 Paper The Merchant of Venice Act One Scenes 1 2 Paper Essay Topic: Merchant Of Venice Play The Lottery and Other Stories 1) The phrase a want-wit means he who wants knowledge. This would come back to the earlier phrase said by Antonio In sooth I know not why I am so sad. He then says that what makes him sad he is to learn and in that says that sadness makes him he who wants knowledge. b) When answering the question above, I made sure that I found out what the original meaning of wit was, as I happened to read this question, giving me a good suspicion that wit did have a different meaning in the time of Shakepeare. c) In the light of point (b), I looked through the meanings of wit in an old dictionary, which lists the meanings of words in the order of the time that they had that particular meaning (oldest first). I would rather have done that than let myself succumb to guesswork and get the answer wrong. d) The quotation starts in elipses () because they mean that text precedes the text shown if looked at in its original source. e) That starts a new line because the preceding line has run out of its ten-syllable limit. Because the text is written in verse, each line is restricted to ten syllables, (as the play could then be rendered truly false in the eyes of the church), and because the bit of text before contains ten syllables, that must appear on a new line. f) That receives a capital T, even though it is not the start of a new sentence, because the start of a new line when it is in verse means that the first word receives a capital first letter as it is seen as a different segment of text. g) You have put the quotation in the middle of the page and surrounded it with a blank line above and below because it saves loosing the important quote in the midst of the text. Consequently, it also makes the reader want to read it and absorb it more because they can see it better. h) The meaning of the stuff in the brackets at the end of the quotation is that the quotation is lines 6 through to 7 in act one, scene one (although it doesnt directly state the act and the scene as it is aforementioned at the top of the page). 2) I believe that Shakespeare has begun the play with the lament of Antonio because it gives the audience a way to know about the fact that Antonio has argosies bound for various destinations, which becomes important later in the play. It puts the audience in a direct position with the characters as the conversation starts in the middle, but it is also a good way to get the audience initially intrigued. It keeps the audience watching, a bit like those crazy Midsommer Murders sub-plots. 3) Or, as it were, the pageants of the sea, Do overpeer the petty traffickers, That curtsy to them, do them reverence, As they fly by them with their woven wings. (l.i.11-14) b) I think that the purpose in Salarino using such an over-the-top image is to cheer Antonio up. He also says that the ships have portly sails, or as you so eloquently put it fat bastard sails, giving Antonio something to laugh about. (He has, after all, already stated that he is sad.) c) When quoting the lines asked in (a) I purposely looked at how you had quoted the lines at the top of the page as imitation is a good way of learning. I wanted to be sure of getting the way of quoting right, I automatically presumed that you were right because you are the teacher, and so copied your way of doing things in hope to please. In terms of moral beliefs, I do not believe that morality exists, and that everything is based on the views of life. Morality is an elaboration on the ways to prevent a species from going extinct (in basic terms). 4) Antonio reacts to Salanios comment, Why then, you are in love, by saying Fie, fie! as in Good Lord No! He seems to try and change the subject in his saying. Maybe he is, but it is more likely a what a silly statement statement. 5) In lines 82-83, Gratiano begins his speech, Let me play the fool: With mirth and laughter let old wrinkles come From this, you can see that he is about to burst into useless speech when he has no need. His first statement would have, in reality, been plenty. He then goes on to say, There are a sort of men whose visages Do cream and mantle like a standing pond, And do a wilful stillness entertain, With purpose to be dressd in an opinion Of wisdom, gravity, profound conceit, As who should say I am Sir Oracle, And when I ope my lips let no dog bark! This has no direct link to what he started off with, but in this Gratiano states that there are pompous arses, and starts to get philosophical, thus turning his original statement around. Maybe he isnt as full of an infinite deal of nothing as he seems. However, in saying all of that, he goes on and on, turning himself into a pompous arse. Afterwards he says, Ill tell thee more of this another time: But fish not, with this melancholy bait, For this fool gudgeon He has now totally changed subject, not refer ring to anything he had previously. He has also changed the mood of the conversation by referring to melancholy bait. The subject at the start was happiness! 6) a) In scene 1, Antonios objectives are to play on his sadness, find out what ails him and to try and cheer himself up. He also must play on his deeds to Bassanio. He does not appear in scene 2. b) In scene 1, Bassanios objective is to try and squeeze money out of Antonio. I think it should be important that Bassanio should always seem to be trying to squeeze money out of people as it is part of his character. Bassanio does not appear in scene 2. c) In scene 2, Portias objective should be to try and find a suitor, even though she knows it is hopeless to find a decent one. She should always have a feeling of necessity about her when playing the scene, but also a clear sense of hopefulness. She does not appear in scene 1. 7) You can tell that Bassanio is a sleaze by this section when he is trying to get money out of Antonio: In my school-days, when I had lost one shaft, I shot his fellow of the self-same flight The self-same way with more advised watch, To find the other forth, and by adventuring both I oft found both: He tries to use elaborate stories to get his money, which he calls a proof. He also, when speaking of her to Antonio, veers off the path of compliment towards her beauty and goes towards her financial state, saying that she is richly left, and then having to cover up for it by saying to Antonio that she is fair, but even that word is ambiguous, showing us Antonios two-faced nature. His last comparison, that Portia is like the golden fleece, compares her to treasure, and further implies that he only wants her for her money. 8) The important plot point established at lines 176-179 is that Antonio does not have the money to pay Bassanio as all his money is invested in his ships, and hints that he will have to go somewhere else for it. Thou knowst that all my fortunes are at sea; Neither have I money nor commodity To raise a present sum: therefore go forth; Try what my credit can in Venice do: Hmmm 9) Scene 2 is written, for the first part, in prose, which means that it is written in speech form, which is how someone from this time period would construct a play script normally. Scene 1 is written in verse, which is how play scripts had to be written to prove that they were false to the church, although it doesnt rhyme. 10) The marriage conditions laid down in Portias fathers will were that she must get a husband or lose the inheritance, and that she cannot chose her husband herself she must rely on three caskets of gold, silver, and lead as a form of lottery. Whoever picks the right casket gets to marry Portia. 11) Portia has a friendly relationship with Nerissa, even though Portia is of a grater status than her. Their friendship and trust is clearly noticeable when Portia asks Nerissa to put a deep glass of rhenish wine on the contrary casket, to make sure that the German suitor choses the wrong one and does not marry her. This also gives Nerissa tremendous power that clearly contradicts her status. The way the two characters talk to each other, Portia does not look down upon Nerissa, they are very realistic, and the fact that the text is written in prose further emphasizes the realism, yet at the very end, to switch status/society back to its original place, Nerissa comments that her eyes are foolish. The use of this word sets the truth that she is a servant and Nerissa is the mistress. 12) In terms of stereotypes, there is the Frenchman who has all the good stuff but has too many characteristics (and is too noble for his own good), an Englishman who is ignorant to foreign languages and who is a slave of fashion, picking up designs from around the world, a Scotsman who does nothing but fight, and a drunk German. This shows that the characteristics of people from different countries have changed very little, if at all, from Shakespeares time, and shows that Shakespeare has much relevance in the modern world. As for the fact that it is a long question, I think that it is not. It only appears long as the individual statements are not separated by punctuation, making the eye group them, making it seem longer. 13) 14) In terms of separating Jaffa Cakes and Hob-Nobs as races of biscuits and cakes, and asking me to judge which one is better, I am certainly not above being racist, but so I dont offend any do-gooders I do not think I should judge. However, in terms of biscuits, I certainly think that Jaffa Cakes should win as they are much more refreshing. Also, If they were struck, only the chocolate coating would crack as they are in themselves quite spongy. A Hob-Nob would just crumble. (But in a war, could they throw dead Hob-Nob at the enemy?)

5 Easy Ways You Can Avoid Job Burnout

5 Easy Ways You Can Avoid Job Burnout What are some signs job burnout is sneaking up behind you? They might not be what you’d expect†¦ and they may not even happen at work. If you’re sleeping more than usual on weekends, feeling extra distracted or forgetful when it comes to everyday tasks, snapping at family and friends, or fantasizing about ditching your life for a quiet beach somewhere, you might be coming close to your breaking point at work. After all, you probably spend most of your week in the workplace; it makes sense that any pressure you feel would start bleeding into other parts of your life as well. Once you’ve realized that you’re in the danger zone, there are small actions you can take before you explode.1. Put your calendar on a diet.Are you booked solid for the next five work days, breakfast to dinner? Are all of those meetings or appointments truly essential this week? Look at your work calendar for the next month. Try to find obligations you can move out a week or two, o r even skip altogether. Whenever possible, slip in some blocks of time for yourself, even if it’s just an hour or two to clear your head and work on specific projects without interruption. When someone sends you a new meeting invite, ask yourself, â€Å"Is this really necessary? Could a quick phone call or email resolve this instead?†2. Restructure your to-do list.Time to take a hard look at what you do every day. How many of those tasks are absolutely necessary? How many are directly related to your work goals? What would happen if you changed some weekly tasks to every two weeks? Try to create some flexibility for yourself so that you have time for absolutely essential tasks.It’s okay to say no to new requests and meetings if they would push you over the edge. Negotiate with your colleagues as necessary: â€Å"I don’t have the bandwidth to handle this on Monday, but how about we revisit this on Thursday afternoon?†3. Speak up.Be honest with your manager if you’re feeling crunched. Maybe he or she can help you come up with a game plan for easing your immediate workload or help you prioritize tasks. It’s not a sign of weakness to ask for help- it’s a sign that you’re seizing control of your work life and reorganizing before things start to slip too much. It’s so much better to stop and honestly re-evaluate early on, before deadlines have been missed or you’ve put in much less effort than you should have.]4. Treat Yourself.Maybe don’t run out and buy that gold Rolex (unless your budget allows for that, in which case go for it), but find small ways to reward yourself and distract your brain from what’s been going on at work. Have you been meaning to see that new movie before it leaves theaters? Take a night off and go†¦ and don’t forget the popcorn. Feel three weeks of tension and poor sleep building up in your shoulders? Get a massage or take that yoga class y ou’ve been skipping because you’re so busy.via [giphy.com]It doesn’t have to be a physical or costly treat- it can be as simple as scheduling time with family or friends to decompress. Laughter may not beat antibiotics when it comes to medicine, but it can work wonders for a frazzled state of mind.5. Get out of town.It can be so easy to get caught in the cycle of not taking vacation or personal days because things are too busy at work. In that mindset you may feel like you need to be there to get everything done, and then you can’t leave until the timing is right.Sad secret: the timing will probably never be perfect. In most jobs, there’s never going to be a magic lull where everything will stand still for a few days. So pick a time to take off, and commit to it. Figure out what you can reschedule while you’re out, and work with your colleagues to get coverage for the things you can’t budge. Then flee to that beach/cabin/backyard loun ge chair- and instead of running away permanently, come back refreshed and ready to start over.I promise you that your workplace will survive without you during your brief absence, and your coworkers be jazzed to have a renewed, enthusiastic colleague back on Monday morning.Some TLC is absolutely essential to keeping your work self sane and engaged. If you let stress get the best of you, you run the risk of damaging your professional life and even your personal life. It’s just not worth the risk, when you can take small (but effective!) steps to stop overwhelm before it happens.